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Miz

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Everything posted by Miz

  1. So, who has listened to Endurance? I've just watched Endurance after delving into the score for 3 weeks, a fascinating early one from Powell. Eager to know where it came from, I enjoyed the drama-documentary and the tracking of the music wasn't even that disappointing! As an instant-fan of the score I was disappointed that The Final Race wasn't featured in it's crescendo entirety... does anybody know what music was used instead? Was it the Ethiopian national anthem?
  2. Powell has become my favourite current composer based off my early foray into Bourne, then X-Men 3, then of course How to Train Your Dragon (a trilogy of scores that's up there with Star Wars and LoTR, methinks). Solo is a riot, and now I'm interested in many of his other works... but am put off by cutesy Dreamworks silliness. I have tried Happy Feet 1 & 2, and while it has his flavour, I can't feel its coherence and I don't care for its origins. Any other suggestions?
  3. Generally don't like his film stuff? Agreed there's loads of passable scores in his oeuvre, but Waterworld? Lady in the Water? The Village? Fantastic Beasts?
  4. I think this film will probably reflect the post-2000 era of endless Sonic rebooting and expanding, rather than the gameplay and aesthetic purity of the first 3 games. I suspect only 30-somethings like myself will feel that this is not a decent vision of Sonic. I also suspect this score will do very little, perhaps nothing, to reflect the fantastic, genre-pushing scores of those first 3 games - defined by brilliant melody, harmony, baselines and 'capture' of the aesthetic of each level. Nakamura pushed the technological limits of 16-bit sound and the music still sounds fantastic even if in its original recording. Junkie XL was great for Fury Road in-situ, but all of his sounds are forgettable as music.
  5. Appreciating people's thematic breakdown. I need more listens now! Maybe this was posted already: Powell talks about his music for the trilogy on the BBC Radio 3, yesterday. https://www.bbc.co.uk/sounds/play/m0002c7x
  6. Just returned from Star Wars LTP at Manchester Arena. HIGHS: The conductor did a fantastic job, the orchestra were tight and the cues were satisfyingly on point...the Death Star explosion got a clap! I enjoyed the sound presentation of the film, actually, having only seen it at the cinema in 1997- the deep bass was satsfying. Brass and violins carried really well, and getting a live mix of instrumentation helped bring out layers of the score I was less familiar with. LOWS: The orchestra were on a flat stage, far away, and not lit. Sometimes I had to remind myself they were there! Worse, the low registers didn't carry in the poor acoustics of the Arena - double bass and timpani could only be heard well on their own, not among the rest of the orchestra. Finally, the horn solo flubbed two notes during the Binary Sunset! Still, a great event and worth seeing, probably my peak of my concerting after Giacchino's 50th, a full Star Wars selection concert and An Evening Without John Williams in the past year. Oh, and my costume went down well, got a few shots with the characters who were hanging around before and during the intermission. Should I join Rebel Legion?
  7. I know nothing of Pokemon or Henry Jackman, but I know that Puss in Boots was an excellent score for what I assume is an average animated film. I expect this could be the same.
  8. https://www.facebook.com/events/1758991460816073/
  9. I think that finale piece was grand and captivating, but by no means the most interesting or intelligent of his writing for the film. It ranks high in my scores which "I know it's great but I don't really listen to it"... when I do it is the soundtrack to the long nights of autumn! By these clips I'm glad to hear the Potter musical tradition is still being carried confidently forward. It has Newton Howard all over it, and that's no bad thing.
  10. Yes, wish him a speedy recovery and good health and no feelings of guilt or feeling like he let down his fans, as it is not his fault. But to speak more crassly and selflishly than I usually would... As I cannot travel from the UK to the USA, I thought I would be able to see John Williams conduct a concert before he passed away. Now I must accept that, by the smallest of margins, I have not been able to see John Williams live during our shared lifetimes. Ever thankful for his existence though!
  11. Cheesy request, but... I'm looking for really Russian-sounding music. I like Dario Marianelli's score for Anna Karenina because it channels so many Russian folk idioms (cliches?). I'm looking for something similar, like Russian folk/chamber/orchestral music than exudes that feel, rather than (from my ignorant point of view), just being written by a Russian.
  12. They released their last podcast only a month ago. Give them some time! I'd rather have another high-quality set of shows later, than some rushed ones sooner.
  13. 1:27 in the woodwind, then 1:35 in the strings...both motifs from Chicken in the Pot. I haven't read on this page of the thread the spoilered theories as to why this is here - I haven't seen the movie yet!
  14. Anyone else spotted the riff from Chicken in the Pot in Spaceport?
  15. I could only listen to this one-and-a-half times before I put it down. Now I have enjoyed this score within the film much more. I appreciate it would've been foolish to musically represent the crowded pop culture references (and if you give a nod to a few, why those and not others?). But the pace and tone of the score fitted the movie well, even the self-conscious Back to the Future music. The themes did not excite me at all, but I can see how they are drawn from the tone of video game scores and work well in that sense.
  16. CC can only buy into symphonic leitmotif scores, or anything that has that as its core. Anything else has little chance of impressing him.
  17. He means 'tenets', not tenants. I feel like writing a relevant corrective email to Mr. Bloatpiece, but I cannot be bothered.
  18. What an over-long review! And, now, again, I cannot read from a white page!
  19. Half of all newly-commissioned works at the BBC Proms (the world's biggest classical music festival) will be by female composers, by 2022. Eat that! https://www.telegraph.co.uk/news/2018/02/26/bbc-proms-give-half-new-commissions-women-2022/
  20. I'm not impressed by my first listen (and I'm a certified Giacchino fanboy, my wife made my a doll of him!). I know lots of good scores are 'growers', but I felt a stark contrast to Powell's Solo, which leaps forth in its energy, musicality and off-screen storytelling, and had immediate impact on me, as well as being 'a grower'. I am hearing lots of Roar-style monsterisms, lots of Lost-isms, noisy and forceful action music, and not much musical prowess. So far I rate Rogue One higher than this, and he had more to time to score Fallen Kingdom (I assume). However, I can see there's some enjoyment of this score in this thread so I won't give up on this score yet (as I did Ready Player One) and am giving it more listens through. Does anyone have a highlights tracklist to recommend?
  21. It's the best of that trilogy, but that's not saying much. If you like that 'primary colours' approach to superhero films, then go for it. I for one prefer the direction that Marvel films have gone in (and they've actually nailed quite a few different tones since then), and can't watch any of Raimi's Spider-Man films now. The Amazing Spider-Man was a better film, in my view, and I particularly agree about the romance - Gwen and Peter had chemistry thanks to Garfield and Stone. Mary-Jane and Peter were as cardboard as the rest of the film, in part due to casting Maguire and Dunst. Elfman's and Horner's scores are both great in their own ways and serve both approaches. Zimmer's score can suck it, though.
  22. It's a fanfare alright, but I don't hear those trumpet blasts in any opening fanfare. As for leitmotif pedantry in this thread, keep it up. Where would JWfan be without a bit of thematic interrogation? Powell's done a great job of working with old and new themes. I have probably over-listened to this score the past 10 days, but it's been worth it for discovering the layers within. And I haven't seen the film - I like it when I get to know a score well before being given its images and scenes. My thematic delight is the old stormtrooper/Empire theme in Train Heist, at 3:35. I like his callbacks to 'ANH' and wish there were more. Maybe there are in the film...
  23. Obviously loving this, but I don't know how it will hold up over time as the album presentation is front-heavy and, the action music very dense. Powell has treated Williams' themes fantastically - not just clear callouts like Reminiscence Therapy, but subtle inclusion of familiar chord-progressions like the Rebel fanfare that run through the score. Giacchino did the same in Rogue One too, which I think not everyone cottoned on to (that score goes deeper into Star Wars mythos, structure and tone, and I would argue is dripping with the Star Wars sound as much as it is Giacchino's). Best non-Williams Star Wars score? I certainly think it's the most dynamic - Powell's ability to write captivating dynamic melodic lines is strong, not to mention how he plays with themes and give them attitude. What Solo lacks is romanticism, I think. Rogue One had plenty to offer in that regard (though some would criticise its broad-and-simple Giacchino strokes), but both are surely trumped in terms of romanticism by Shadows of the Empire.
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