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Core Mission: Summarizing the Creation of the “north of North” Soundtrack
This article details the collaborative process behind the soundtrack for the series “North of North,” highlighting the contributions of Tanya Tagaq, the Chan brothers (brian and Caleb Chan), and music supervisor Michael Perlmutter.
Key Contributions & Collaborations:
Tanya Tagaq:
Featured on the song “Uja” (from Tanya Tagaq’s Bandcamp).
remixed Joe tarman’s “Colonizer” (featuring Kronos Quartet).
Guest artist on “Sila” by The Halluci Nation.
Her performance as a goddess was integral to the soundtrack, with her music used to underscore specific character moments (e.g., underwater scenes, Siaja‘s thoughts).
Praised for integrating the richness of Indigenous music into the soundtrack.
The chan Brothers (Brian and Caleb Chan):
Responsible for the original music composition of “North of North.”
Known for their work on “The Fairly Oddparents: A New Wish,” “Lego Dreams,” “allegiance,” and “The Thundermans Return.”
Primary challenge: Restraint in composition, avoiding melodrama and kitsch in a comedy setting.
Creative Process:
Worked from home studios.
Emphasized a fun and creative approach,mirroring the series’ style. Explored diverse styles and pushed musical boundaries.
Maintained constant dialogue with creators/showrunners for feedback on tone and effectiveness.
Valued the freedom to experiment with the understanding that they could be guided back on track.
Michael Perlmutter (Music Supervisor):
Played a crucial role in guiding the soundtrack’s advancement.
Advocated for placing existing songs early in the process, then building original music around them.
Facilitated collaborative review sessions with producers,editors,and the Chan brothers to determine music placement,duration,and style.
* Provided valuable feedback to the Chan brothers.
Overall Approach:
The soundtrack creation for “North of North” was a highly collaborative effort,prioritizing creative freedom within defined boundaries. The integration of Tanya Tagaq’s powerful vocalizations and the Chan brothers’ nuanced compositional approach, guided by Perlmutter’s supervision, aimed to create a soundtrack that was both rich and appropriately restrained for the comedic tone of the series.
