Taking me even further afield from trumpets and dark cabaret is my discovery last weekend of another whole box of CDs (about 200!) that I hadn't unpacked since moving into this house eighteen months ago. And in that box was The Fluid Soundbox by the instrumental band Stereophonic Space Sound Unlimited. The lounge music revival of the 90s (see Combustible Edison) brought with it a revival of "spy music," and The Fluid Soundbox is the absolute best example of that subgenre. Ostensibly Swiss (though everything about them seems made up), they are obviously steeped in vintage lounge, surf, spy, and cop show music, to the extent that Soundbox is practically a catalog of those styles. Even their song titles are genius: "Triple Threat," "Formulator," "Robot A Go Go," "Project QX 5;" here is "Dragon City"--
That was from 1998. One of the best spy-music pieces of this new century was composed by Mark Mothersbaugh, of all people, taking a break from scoring nursery-school cartoons to write the original music for The Life Aquatic with Steve Zissou. The music accompanying the kidnap-rescue raid on the pirates of Ping Island starts out with the playful motif heard throughout the movie, then adds a brass-and-tympani-heavy orchestra for unbeatable spy-music goodness:
Okay, I kid, Mark Mothersbaugh has done plenty of work outside of his Rugrats meal ticket (including all of Wes Anderson's films up through this one), but with kids of my own guess what music of his I've heard the most of over the last decade?
Just this week some brand-new spy music has dropped into my lap. One of Mrs. Veneer's net pals, Scott Rupp, composes kickin' action themes and has begun uploading them to imeem.com. On "Agent Koto" he combines two of my favorite styles, spy music and breakbeat: