Modern soundtrack review (under construction)

Overture:
It starts off slow, and you don’t really know what you’re getting into until you wait a minute into the piece. You hear the main theme slowly, and I mean slowly, come into the fray and you get goosebumps. This one is going to be good, and you can tell. Daft Punk knows how to make a song come into your soul. Then it amplifies in volume, and you start feeling it. 5/5

The Grid:
Jeff Bridges, the actor, introduces this piece with a monologue about The Grid. And then the Grid ramps from there. It’s the same theme as in “Overture,” but with a different vibe. Still, it’s a brilliant piece. 5/5

The Son of Flynn:
The 1980s sound of Tron is in full effect here. You feel transported back into the world where Ridley Scott created Blade Runner, and Vangelis is running with horses across a beach. The synths pump with a standard, if boring tune. It’s very up and down. 3.5/5

Recognizer:
An up and down pattern of sounds is what we hear when we hear this piece. The track continues to escalate as it goes through its sound. You have drums being very selectively added into the piece, as additional instruments join the sound until we get a sense of the main Tron theme being applied again. Then, 2 minutes in, an emotional core hits on this piece. It’s fantastic, and truly something to behold. 5/5

Armory:
A deeper, darker sound makes up this piece. The main theme is there again, but it’s off-key from what we’re used to. It’s pure electric tension, and it’s close to thrilling. However, the payoff doesn’t really hit here. It’s merely a good track. 3.5/5

Arena:
It’s an electric, buzzy ramp up to something special, but it’s not special on its own. 2/5

Rinzler:
Another piece that is harkening to something larger, as it ramps up and up in its own intensity. That being said, it’s just merely average in the grand scheme of everything. Pulsing drums and electric sounds work with the orchestra. 2.5/5

The Game Has Changed:
A harsh electric drum beats stably as we enter this track. The orchestra is frantic in its pace, and there’s a lot of electrical noise and peaking. About a minute in, it continues down its track but begins to change its direction just slightly. Daft Punk do a great job minimizing the noise where it doesn’t need to be; the glove fits the hand. Then, with about a minute left, we get a hint of the beautiful horns that define this entire album. 3/5

Outlands:
There’s a more orchestra sound in this one; it sounds certainly less electric. Rising strings sweep up and down and I get the sense that there’s a foreboding world out there. It sounds a little like The Village, but with less of the violin that defines the M Night Shamayan work. The brass slots in nicely around the 2-minute mark, and then the strings really take off. It rises and rises, and it’s just a hint of what’s to come. 3.5/5

Adagio for Tron:
Is this the highlight of the album? It remains to be seen, but it’s utterly brilliant. There’s no real other way to describe just how impactful this song is. It starts off slowly, but then slowly introduces a ramp. The initial tone is mellow, with a hint of lost longing. I set the volume to 11 on this piece. About halfway through, it gives you a brief respite to reset, and then it truly begins. Goosebumps line my arms as I hear it truly escalate in intensity, and then it leaves you with a beautiful outro. 6/5

Nocturne:
By its title, we can assume “Nocturne” is a quieter piece. It starts off slower and more peacefully than most of these other pieces. There’s not a lot of depth there, but it’s pleasant enough. 2.5/5

End of Line:
If you’ve ever listened to Daft Punk, then you’ll immediately recognize the 1980’s sound that they are known for. This is better described as a dance track at a disco than a movie soundtrack piece. But I don’t care. It’s pleasant and it just kind of flew by as something that was quite enjoyable to listen to. It gets a little weird and electric at the end, and it’s just offputting enough to make the song firmly average. 2.5/5

Derezzed:
This track continues right where “End of Line” left off, in terms of vibe at least. It’s another 1980’s synth-punk track. 2.5/5

Fall:
With “Fall,” we get right back into the meat of the matter. It’s a mix of traditional orchestra preparation with a very harsh electric background sound. It’s tense, it’s harsh, and it’s meant to be. 3/5

Solar Sailer:
This piece has a guitar riff that’s pleasant and provides a good tone to the purpose of the track. About a minute in, the orchestra begins slowly, but surely to sweep in, and it feels like a mix of a love loss with hopeful optimism is setting in. I rather like it. 4/5

Rectifier:
A shiftless sound. A sweeping but short orchestra comes in every few seconds, and it feels like someone is walking towards their death. The tension continues to build as the piece progresses. 2.5/5

Disc Wars:
Distinctly “Halo” in its sound. Slow, steady drums in the backdrop lead way to a broader but still restrained strings and orchestra arrangement. Oas the piece progresses, the action continues to ramp very organically, and very steadily. As we get halfway through, there’s a new electric instrument that’s introduced that helps continue building this piece’s beautiful ramp. As we exit, we’re left with a husk of something glorious, and we are left wanting. 5/5

C.L.U.:
I don’t know what CLU means, and I don’t care. What I do know is that it’s a diverse track that is an enjoyable listen. The sound can be described as orchestral, but with the ramp that I’ve grown so accustomed to when listening to this album. Its ability to build on itself remains excellent, as drums are slowly introduced and made integral to its core. Then, about 2 minutes in, it takes off. As we approach the outro of this piece, it reminds you of the action surrounding the scene. 4.5/5

Arrival:
Solitary horns start this piece off. It continues until the piece ends, and it’s enjoyable but not memorable. 3.5/5

Flynn Lives:
I dislike that they gave you a spoiler in the title of this track, but I’ll forgive it. The piece is a textbook example of how to give a

track hope without being overbearing. Solitary, but proud horns blaze Tron’s anthem throughout the land. True to their form, Daft Punk do a brilliant job of lifting the spirits as the piece progresses. 5/5

Tron Legacy (End Titles):
It’s a rock track, Daft Punk, and Tron all wrapped up in a single piece. Starting off hot with drums and an electric accompaniment, the horns that have graced the album show back up here. Unlike other pieces, it doesn’t build as the track progresses, but it remains built. The grace of its exit cannot be understated. Then, in the last minute, the electric sounds know when to back off to let the piece rise on its own quality. 6/5

Finale:
It’s a much more muted sound to start this one off. It played for 2 minutes before I forgot I was supposed to really be listening to it. The orchestral sounds play very politely, but firmly. Then, about 2 minutes in, we get a hint of the Tron theme again, but arranged differently. The track rises throughout this action, and its uplifting feeling continues as the theme lets itself be known. 5/5

Encom Part 1:
I feel like a spy walking through a hallway when this one starts up. The strings and brass work together to implement a very slow, albeit very controlled ramp. The sound is distinctly thriller in nature. The main theme comes back to hang out with us, but it’s more muted than usual. 3.5/5

Encom Part 2:
“Encom Part 2” continues right where part 1 left off. I didn’t even notice the transition. That being said, “Part 2” is much better as well. It’s more exciting, it’s more diverse in its sound. It’s thoroughly enjoyable. 4/5

Round One:
Nothing really here of note. 2.5/5

Castor:
Castor feels extremely like a dance song. If I heard this in a club, I wouldn’t even notice. The electric synths are popping, and pulsing around and it feels like something from modern EDM. That shouldn’t be a surprise at all. 3/5

Reflections:
It starts off dark, and slow. It continues dark and slow for about 90 seconds, and then it jumps into something a little more, but not a lot, lively. It’s a final homage to the ramping nature of Tron. 3.5/5