#writing #music: Daniel Pemberton

Posted on by

When I listen to the music flowing beneath a film, I search for tributaries. Could this music tell more than one story, or is its course reinforced with concrete, impossible to divert?  Some scores are simply too entrenched to draw elsewhere, such as John Williams’ work for Superman and Jaws. Other scores tell the narrative their own way with music, and in that narrative arc flow many streams of story. One need only pick the flow to follow.

John Powell is one such composer, whom I’ve written of before, as well as Daft Punk. I still remember the excitement in me when I heard they were composing for Tron: Legacy, and knew that, if nothing else, the music would be amazing.

But the less said about that film, the better. No, I wanted to touch on Daft Punk because this year I felt that same excitement in discovering a composer previously unknown to me, one whose work I’m most assuredly going to dig through in the coming months:

Daniel Pemberton.

So I’m a sucker for a good fantasy film. King Arthur: Legend of the Sword has its flaws with pacing and use of characters for plot propulsion, but there’s amazing aural storytelling to be found in this “175m music video.”*

In the first moments, you already feel a knowledge of old brilliance:

That lone violin pays homage to another master composer, Ennio Morricone, and his use of a music box to elicit feelings of love lost and revenge throughout the film For a Few Dollars More.

That connection sparked in my first viewing, and brought a smile to my face. I knew I was about to listen to someone who knew the power music has in cinematic narrative.

And I was right.

This theme blends period strings and electric guitar with such a gutteral heaviness that you can feel the weight of chains upon you. You’re being marched into a bleak land of little hope. Had Pemberton amped up the pacing here, he’d have something rather steampunky (rather like Hans Zimmer’s Sherlock Holmes, I’d say), but he didn’t, and I’m glad. The rhythm of trudgery emphasizes the setting into which Arthur is born and raised.

“Gutteral” is a term I use as a compliment because it’s so bloody perfect with Arthur’s character. Guy Ritchie’s film has Arthur orphaned and raised by prostitutes in a brothel. He’s a boy of the streets, doing anything and everything to make a little money and protect those who didn’t have to raise him, but did.  Just listen to how the bows scrape along the strings to create almost-notes. The plucking and drums evoke a sense of dim lights, warm beer, and sly talk.

The human body itself is even an instrument in Pemberton’s score.

Breathing plays a role in a number of tracks, and for good reason: Arthur is a fighter, then literally on the run for his life. The breathing carries a determination to survive, but a desperation, too. He hasn’t the magical knowledge of the sage (the less said about her, the better), nor has he the confidence of his father’s knights. Pulling Excalibur out of the stone pulled him out of his own element, and he’s constantly catching up to understand just what the hell is going on. And as “Run Londinium” climaxes, Pemberton shows that all that frustration, desperation, and confusion is going to explode in the height of the fight to survive.

Okay, last one, I promise. I just had to show how, like Morricone, Pemberton uses the lone violin in the climax to bring this story full circle: from murder to vengeance. From child to hero.

Give Pemberton a listen. Watch your characters toddle, play, saunter, run. Fight. Survive. Thrive.

Live.

Click here for more on Pemberton’s Score. 

download

*A reference in Daniel Pemberton’s Twitter feed that made me laugh.

42 thoughts on “#writing #music: Daniel Pemberton”

  2. It’s interesting how music written in the now can reflect an era from the past. Choosing that sort of piece must be great when searching for the exact thing you want. The alternative is to write the music bespoke for the film. Maybe easier, either way it’s fascinating.

    Liked by 1 person

    Reply ↓

  3. This is the soundtrack I listen to right now as I write. I love its rhythm and sound. I enjoyed the film as well and the music vastly contributed to that experience. The film had its flaws, but i must give kudos for focusing on Arthur’s commoner upbringing and identity as a source of his success, a new spin on an old legend.

    Liked by 1 person

    Reply ↓

  7. Oooh, I like the sound of this one, and your descriptions are excellent as always! I appreciate a soundtrack that fits the mood of the story, but is still musically enjoyable to listen too- thanks for sharing!
    My other half just saw this at a birthday – it sounded interesting 🙂
    Happy back-to-school-for-wee-ones week!!!

    Liked by 1 person

    Reply ↓

  8. Pingback: Sunday Post – 10th September 2017 | Brainfluff

  12. Pingback: #writing #music: Mark Mothersbaugh | Jean Lee's World

  13. Pingback: #writing #music: #EnnioMorricone | Jean Lee's World

  14. Pingback: #Sharing #Blogging & #Writing #Love Around the #Campfire With Delicious S’Mores of a #CoverReveal & #Giveaway | Jean Lee's World

  16. Pingback: #writing #music: #western #soundtracks by #composers @jayandmolly, @carterburwell, @MEnnioMorricone, #HarryGregsonWilliams, #JamesHorner, #ElmerBernstein, and #LeonardCohen | Jean Lee's World

  17. Pingback: #writing #music: #DarkCrystal by @DANIELPEMBERTON | Jean Lee's World

Leave a Reply

Fill in your details below or click an icon to log in:

Gravatar
WordPress.com Logo

You are commenting using your WordPress.com account. ( Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. ( Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. ( Log Out /  Change )

Cancel

Connecting to %s