Two and a half minutes of aching beauty. So many reports of d. May being sleazy to criminal levels can't help but impact my enjoyment of his best work. If he made bangers it would be one thing but these tunes were clearly what he used to project how he wanted to be seen by others.
No nothing about "classical" music in any kind of systematic way, but that said, it's always very easy to hoover loads of it up from charity shops if you wanna check stuff out. From doing that my favourite piece was this one I think.
@linebaugh mentioned Cale in the other thread. His score for American Psycho's brilliant. It's also near-impossible to get hold of for some reason. Same with Thomas Newman's for Less than Zero. Something about Bret Easton Ellis adaptations apparently means they get great scores which never see official release.
samples from Howard Skempton's Lento, which even I as a classical dilletante can tell is a powerful piece of melancholy, but I think Pantha Du Prince makes the right decisions with this at every turn - the glistening bells, the soft percussion, the restraint that characterises the whole thing
the aim of millenial cross-over trance wasn't to find interesting things to rhythmically, nor to create tripped-out zones of repetitive escape - it was simply to create the most dramatic, OTT display of musical euphoria - the rush when everything gets dropped out and comes back in. I don't like a lot of this stuff for dancing to - it can get monotonous, all those hands-in-the-air breakdowns - but I love this as texture, the opulent strings of Barber turned into digital hits, the way that it just grows and grows.
Marc off his nut on drugs and the downsides of celebrity, makes a couple of absolutely essential albums as the Mambas with Matt Johnson, Foetus etc and The Venomettes (Gini Ball, Anne Stephenson) on strings.