In the often mild mannered domain of the electronic music press, Paul Rose sticks out like the sorest of thumbs. Outspoken at the best of times, he needs little prompt to share his opinion – with his proclivity to do so meaning he’s been a participant in more than a few storm in a teacup Twitter ‘beefs’ over the years. To dither over these faux controversies however, is to ignore the fact that Rose has been an iconic figure in the underground for over a decade now – a key player in the transition from Dubstep to today’s open ended mesh of genres and styles. Starting Hotflush back in 2003, Rose put out records from himself (beginning under his Spectr alias), Boxcutter, Distance and others – with the label’s early discography integral in helping Dubstep expand its sonic frontiers.
Responsible for more than a few essential entries into the Dubstep canon, Rose’s move to Berlin in 2007 was ultimately a big moment for himself and the genre as a whole, with the launch of his night Sub:stance at Berghain heralding a crossover of sounds that continues to have resonance into the present day. The Techno and House influence of the German capital gradaully seeped into Rose’s own material and the records on Hotflush – with he and the label now regularly looked to as reliable suppliers of dancefloor moving club music with an edge. A prolific artist, Rose has just released his fourth full length as Scuba – with ‘Claustrophobia‘ serving as a culmination of the diverse sounds explored on his previous three discs via its amalgamation of texture, melody and tension atop a rave-ready template.
Following the release of ‘Claustrophobia’ and ahead of his appearance at Hotflush’s REFLEXION party in London’s Steelworks this Saturday 28th March, we got Rose to vent his spleen via the medium of YouTube Sessions. Liberated from the confines of his usual 160 character soliloquies, he went in on a selection of his favourite music from the world of film and television. Some familiar choices appear in the shape of Blade Runner and Risky Business, although there’s also a nice reminder of the brilliance of the soundtrack for classics such as The Goonies and Terminator…
Blade Runner – OST
Let’s get this out of the way first… There can’t be many electronic musicians who don’t cite the Vangelis soundtrack to Blade Runner as a major influence. As great as the movie is in it’s performances and cinematography, the music brings the whole thing together and gives the futuristic world created by Ridley Scott real depth and an authentic character. A seminal piece of work in the fullest sense of the word.
Back To The Future – Huey Lewis And The News – Power Of Love
It’s no exaggeration to say that the guitar solo scene in Back To The Future was the first really significant musical event in my life. I was about 6 or 7 at the time and I remember clearly playing air guitar in the car all the way home from the cinema. I’d was already playing piano at that stage but the guitar was the thing that really got me into music. The theme song was just as memorable though, it completely epitomises that 80s aesthetic.
Twin Peak Soundtrack
The first series of Twin Peaks is, for me, the high point of television. It manages to blend the conventional aspects of so many TV genres while adding a genuinely surreal element to create something genuinely unique. The soundtrack is a huge part of setting the tone, heavily influenced by classic detective movies it builds on that classic style with a twists of the unexpected. And the main theme is completely iconic.
The Terminator – Main Theme
One of the great movie themes of all time, and made at a time where synths had almost superseded the traditional orchestra as the go-to sound palette of the scoring composer. Both the theme and the movie itself were so grandiose that you can hardly imagine them being made today and yet the influence of both on today’s cinema and electronic music generally is huge.
Risky Business – Tangerine Dream – Love On A Real Train
I am a late convert to Tangerine Dream, their discography is so enormous that even thinking about trying to familiarise yourself with it is daunting. Of course in addition to the studio albums they were responsible for so many movie soundtracks and arguably the best is their contribution to this early Tom Cruise flick. This track to me is Los Angeles at sunset, that’s the image it conjures up in my head every time. It’s pure escapism.
Batman – Prince Soundtrack
The first Tim Burton Batman movie was a significant event in my childhood. In was in the days where films would come out in America six months before the UK and you had to wait at least a year for a video release. I was about 10 when it came out and it was the first movie to be given a 12 rating in the UK, I had to literally beg my parents for weeks to take me to see it. I knew who Prince was at that stage but wasn’t really familiar with his stuff, but the music in the film blew me away and I immediately afterwards starting saving up the money to buy the tape. Batdance was my favourite back then, which obviously sounds slightly ridiculous now but to a kid in 1989 it was beyond immense. Nowadays my favourites are The Future and Arms Of Orion… just massive and certainly up there with his best work.
Alien – Main Theme
For a lot of people 2001 is the definitive space movie, but with the exception of The Shining I am not a fan of Kubrick at all. The first two Alien films on the other hand nail the horror genre about as well as that film did, while simultaneously defining the Sci-Fi genre and introducing a hitherto unprecedented feminist angle to a large-scale Hollywood action movie. The soundtrack to the second installment is especially effective in creating the atmosphere of extreme tension which characterises both films.
The Player – Thomas Newman Soundtrack
I tend to think that Hollywood is at its best when it’s able to be a bit introspective and laugh at itself. The Player is the ultimate Hollywood satire and the high point of both Robert Altman and Tim Robbins’ careers for me. It’s also arguably the ultimate modern take on the Noir genre, although LA Confidential runs it pretty close. The soundtrack is exactly as it should be – late 80s LA fusion crossed with classic Noir.
Goonies – Cyndi Lauper – The Goonies R Good Enough
I don’t think many kids can have grown up in the 80s without watching the Goonies and being totally entranced by it. Cyndi Lauper’s voice is pure Pop, I’ve reached the conclusion that technical skill is a hindrance when singing pop songs – almost all the best Madonna stuff was made before she could sing and Taylor Swift doesn’t hit a single vibrato note on ‘1989’ which is the best Pop album for years. A feel good track for the ultimate feel good movie.
Singles – Alice In Chains – Would
As a very young guitar player in the early 90s Grunge was quite a big deal for me, and the two bands that always stuck out were Alice In Chains and Smashing Pumpkins. Both of them had tracks on the Singles soundtrack which was quite a seminal event in bringing the Seattle sound to a wider audience. The Alice In Chains track was the one though, one of the best off their ‘Dirt’ album, it’s an incredibly atmospheric piece of music and also pretty emotive if you know Layne Staley’s backstory and how thing eventually panned out for him.