Music is the soundtrack of your life. In the epoch of The Greatest Showman soundtracks insanity success which spent a month in the top spot, with the motion pictures music deemed as elevating anthems with a flurry of fun lyrics like “The brightest colours fill my head/ A million dreams are keeping me awake” lead to a magnificent modern pop sound oppose to the films historically musical moments. It seems like soaring scores are rivalling records in the race for recognition and recollection, take Asking Alexandria featured voracious rock and roll American Satan soundtrack sitting seventh within the confines of the top soundtracks on Billboard, whereas the actual artist’s album narrowly scraping an eighty-six peak. Albums are becoming even more of a successor to soundtracks than ever before.
When two entertainment entities engage they can be a force to be reckoned with. Targeting two major demographics both the film buffs and the music enthusiasts, movie soundtracks have the powerful potential to gain double the popularity compared to a standard LP, by fusing captivating cinematography with memorable melodies. A synthesis of a melancholy alternative arrangement and a roundup of Task Force X rebels fighting societies evil, all-encompassing with the song and films dingy prison themes. As musician Tyler Joseph vocalises about being “Docked away” and “You’re lovin’ on the psychopath sitting next to you/ You’re lovin’ on the murdered sitting next to you” as actress Margot Robbie portrays a mentally dysfunctional Harley Quinn with a terrifyingly twisted Joker jumping into a chemical bath in film Suicide Squad. Twenty One Pilots score contribution ‘Heathens’ is concrete evidence that a track for a soundtrack can conquer artists own material, with the subdued song gaining more views on YouTube then Blurryface’s‘Lane Boy’, ‘Heavy Dirty Soul’ and ‘Tear In My Heart’ combined simultaneously breaking music records on Billboards rock songs chart, reigning at number one for twenty-eight weeks. Synch music prestige with a destined cinematic blockbuster, and it will be the sum of two target markets success.
Singles, LP’s, mixtapes and albums, artist releases doubtlessly have the universal ability to connect with listeners and produce thoughts, feelings and emotional connections and connotations. However a movie score can evoke more fear, fright, happiness and hatred compared to standard forms of music. Switching on a soundtrack to a film has the mindful aptness to replay that particular poignant moment, sacred scene or character actions all over again, comparable to storing a memory that resembles a cinema theatre. If Dunkirk didn’t have its Hans Zimmer curated soundtrack, whilst the film portrays a monumental moment in history the scenes and sounds of ‘shivering soldier’ transport back to the cold and fearful feeling of Cillian Murphy via screen or song, and the relief of grave reflection when young men of the frontline Alex and Tommy boarded the train in the midst of a mass evacuation evoked in ‘Home’.
Unlike the traditional imagery based music video that can carry a short story with it, films have the power to intellectually connect through typical Hollywood narratives such as the classic child raised as an orphan with wicked non-biological parents who gains in-humane superpowers like the wizard Harry Potter or superhero Batman is even more likely to resonate as a fantasy yet relatable proposition. Although artists are inundated with multi rights deals that cover touring, merchandise, syncs and recording with overwhelming amounts of finance in advances, rivalling the film industries big millions upon millions budget movies that have the capability to build hours long representations of a visual production is eminent. Bands have attempted and prospered to replicate a string of short films through music videos as a promotional tool for upcoming records like Fall Out Boy’s forty minuet mini movie, that depicted an endeavour to save rock and roll titled ‘The Young Blood Chronicles’ for the Chicago collectives post hiatus comeback, seemingly get pitted to the post by films and soundtracks. Lucrative income from the scores streams, physical sales and synchronisation accompanied with the films revenue of box office sales, merchandise, dvd downloads and much more modernly in the hype of social media, influencers popularised word of mouth of 2017 release The Greatest Showman can boost a film and it’s corresponding score to the extend where it becomes more hyped than musicians material in music alone.
Scores and soundtracks designed for major movies involve a collation of great artists contained in one place over the course of a decade or so forth of compositions. The remedy for soundtrack success is ultimately simple. The bigger names on a movie score and it’s even more likely to defeat the own featured artists music off the charts, yet it provides an open door opportunity for stakeholders in music to venture down an additional avenue to collaborate with other artists or to gain experience in the film recording industry. Liam Payne and Rita Ora’s whimsical ‘For You’ video has gained more recognition than Payne’s tropical track ‘Bedroom Floor’ visual due to the franchise it’s now attached to being the Fifty Shades brand. Not only do films music open opportunities for artists, being affiliated with a movie is highly desirable and credible to both parties.
Listen to all the soundtracks featured here: