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【动画原声】【Alain Goraguer】原始星球 La planète sauvage (1973)
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Most of the original score’s 25 short pieces refer to two motifs that first appear in the prowling, noirish opener, “Déshominisation (I)”: a descending melody and a twanging bass riff first heard amid a jazz drum groove, trembling orchestral strings, and flashes of flanged guitar. While iterating on a core motif is a common device in film scores, the extent of Goraguer’s repetition is striking. Regardless, each instance is full of new twists: The melody reappears as jaunty pop in “Le bracelet,” terrifying stabs in “La cité des hommes libres,” and an eerily romantic waltz in “Les fusées / Valse des statues.” While an enormous procession of orchestral and rock instruments (from saxophones to flexatones) adds variety and color, the real joy is in Goraguer’s far-ranging uses of recurring elements. Standouts include the expressive female vocals, which deliver a melancholy solo on “Terr et Tiwa dorment” and eerily seductive sighs on “La Femme.” If this might be expected from an arranger for great chansonnières like Isabelle Aubret, his wildly contrasting electric-guitar arrangements are more surprising: from Derek Bailey-esque probing on “Attaque des robots” to dramatic soloing on “Générique (Fin).” The album feels curiously unmoored from its time and place. While the opening guitars and bass of “Déshominisation (I)” are transportive to Europe’s 1973 experimental rock scene, rubbing shoulders with Can’s Future Days and Pink Floyd’s The Dark Side of the Moon, in moments like the baroque pastiche “Conseil des Draags,” the score hurtles centuries into the past. Goraguer’s orchestral instrumentation suspends everything in a state of temporal ambiguity, while his constant jerking between aesthetics means even acutely contemporary sounds—like the Black Sabbath-esque drums on “Terr et Medor”—feel like brief stops in 1973, rather than grounding us there for good.
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