“With the placing of a small silver pellet into what looks like a small lava lamp, a softly modulating drone strikes up. A high-pitched swoop joins, introducing the opening riff of a bassline like bubbles bursting. Shimmering echoes float into space....

“With the placing of a small silver pellet into what looks like a small lava lamp, a softly modulating drone strikes up. A high-pitched swoop joins, introducing the opening riff of a bassline like bubbles bursting. Shimmering echoes float into space. ‘That recording,’ Dr. Morbius sternly informs us, ‘was made by Krell musicians a half a million years ago.’ Xenomusicology.

The story goes that producers of Forbidden Planet tried to get Harry Partch to compose the Krell music (Partch denies it) and you can understand why. Partch, perhaps more than almost any other composer of the 20th century, seemed to have tried to establish an entirely fresh basis for music. Not just bye bye diatonic harmony; bye bye the twelve-note octave, bye bye the instruments of the orchestra and hello a whole newly-invented band of ‘cloud chamber bowls’, ‘eucal blossoms’ and a ‘chromelodeon’.

But even Partch might not have come with anything quite as genuinely alien sounding, quite as pregnant with the future, as did Louis and Bebe Barron. In any other film, this short burst of alien sonics would have stuck out as thrillingly weird and exotic, but the whole film sounds like this. Everything whirls, and gurgles, and bubbles with the strange ‘electronic tonalities’ the Barrons devised with their home-made circuits.”

Read the rest of my Reel Sounds column on Forbidden Planet at Electric Sheep Magazine.

09/16/13 at 10:24pm