SOUND
STORIES

A collection of cinematic playlists selected by curators, designers and composers. Available to listen to on Spotify. Sound Stories will be released gradually throughout the duration of the events programme.

Disco Tenebre

Curated by Yuri Suzuki

Pentagram Partner www.yurisuzuki.com

A selection of horror film soundtracks, gloomy but danceable tunes.

Featuring themes from: 

Friday the 13th, Part III (1982), Directed by Steve Miner

Tenebre (1982), Directed by Dario Argento

Near Dark (1987), Directed by Kathryn Bigelow

Halloween (1978), Directed by John Carpenter

Beetlejuice (1988), Directed by Tim Burton

Hellbound: Hellraiser II (1989), Directed by Tony Randel

The Thing (1982), Directed by John Carpenter

Tenebre (1982), Directed by Dario Argento

2020: Exploded View

Curated by Finbar Marcel

Multidisciplinary artist and producer www.finbarmarcel.vision

I am a multidisciplinary artist and producer operating under the names Finbar Marcel and ASTRO. My practice inhabits a hybrid space, between music, art and science. Utilising high level technology I aim to create sensory experiences that are elevated from the normality of life using physical, digital and aural mediums.

With my playlist I wanted to create a soundscape of 2020. I selected music that blends effortlessly into its original visual environment, merging sound into the landscape to create powerful sensory experiences.

I have included both utopian and dystopian tracks to reflect the current state of affairs on planet earth. I begin with the title theme of Bladerunner by Vangelis, a disturbing sound that is both futuristic and retro, a reminder of how today’s society is moving both forwards and backwards simultaneously. I have included “Black Panther” by Kendrick Lamar, a track about the power of a collective people, a voice of unity that is missing in current times. “Debold” by Vegyn was used for an amazing film series recording the dances of Londoners from various different ethnicities and backgrounds, focusing on the joy of dance, it is a truly optimistic piece of film and sound separated from the grind of life. Overall my playlist is a split mix of menacing sounds, rousing anthems and tunes to make you dance. I think to summarise I wanted to convey the message that although humanity is at a difficult point, satisfaction and purpose can also be found in the wealth of emotional experiences we go through, the good, the bad, and the ugly.

Instagram: @finbar_marcel

Sound Story

Curated by Thomas Wander

E.T. And Me (John Williams)

E.T. the Extra-Terrestrial (1982), Directed by Steven Spielberg

The music starts out as an exercise of restraint and perfectly plays Elliot’s childlike curiosity and his cautious and gentle approach right after the moment when Elliot discovers the unknown creature. Later on the music builds and rises to underline the wonderment and Elliot’s astonishment. I find this a perfect example of a piece of film music that not only works brilliantly in this particular scene within the film but it also stands very well on it’s own as a piece of music without the picture.

De natura sonoris No. 1 (Krysztof Penderecki)

The Shining (1980), Directed by Stanley Kubrick

Throughout the movie the use of this particular type of music which employs atonal and aleatoric composition techniques, was probably one of the main factors responsible for the terrifying experience of the film. It probably also paved the way for the use of aleatoric composition techniques in film scores in general and in scores for many horror movies in particular that were made after ‘The Shining’.

Visit To The Cinema (Ennio Morricone)

Cinema Paradiso (1988), Directed by Giuseppe Tornatore

In my opinion Ennio Morricone was a master in nostalgia and melancholia and the score for ‘Cinema Paradiso’ perfectly captures exactly these emotions. The film is a wistful memoir about the small-town movie-theater where a young Sicilian boy falls in love with the movies, and later on becomes a successful director himself. While on a visit to the town of his childhood decades later, Morricone’s themes and his arrangements in particular, complement the man’s bittersweet reminiscence wonderfully.