Imaginary Soundtracks: The Complete Collection
Here's a little something for the Spotify-friendly in need of some new mixes.
As noted earlier, back before streaming media, when I was obsessively making CDR mixes to share with fellow music nerds, I enjoyed making imaginary soundtracks for non-existent films, trying to select songs that, in my head, felt like they framed out a narrative and mood. And, yeah, as these were soundtracks for films I only saw in my head, I don't know how well the mixes translate for others, but I do find them particularly interesting even years later.
I've put the links for all these Spotify playlists up on my webpage, so feel free to check 'em out. In addition to the 6 somewhat random soundtracks, I also made a few soundtracks for imaginary films by actual directors based on the sort of song-selection you hear in their movies (i.e. an eclectic and oddball Quentin Tarantino mix; a Wes Anderson mix drawing from minor 60s pop tunes and stray contemporary indie music; and a collection of 80s new wave pop for a John Hughes teen flick).
Here's one of 'em, Volume 5, the theme for a dark and sordid indie flick riddled with depravity, sex, and violence called Berlin. Plenty of glam and other oddly intense weirdness.
As noted earlier, back before streaming media, when I was obsessively making CDR mixes to share with fellow music nerds, I enjoyed making imaginary soundtracks for non-existent films, trying to select songs that, in my head, felt like they framed out a narrative and mood. And, yeah, as these were soundtracks for films I only saw in my head, I don't know how well the mixes translate for others, but I do find them particularly interesting even years later.
I've put the links for all these Spotify playlists up on my webpage, so feel free to check 'em out. In addition to the 6 somewhat random soundtracks, I also made a few soundtracks for imaginary films by actual directors based on the sort of song-selection you hear in their movies (i.e. an eclectic and oddball Quentin Tarantino mix; a Wes Anderson mix drawing from minor 60s pop tunes and stray contemporary indie music; and a collection of 80s new wave pop for a John Hughes teen flick).
Here's one of 'em, Volume 5, the theme for a dark and sordid indie flick riddled with depravity, sex, and violence called Berlin. Plenty of glam and other oddly intense weirdness.
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