listening to 2 years stranger Alexandra mixes the grandiose of classical music with the dark sounding synthesis to create beautiful sonic atmosphere that transport you to surreal realms. The blend of classical music – which is typically very raw and unsaturated with more saturated synthesis is something so unique and powerfully moving. Im enthralled by the way in which she strongly possesses the ability to both so well. her proficiency with both live instrumentation as well as Logic Pro X means she is able to bind both skills together well. Her album encapsulates the vibe of film sound so well without any sort of visual – it seems so natural.
Alexandra talks about the vague action off being influenced and how it doesn’t necessarily have to be something or someone specific. she refrences the sound of a washing machine as an example and uses it to describe how inspiration can come at any time from anything – I find this personally very interesting and relatable having been inspired by the drone sound of a fridge previously after being taught the difference between hearing and listening and the influences of deep listening. Alexandra also talks about the the background of influences and talks about how most children are drawn to either classical or popular music – not exploring niches. I feel like I somewhat disagree with this statement .I feel like teenagers – especially within this current age, with the explosion of more accessible technology – are being influenced by more niche and underground music.
She also talks about the versatility of being able to draw from anything and anyone and being able to put anything into your music without any boundaries – which I find very inspirational and think that it one of the most fantastic parts of making music. Alexandras influence from the snowman soundtrack – the power in a simple melody – how one or two notes can develop from something minuscule to something grand and how melody can sit with you are all very enthralling concepts that eventuate this idea of musical minimalism.
low progression of a melodic idea can be hypnotic and the detailed and subtle and small changes can draw a listener in. Alexandra refrences Micheal tippet who’s diversity and seamless blend of multiple genres seems like something that heavily influeced her own music.
“Tippett is now regarded as one of the most significant figures in British music of the twentieth century. His early music reveals Neo-Classical traits, and in the Concerto he achieved a seamless blend of contemporary European features, elements of folk music, jazz, and the sprung rhythms and polyphonic exuberance he admired in the English madrigals.”
-Michael Tippett Concerto for double string orchestra: movement I (For Unit 6: Further Musical Understanding), page 1
Ayres also references the matrix films and how they influence what she makes. I find the mix and representation humanity and machine found in the matrix soundtrack through diatonic and chromatic scales incredibly interesting and believe Ayres may have been influenced by it through her mix of electronic and orchestral music she blends together so well.
In her own experience of filmmaking she talks about how music for film can be used as a voice for certain characters – to reflects thoughts that are not being explicitly thought out. The scene from Do No Harm again features grand expressive orchestral stabs paired with crackling synthetic undertones that develop into larger whirring drones capturing this sense of deja vu and dramatic Neo noir mysticism. Ayres captures the surrealism being shown on screen pushing the music past the realms of the diagesis creating another entirely fantastical realm of sound that enhances the motifs of the character presented. The almost comic brass in the background create a slight comedic blend when paired with the grittiness pairing so well with the mood of the scene.
Response Piece:
I felt like the mix of electronic and orchestral sound was integral to the music Alexandra portrays. Her dynamism and flexibility to incorporate both into her work is for me what brings out the uniqueness, strength and vigour-filled character of each of her pieces, which is why I tried to do the same. I blended a buzzy synth brass over some orchestral strings. I used the song Bad Guy by Billie Eilish as a template for the piano and then re-arranged the MIDI notes to make it my own. I felt as if the ‘noir-ish’ electronic mysticism of the upbeat original would allow me to open up a more diversified and dynamic direction in terms of adding the orchestral layers.