As the serene symmetry of CommuniCore with its tranquil reflecting ponds and the rounded forms of its far-off future-friendly architecture was giving way to the edgy near-future appearance of Innoventions with its kinetic whirligig towers, electric umbrellas, techno graphics of its windows, and whimsical fiber optics, the classic EPCOT Center musical atmosphere was presumably preserved until a fateful walk-through with Imagineering President Marty Sklar changed all that.
Roughly two weeks before soft opening, Sound Department personnel and the show designer walked the space with Marty, who casually asked, “You’re going to have new music for this, right?” Caught off-guard, they replied, “Yep—you bet!”
ENTER RUSSELL BROWER
Brower, who had begun at WED Enterprises/Imagineering in 1981 (early work included audio for Journey into Imagination’s Image Works “Stepping Tones”), collaborated with Wilkins on The Living Seas’ long-form aquatic BGM (helping reintroduce extended hour-scale loops), and later curated music for Disney-MGM Studios—was called in as someone known for delivering under tight deadlines and limited budgets. This was one of his first major opportunities to apply lessons from Wilkins independently.
Brower studied a scale model of the revised Future World area (including Spaceship Earth and the new tensile structures) at WDI in Glendale, soaking in the design to evoke a cinematic arc: uplifting and progressive on entry, with greater resonance and familiarity on exit after a full park day. He wanted the music to feel like classic Epcot (textural elements such as wind/wind-chime qualities and subtle homages to the original medley and pavilion themes) while supporting the updated “near-future” Innoventions story and approaching millennium tone.
To establish the sonic direction quickly, Russell presented third-party tracks for approval. The clear favorite (for both him and the show design team) was David Arkenstone’s “Papillon (On the Wings of the Butterfly)” from the (then) recent 1991 album In the Wake of the Wind. It served as a “model sheet” or blueprint for the overall vibe—new-age/electronic, uplifting, atmospheric, and synthesizer-driven (suited to competing with exhibit noise).
With only about a day and a half remaining after direction was locked, Brower produced an initial ~9.5-minute piece that included “Papillon” plus his original “Future World Theme”. He then expanded it over the remaining ~10–12 days into a preferred full-length version of roughly 50–60 minutes (accounts vary between ~48–52 minutes and “an hour”). This longer loop incorporated arrangements/homages to classic EPCOT Center pavilion themes (examples cited across sources include elements related to Golden Dream, The Living Seas, Horizons, Magic Journeys/Listen to the Land, and others) alongside original material such as “Innoventions Adagio,” interludes, and variations on the Future World Theme. He composed and recorded primarily at home using synthesizers.
THE SHORT-SIGHTED SHOW PRODUCER
One of Russell’s best skills and even better qualities is his ability to consistently consider the guest experience and (perhaps more importantly) his empathy for Cast Members' sanity. Nevertheless, Russell was subverted by an Innoventions Show Producer who narrow-mindedly stated, “No, no, no, no, I don’t want an hour of music there!”, rationalizing that he considered the Plaza as a “thoroughfare” and wanted to keep the guests moving and not linger and insisted on a shorter cut.
What eventually became the predominant BGM for Innoventions Plaza (and surrounding areas) was a mix of David Akenstone’s “Papillon”, Russell’s percussive “FutureWorld Theme”, a woefully short mix of less than 8 minutes of Brower’s original compositions, and a fanfare taken from his own “Ascension” composed several years earlier in 1987 and showcased as part of the “The Best of Both Worlds: The Second Audion Sampler” compliation of (then) new Electronic musicians.
INNOVENTIONS UNDISCOVERED — THE E82 EDITION
This long-requested addition to the Future World Atmospheres Series features Russell Brower’s complete “Composer’s Cut” augmented by the dramatic full “Ascension” track and several bonuses including the unheard 8th Interlude, “It Grows on You” and “Future World Blues” compositions in addition to a newly mixed “Show Producer’s Cut” of the abbreviated atmosphere Epcot guests are most familiar with and, in this case, acts as a fast-paced summation of all Russell’s work on this truly iconic soundscape.
Note on Presentation:
Brower’s original work was created as a seamless composition with many shorter themes and several Interludes. As with all great handcrafted in-park compilations, Russell created this specifically to create a listening experience guests could experience in an almost non-linear fashion. As it’s impossible to recreate this in a streaming site, Russell’s original loop of 27 pieces has been combined into 10 segments (Sans Ascension and bonus materials) for a more traditional album release and less jarring transitions between tracks.
