A verbal exchange with the synthesizer organization that marked the Netflix success series.

When Stranger Things made his debut on Friday in mid -July, Kyle Dixon went to camp in Portland. It was approved on Sunday without service, and when everything returned to civilization, it had lost many calls and emails. The partition he had created with his organization partner Michael Stein for the Netflix Wonder Science fiction series, The Weekend, which has become one of the maximum pieces of spoken music of the year, we are talking there with any Top 40 record.

It was, up to much, the maximum attentive attention that its organization of small synthesizers known in the r v i v e has obtained. And he lost everything.

Fortunately, calls and emails have not calmed down. The program and the score have a cross success, and one of the maximum television series of the year. It is so popular that Netflix announced that he published the partition of Stranger Things as his own autonomous album. Fans and criticism described their breeding from the 80s in a complete character of Stranger Things. And this is in fact the case.

From the Stranger Things Opening Card, the main theme of the series, with this low and beaten low and beaten, creating tensions in the nostalgic phasers of the extraterrestrial synthesizer, the music takes a dominant presence when giving the tone of the series. Yes, the images on the screen are in Tryetes to Horror and Science Fiction of the 80s, but just when the Duffer brothers overthrew the gender clichés with their writing, the Dixon and Stein score is ahead of what is based on this classic.

Dixon and Stein are obsessed with specific gender movies and have been operating for some time to have the opportunity to make one for wonderful production. It turns out that the Duffer brothers arrived here through the music of s u r v i v e, and the boys click. Before, even a script, Dixon Stein and the Duffers worked in a close collaboration to build the sound of the series. They worked for months, sitting with a keyboard by writing their own history. Now, with the series and the praised score as one of the most productive of the year, S u r v i v e is preparing to launch its own similar Spirit album on September 30.

I talked to Dixon and Stein how they created the sound and they will come for the second season.

Glaábably you know your shit at the movie scores. What are your favorites and what happens to the State?

Michael Stein: Everyone in the organization likes the score of the movie The Keep and Tangerine Dream and The Sorcerer.

Kyle Dixon: I like the score of Solaris and Stalker, Tarkovsky’s films, who, I think, were Eduard Artmyyev, if I say his call that I think I am. He made a great orchestral aggregate task in the arrangement, and things like that, great things there from the 70s. Obviously, we love John Carpenter and other people like that. There are a million influences on us.

And so, in particular with Stranger Things, how did you adapt the music to the tone and tension of the program?

MS: One thing that was really intelligent to make it early is that we fired many concepts and we would do it, I told myself: “Ok, there is probably a montage or a mission, so here is that. ” We believe the concept and they would say little frequently with each other: “It is too artificial or that is something. ” So we began to recover what to do and what to do when we had a photo and started scoring things. We knew a little what the playing field was, and they were receptive and we were allowed to be creative. They also had a very intelligent contribution, things moved.

It is as if you had worked hard with the Duffers.

MS: We did it, we had an experience, they are paintings with her.

What is your score adds to the series?

KD: We have heard several other decisions that music is a type of character in the series that is a massive compliment to listen. I think the Duffers have treated it in this way from the beginning. They sought to be a wonderful asset for what other people talked when they talked about the program.

MS: It was a bit unexpected because you think, as, at first, in the first episode that you have to configure, it is a small very small city, everyone has an intelligent moment, so you play this childhood wonder. Then everything goes shit and becomes terrifying, so they play with each other.

Many things about this visually fearsome flavor and pays tribute to older films. Did you feel that you are doing the same?

KD: I think it is inevitable that it happens has just given the device we use and the type of music we write, however, we are also very aware of not doing this. We seek to make sure we were not as a retreat to a movie from the 80s. If you think of a film like E. T. , the score is not for our score.

He has this old feeling while hunting the future.

KD: We surely think about it. It is simple to imitate ancient techniques, especially with the device we use. The other people who carried out the scores at that time operated the generation in terms of the measure at the time. Now, 20 or 30 years later, we can use the generation that exists now to boost the oldest tools a little more, just a bit strange. Even only the progression of music in general to techniques and styles of fashion styles. You would not have heard [this] in the 70s or 80s in a movie.

I mean, it is intelligent that you have so much time for paintings there and paintings through those things. It is a bit intelligent about Netflix in general. Since he sought entry into the creation of cinematographic and television scores, do you think Netflix supplies this street for musicians?

MS: The consensus is that Netflix is ​​quite new and can look at it because they did not build their security zone like many Hollywood. This is what worked and that is what it is not: 20 years ago, and now it is old and outdated, and no longer continues to do so. [Netflix is] new and do new things, and that helps keep them innovative. I hope you stay at that.

KD: I think one of the reasons you can do is because, at the base, they are a technological business, a startup. And they arrived to rent a group of other people to make films. You can pay this mass salary to download very intelligent talents on board. I don’t need to say “poaching”, but they rent many other people in the industry that are intelligent. It turns out to work.

Netflix announced that the score would be released as an album. Has it planned from the beginning, or is it an answer to people?

KD: We seek to do so, however, that there is nothing we had planned. As soon as the first advance was launched, we won emails from other people who wish to publish a soundtrack and, in fact, it is the only way we knew that the trailer had been published. I won an email asking for the soundtrack, which is fun. They did not plan to do it until there was a request.

I know that your album is also coming out, that time turns out to be perfect.

MS: Perfect, the right moment. I knew it was going to be good, but I didn’t know it was going to be so good.

Do you think the other people who enjoyed the music of the screen that choose your album, will it be similar? Will they be surprised? I heard it and idea that they were congratulating well.

KD: I think other people will respond to both. We are very careful in any of the things, and I think we are seeing music with a similar goal, whatever the style. We need to deliver anything that feels good to us.

MS: People can listen to the battery.

When you make music to adapt to visual flavor otherwise, how is another taste that you create with your head?

KD: It is much less difficult when you have another person’s vision in front of you or their images. Let’s say I need to make a new song, I feel in front of all my Yetton and each of those I look every day of my life, and I say: “I need to do something new and intelligent today. ” Unless you have a concept or anything expresses as a strategy or a taste that you need to try, it can be more difficult. But if you look at a scene in which he is a child who is happy, as a child, with shame, you don’t start with a black melancholy bass, you have a safe direction. It is useful to have a small thrust in one direction. Obviously, there are several tactics to manage any type of scene, but it has a perception of what it does, or at least what it does not.

Obviously, the album comes out, what is the next step for you after all the attention and for the score?

KD: I hope there is a moment in the Stranger Things season where we are going to work, but we have not heard anything official there. [There are] a lot of online speculation, but it is only speculation. You can deduce that the screen has been successful and that they probably do another, yetrray . . . I can’t verify it.

MS: I hope they don’t kill the character s u r v i v e.

KD: I hope our character is killed.

Do you have it with the Duffers? For example, would you like to return or if they would be interested?

Both: Yes, oh yes.

MS: We have mutual respect.

KD: I think there is a season at the moment, we are very likely to be scoring. I would be surprised that they pass with another person.

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