The Versatility of Chanda Dancy

November 5, 2024

Ariel Paul

“I feel like more people know me for the type of grand sweeping orchestral work I’ve done in projects like “Devotion” and “Lawmen: Bass Reeves,” but “Blink Twice” is a completely different side of me, and I’m happy to be able to express it.” – Chanda Dancy

As the host of The Lakeshore Records Podcast: On Cue, I’ve had the pleasure of speaking with Emmy-nominated composer Chanda Dancy and learning about her musical process. 

While she is known for her sweeping orchestral scores for the film “Devotion” and the mini-series “Lawmen: Bass Reeves,” which was featured on the podcast, her full breadth as a composer spans genres. Her experimental score for the film “Blink Twice,” directed by Zoë Kravitz, is a prime example of this versatility while maintaining a distinct sonic throughline to her other scores. 

“I grew up playing violin in orchestras,” Dancy said, who often features the instrument and string sections in her music. From Dvorak-inspired motifs and symphonic counterpoint in “Lawmen: Bass Reeves” to the hair-raising, dissonant violin shrill interspersed with Baroque melodies throughout “Blink Twice,” Dancy displays a unique command of the orchestra and an ability to manipulate sound to build a scene. 

The score for “Blink Twice” is an exciting departure from her more classical roots – though they are ever-present – incorporating electronic elements like gritty synth pads and beats along with pulsing Afro-Peruvian rhythms. This unique pastiche of styles and instruments creates a wonderfully disarming and often disorienting backdrop to this thriller that is simultaneously a feast for the eyes and ears and every woman’s worst nightmare.

Accomplishing a juxtaposition this drastic is no easy feat, but one that she marries with ease and artistry. I caught up with Dancy to learn more about her experience scoring this film.

Naomi Ackie as Frida. Photo via Amazon MGM Studios.

AP: What was your musical inspiration for this score? 

CD: We wanted to do something unexpected. Zoë loves a more avante-garde type of approach, so we were inspired by more experimental type electronic music and the abrupt and meticulously carved use of cues that you might hear in something like “The Shining” and shrill haunting orchestral sound effects a la Krzysztof Penderecki.

AP: How did you build tension? 

CD: Being very minimalist and overtly unconventional in our ‘horror siren’ sound, which created a lot of space for the audience to feel anxious and uncomfortable. 

AP: What motifs or character themes did you create for the movie, such as the strumming guitar motif we hear a lot in the beginning or the ominous synths and strings with Channing Tatum’s character? 

CD: There is the ‘horror siren’ which we hear throughout the film. It essentially represents that sickening feeling in the pit of your stomach when you’re in an “I need to GTFO NOW” type of situation. Then there is Frida’s theme, which is the Baroque-style dance melody you hear in “A Partita” and “The Pool.” Then there are all of the creepy and alarming string and wind textures you hear that convey horror and anxiety.

AP: What was your favorite cue to score? 

CD: I really enjoyed creating all of the sounds and textures for the score. There was a range from a Bach-style partita with Afro-Peruvian rhythms to detuned harp and ukulele with 808 kick drums to shrieking and insidious string and wind textures to gut-wrenching synths that kind of make you feel queasy. It was all a joy to create!

AP: What were the biggest challenges on this project? 

CD: Getting the tone just right was the biggest challenge. We found that being minimalist and purposeful helped us walk that line tonally.

AP: What were the highlights? 

CD: The entire experience was a highlight! Working with Zoë was a treat and pushed me artistically in so many ways. I’m so grateful and honored to have been a part of it!

AP: What part of yourself do you feel like you got to express through this score?

CD: I feel like more people know me for the type of grand sweeping orchestral work I’ve done in projects like “Devotion” and “Lawmen: Bass Reeves,” but “Blink Twice” is a completely different side of me, and I’m happy to be able to express it. 

For a deeper dive into Chanda Dancy’s work, check out her episode on The Lakeshore Records Podcast: On Cue, where she takes us on a musical journey through her Emmy nominated score for “Lawmen: Bass Reeves.”

 Listen on Spotify:

More music from Chanda Dancy: