Not a progressive electronic expression of the famed French duo, but a soundtrack to a sequel. Even in saying the title, you’re admitting to liking a Disney soundtrack. Because the music itself is undeniably brilliant, but it’s in an unusual position, where it just doesn’t feel like an opus you can admit to liking. Perhaps that’s where Daft Punk’s solitary soundtrack fell short. In all honesty, Disney isn’t exactly synonymous with “cool” either. Releasing on Walt Disney Records typically means success in a young market I mean what five-year-old doesn’t know the words to Idina Menzel’s ‘Let it Go’? But Disney isn’t exactly synonymous with electronic synth tracks. They weren’t backed by what is most commonly seen as a children’s production company. Songs were highly anticipated, longed for and praised, with awards handed out on mass. The productions were cool and notable, with palpable excitement created by the media. The publicity around the soundtracks that tasted success is arguably one of the reasons for their success, almost irrespective of the talent such soundtracks demonstrate. But these are simply examples of a form of success and admiration that the TRON: Legacy soundtrack never quite reached. Further into the past, The Who’s Quadrophenia is a tale like no other, built around the preceding concept album.
#Music like the tron legacy soundtrack driver
Baby Driver successfully utilised the playlist flaw to its advantage, acknowledging that these tracks were not its own. Franchises like James Bond have utilised the power of custom songs, of marrying music to film.
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