“TRON” Music Re-Done
Late last year, Daft Punk made their first foray into the realm of composing original film scores with Disney’s “TRON: Legacy.” What made the score for this film so unique and breathtaking was their combination of traditional elements of film scores like symphonies and synthesized, electronic sounds. It’s not uncommon for many electronic artists to have their material remixed, but I think this may be the first time I’ve seen something that was intended to be an original score for a film completely remixed by other house and trance artists.
With the original “TRON: Legacy” score, Daft Punk stepped away from their traditional house roots and created something more moody and dark. Gone were the club beats present in their previous efforts, and so it was only natural for me to assume that with the remix album it was everyone’s chance to rework the elegantly crafted score of the film into something, well, a little more “Daft Punk.”
However, much to my surprise many of the songs featured on “TRON: Legacy Reconfigured” were actually not simple dance remixes.
The first song on the album, a remix of “Derezzed” (which is by the far the most upbeat and club-like song from the original score) by The Glitch Mob feels like a toned-down version of the original, extending the length of the song from 1:44 to 4:22. While this might sound more suitable for a night out at the club, The Glitch Mob’s remix seems to be more atmospheric in nature; in essence, it’s something you would put on in the background.
As if to reinforce the point that “Reconfigured” isn’t simply many remixes that consist of sticking a simple bass pattern behind the original song, the second track is a remix of “Fall” by M83 and Big Black Delta. It incorporates not only a Justice-like feel to the song, but they added an interesting vocal track as well. I found myself going back to the original song on the score because I could hardly remember what it sounded like. Disney wasn’t kidding when they included the word “reconfigured” in the title of the album, because it embodies exactly what this album is about.
That doesn’t mean that there aren’t any songs on here that you can’t dance to. Artists like The Crystal Method, Paul Oakenfold, Kaskade, The Japanese Popstars and Avicii, show no qualms about incorporating their trademark sounds into Daft Punk’s work. However, they all succeed in reworking the basis of each of the songs to make them each feel like new, individual tracks. I appreciate that each of the artists took the time to “reconfigure” each of the songs and make them really stand out.
The song that I found stood out the most and was the real highlight of the album is a Moby remixed version of “The Son of Flynn.” Even though it starts much the same way as the original song, he crafts his own moody track that embraces the symphonic elements that made the original score so unique in the first place. It seems as though Moby is reasserting the fact that the score of “TRON: Legacy” wasn’t supposed to be just another dance album from the French duo.
Before listening to this album, I was a bit skeptical of how one could pull off remixing an original score, but in the end I was pleasantly surprised with what all these artists managed to create. It’s clear that the intention of this album wasn’t to simply make the “TRON: Legacy” original score into another dance-house album; instead, each of these artists took the time to give each of the songs they remixed a new feel, all on their own. The only thing that could have made this album better is if Daft Punk themselves had done a remix or two of their own.
Rating: 4/5 Stars