Over the past few weeks I’ve been bugging people to vote for two panels that I proposed for the 2013 South by Southwest Film, Music and Interactive Festival (and hopefully come December I’ll get to tell you all that they were accepted). One of these panels is on a topic that I’ve been interested in for quite some time, The Future of The Soundtrack, and I am nerdily excited to get the chance to moderate a discussion between experts.
In my time working around and on soundtracks and various marketing initiatives for film and television, there are also certain observations I have made that I hope to debate, to get an official opinion. Until I (fingers crossed) find myself in a position to consult those supervisors and executives that I admire so much, here are my thoughts on the topic.
By Amanda DK
It seems as though the 54th Annual Grammy Awards have received more flak from the indie community this year than any other year (in my memory at least). Weren’t we all over “Grenade” by last February? Didn’t Mumford and Sons Sigh No More come out in 2009? Bon Iver for Best New Artist? For Emma, Forever Ago was released in 2008. And if the music community scoffed (mostly) anonymously into the social media ether, Justin Vernon made his reaction public.
To be honest, the music in media categories feel similar. Burlesque, Tangled and The King’s Speech all received nods during awards season last winter. The public has moved on. After this though, the only major awards show left is the Oscars, which has already caused discomfort in the music supervision world for only nominating two songs and then not inviting either to perform.
Often times with all the Rihannas, Biebers, Gagas and Taylor Swifts running around on Grammy night, it’s easy for the indie artists to get lost in the shuffle. Fortunately with the help of Stephen Colbert, the Best Alternative Music Album category got some love on mainstream television (though let’s face it, as indie artists go Vampire Weekend, The Black Keys, and Arcade Fire are pretty well known).
Where is the love, though for the soundtracks, scores and songs written for films or television? Right here, my friends, right here….
I’ll be honest, I wasn’t going to put a list together – it just seemed too daunting, I was bound to forget important ones, definitely haven’t gotten a chance to listen to many of the most lauded – but then a friend called me out and I naturally I had to rise to the challenge.
I don’t want to call this a “Best of 2010” list, because I feel kind of like a fraud saying that. Music is so subjective. To this day I still don’t really understand the mad mass love of Beach House. Maybe I’ll discover what I’m missing in 2011, but for the moment it is not music that grabs me personally.
That being said, I now present my favorite 25 albums and 5 EPs of 2010…
by Andrew Thomas
“It just sort of introduces the idea that you’re in for something pretty idiotic.” – Larry David
I love food. I love eating it. I love making it. I love talking about it. I love hearing people talk about it. I even love watching people make it on competition based television shows. Unfortunately, those shows by nature must leave out one of my favorite elements of food: the smell. When you enter a restaurant owned by a knowledgeable chef, you’ll notice the immediate presence of a powerful, distinct and pleasing aroma. It heightens the anticipation. It lets you know the type of food is on the way. It focuses your senses on the tastes and textures to come.
A good theme song is the television equivalent to a tantalizing aroma before a delicious meal. It whets your appetite for the rest of the show. The tone of the song will let you know if the show will be light, dark, comedic, dramatic, intense, intelligent, unconventional, or any number of things. When you hear the twanging guitars and mournful fiddle of Deadwood’s Opening Sequence, you know you’re not in for a buddy cop comedy. When you hear The Barenaked Ladies prattle off a Brief History of The Universe, you know you’re not watching a show about a rape lawyer.