Space

The Space Lady

It’s not just irony that has The Space Lady calling her debut album proper ‘Greatest Hits’, and 14 years after she retired from a life of music and busking on the streets of Boston and San Francisco.

These are greatest hits, they’re just not entirely her own. ‘Humdinger’ and
‘Synthesize Me’ seem to be, but then it’s all ‘Fly Like An Eagle’, ‘Born To Be Wild’ and ‘Ballroom Blitz’,


performed with drunken weightlessness on a bumbling Casio keyboard, with bossa nova demo loops and perma-flange vocals.

If Nouvelle Vague made songs you know sound button cute, The Space Lady
makes them high, a little senile, and, well, pretty button cute.

It results in something quite improbable, before you find out that she was born in Roswell and lived in a cave, even – a covers album that definitely has a Space


gimmick, but one that appears to have been born out of necessity (The Space Lady’s limited resources and giddy joy of radio hits) rather than a natty hook, Space

like asking Arctic Monkeys to give One Direction a go.

Artistically, I’d have to say Solaris. I wish I could roll out of bed every day and write music like Solaris… not Space


only because it’s one of the only scores I can listen to and enjoy but because it seemed to have come from a place beyond that doesn’t even sound like me. Space

Usually I’m so familiar with the music, it has no element of surprise but I still listen to it and think “wow, that’s really cool”. Space

Before I worked on it, I was having a lot of selfdoubt about whether I was any good at film scoring but once I finished Solaris I felt like if I could do that again at some point in my life, I’d be a real composer.Space


RY: Do you feel like that now? Do you think the role your music plays has changed over your career? CM: I think it varies from film to film.

Sometimes the music plays a really important role in a film such as Only
God Forgives where there’s so little dialogue and it’s very abstract. When you’ve got something like that,

people really turn their attention to the music to be cued, and music assumes a very prominent role, like a leading role, like a character.


But then there are other films like Sex, Lies and Videotape where it’s very incidental and the music has a minor role.

in terms of the function, I think that varies too. In Solaris, the music had a hand in helping explain the story so it was very obtuse and cerebral. Other times,


in the case of Contagion, one of the very important functions was pacing, because even though Contagion was a big disaster-horror movie, it was also a talking heads movie with people sitting in their rooms just talking.


On a macro level, I think the purpose of music is to universalise a story, to take something that’s generally out of the ordinary that some people can’t experience,


and turn it into something relatable. Spring Breakers to me wasn’t necessarily about teenage excess and drugs and bikinis and firearms,

it was more about the time in anybody’s life when there are no rules and everything’s perfect but because there are no boundaries,

it turns out to be hell.

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