Inception Band Song

[Cori Lenon]

Accordingto Zimmer, the soundtrack for Inception is "a very electronic score".[1] Nolan asked Zimmer to compose and finish the score as he was shooting the film. The composer said, "He wanted to unleash my imagination in the best possible way".[2] At one point, while composing the score, Zimmer incorporated a guitar sound reminiscent of Ennio Morricone and was interested in having Johnny Marr, former guitarist in the influential 80s rock band The Smiths, play these parts. Zimmer's reported inspiration was finding a synthesizer track that he had written similar to Marr's guitar style. Nolan agreed with Zimmer's suggestion, and then Zimmer approached Marr, who accepted his offer. Marr spent four 12-hour days working on the score, playing notes written by Zimmer with a 12-string guitar.[3][4]

For inspiration, Zimmer read Gdel, Escher, Bach: An Eternal Golden Braid by Douglas Hofstadter because it combined "the idea of playfulness in mathematics and playfulness in music".[2] Zimmer did not assemble a temp score but "every now and then they would call and say 'we need a little something here.' But that was OK because much of the music pieces aren't that scene-specific. They fall into little categories".[2] While writing the screenplay, Nolan wrote in dith Piaf's "Non, je ne regrette rien" but almost took it out when he cast Marion Cotillard, who had just completed an Oscar-winning turn as Piaf in the 2007 film La Vie en rose. Zimmer convinced Nolan to keep it in the film and also integrated elements of the song into his score;[3] in particular, the film's iconic brass instrument fanfare resembles a slowed-down version of the song's instrumentation.

The trailers for the film feature specially composed music by Zack Hemsey, which does not appear on the official soundtrack.[5] The soundtrack was nominated for several awards, including an Academy Award, a Golden Globe, a Grammy and a BAFTA.

I generally agree with every rating on this site, but i feel like you gave inception slightly lower than it deserves. Yes, their previous music has been phenomenal but this still is great. Idk, maybe im just really biased towards this song for some reason. Hopefully it grows on you.

First of all, I would like to thank Islander for the opportunity to write for NCS about a band that I discovered last year, while doing my year-end list. That band is a death metal act named Gaped from Newcastle, Australia, signed to Lacerated Enemy Records. Gaped is the brainchild of Ryan Huthnance, who is the vocalist and plays all the instruments, with lyrics written by Shane Watts (Nekrology and ex-Osmium Grid).

I should also point out that before listening to the cover song on the EP, I was somewhat skeptical, mainly because I have found few covers that I enjoy. Of course, there are exceptions, this being one of them. Not only have Gaped recorded an excellent cover and played it perfectly, they put their own touch on the song, if that makes sense.

When I interviewed the Nashvillains I mentioned that they were like a modern country music supergroup. Turns out they agree. Signed to Fate Entertainment, the newly formed country-rock-infused band is made up of veteran musicians Troy Johnson, Brett Boyett, and Scott Lindsey.

Boyett who works widely in the sync licensing world, met Johnson when he was singing on the demos of a movie they were working on. Lindsey also met Boyett when he was in Los Angeles doing some songwriting. At that same time, Johnson and Lindsey were both working for A Million Midnights Music Publishing. They were all working on a film together.

I first got to know Alex Doyle and Matthew Falvey in Sophomore year, when I quickly realized how musically talented the two of them were. They frequently wrote and recorded short, simple songs that were designed to make others laugh. Needless to say, I was beyond inspired by their creativity as a duo. Ever since I first started drumming ten years ago, I had wanted to play in a band. Even today, the prospect of performing with my closest friends is too grand to pass up. Soon, the three of us began jamming together, naive to the many opportunities that would be presented before us in the coming months.

About as soon as I hit "publish," I began to see gaps in my recent short rant essay, titled "You're Not Too Dumb To Like Jazz." In particular, Dan DiPiero points out something which I feel I ought to clarify here. I think he's misreading my intent a little bit, but I'm certainly leaving that possibility open by leaving out a few missing pieces.

Thinking about those lacunae, and how to fill them, dovetails nicely with my thoughts on another collection of music which has captivated me this summer: Steve Coleman's new album Harvesting Semblances And Affinities.

The unifying idea of Coleman's new album, he writes, is "energy harvesting, i.e. the gathering, through musical symbolism, of the energy of particular moments." He describes the opening track as follows:

On my own, I'm having trouble figuring out if it has a constant or variable meter, how a pattern of threes can be located in here, what exactly this might have to do with any Orishas. But where I do connect is how well drummer Tyshawn Sorey asserts a groove that is not a groove, how vocalist Jen Shyu declaims atop it all, how the horns are arranged for such maximal color and emphasis, how it all unravels so well before picking up again. There's certainly an energetic mood being conveyed, and I like to think that even when so many of my critical faculties abandon me, I can identify something akin to what Coleman was trying to capture.

When people say they don't "understand" jazz or are "too dumb" for jazz music -- or, conversely, call it "overly intellectual" or "too cerebral" -- it's often a euphemism or rationale for not liking a certain strain of it. If we take them at their word, there's a lot to be potentially confused by: Jazz in general is unfamiliar to the average bear, and more complex than your average pop music. So it doesn't make you dumb if you can't immediately dissect a work of jazz. Seems to me you're an above average intellect for even caring enough to engage with it at all.

Here is the missing link: Most people like a lot of music they don't "understand." Musicologically speaking, I certainly can't break down everything I like about any recording I enjoy, or know what inspired it. The best musicians of any genre have a way of transcending this in order to communicate something more human than the artifice of music theory.

A few weeks ago, I broke down the rhythmic foundation of Guillermo Klein's arrangement of "Coplas del Regreso." But even so, there was a lot in that song I wasn't able to decipher into technical terms; more importantly, there remains the fundamental mystery about why those particular combinations were so affecting. (That was the point of that exercise anyway, to muse on its futility.)

Even though I like his new album, I feel like I "understand" even less about Steve Coleman's work. I confess I don't know his discography very well yet. I've met Coleman a few times, but I've never talked to him at length about his music. I wasn't around when M-Base, a philosophical framework he helped devise, was first formulated; I don't know what the critics said about him when he was releasing music on major labels.

I do gather Coleman has studied music in Cuba, Ghana, Senegal, southern India, at IRCAM in Paris. I also know that he is interested in new ways of structuring music -- a website and now-defunct blog lays out a few of his ideas about negative space, Greek and medieval modes, symmetry, Charlie Parker and so forth. It's my impression that he likes to devise unconventional structures, from disparate inspirations. But I fully admit that I am generally unfamiliar with what those musical structures are, here or otherwise.

By way of analogy, I think about the summer blockbuster Inception, a fast-paced science-fiction film about implanting an idea within somebody else's dream. That movie was complex! It asked you to accept all these fantasy concepts native only to the world of the movie: shared dreaming, totems, "extraction," the "kick," the idea of an active subconscious, interminable limbo states, etc. The climactic final sequence features, depending on your interpretation of events, three or four different layers of dreams within a dream.

It would take a few viewings, and probably a few conversations with director Christopher Nolan, to fully comprehend everything that was going on in Inception, philosophically and technically. (Not to mention the plot holes.) But it wasn't difficult for much of the audience to enjoy at some level: Currently, it enjoys an IMDb user-generated rating of 9.1 out of 10.

Admittedly, the sonic language of Harvesting Semblances And Affinities is certainly less familiar than the visual language of Inception.** But the unfamiliar is not the same as the cerebral. Jazz, and especially stuff like Steve Coleman's music, is saddled with a certain meta-language that implies that the music's appeal is a sort of mental arithmetic game (or worse, posturing of appreciation). It's complex, sure, but in and of itself, that's not the draw.

Jazz fans and musicians don't like the stuff because they enjoy being able to dissect its chord changes, scale modes and time signatures. Those combinations of chord changes, scale modes and time signatures makes them feel something good inside.

That's why words like "brainy," or "highbrow," or this entire lexicon of left-brain appeal is discomfiting. Jazz is generally intricate, sure. But this oughtn't deter from the idea that the music can be for anyone who likes what they hear. In other words, you're not too dumb to like jazz: You're too caught up in thinking that dumb vs. smart is the right way to approach this stuff in the first place.

Hailing from the Boston/NYC area, and deriving from the Journey tribute band Voyage, Hugo's Voyage is a metaphor for the musical career of Hugo Valenti. Who, you ask scratching your head. Well, me too. Valenti fronted the band Valentine which dropped their debut album in 1990. This brought success with the single No Way and power ballad Never Said it Was Gonna be Easy.

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