Richard Penna

Yep - I don't find either of those tracks interesting. Absolutely - agree 100%. The difference between your stance and some others' is some deciding that not only is that score or composer not worth your time and study, but that no one else is allowed to positively discuss the work without constant reminders that someone doesn't like the score. As an example of themes that may not be evident on first listen to the album are in the sadly officially unreleased end credits from The Lone Ranger. The first one starts where I started this video, and the second a minute in. Both are lone-lined, memorable themes, but if you only listened to the first track of the album and gave up (and you're fully justified in doing that) you'll never hear and appreciate them. I know I'm not hearing probably hundreds of memorable themes because I don't find the surrounding score to my tastes.

Most of A.I. doesn't do anything for me either. It's too cold and clinical for the most part, except for The Mecha World and Abandoned in the Woods. The highest profile JW score that does nothing for me, full stop, would be Schindler's List. I haven't seen the film and the subject matter is not one I enjoy musically. The many samples and tracks I've heard just don't musically interest me at all. From others, I tried Dune 2 multiple times and failed to get the evocation I got from the first one. Despite all the praises and thematic breakdowns here, I can't get into it. Also I guess Desplat's two Potter scores. I've given multiple listens but outside of a playlist of highlights I really don't find them very interesting. Classic case of a composer approaching from a technically astute writing process, but that doesn't mean it comes out as interesting music. I can understand a general dislike for his style and varying tastes, but I think ths sort of comment is more reflective of a lack of effort of inclination to listen to a score in more detail to find its themes. A score that comes to mind is The Lone Ranger which aside from the classic theme, has two or three other long-lined themes. Other dramas he's scored have multiple, often long-lined themes. Yes, he's probably more at home with atmospheric, synth-driven scoring, but he's composed memorable themes for most of his projects. It's the same sort of approach that leads to accusations that he doesn't write melodies - I think those proposers just aren't listening to much of his music.

I'd expect any DE to be chronological. Tyler and co. can shove their 'listening experience'. Are we sure it's Requiem though? It feels a bit unlikely to me if there would be so little unreleased material. Kloser's score surely has more missing.

I never understood that one either. Is that something to do with Riggs being completely off his nut and a danger to others?

The initial pressing had some major distortion in at least one (probably several) track and they had to do a repressing and send out a replacement copy to all initial purchasers. I have two copies as a result. It attracted a fair amount of comments about the labels listening to a sample before they send them out. Regarding Aliens, I'd rather they focused on getting some titles out that have never been expanded, instead of one that's available on streaming.

I can understand shipping costing $10 or so, but when it costs multiples of the value of the product itself, something's very wrong. I only bought this on CD out of a desire to have all Indys physically.

That too.

If he's able, I think he will. But if he was only able to complete (sort of) a score for DoD due to an extended PP period and help from Ross, it does seem like it comes down to health and general ability to do it. Maybe SS would turn to Tom Newman again.

The credits suite is indeed really good. But assuming it's WLB and it ends up as a nice single $20 CD, I'll very likely get it even if it's just to curate a nice alternative playlist. I'm less interested in whatever the other one is. I do have both Starship and AvP but I'm not sure enough to buy an inevitable 2-CD set.

Nor me - I actually had to check my flac archive to check whether I'd bought this at some point in the past, and I don't have it. I have two tracks that I must've obtained at some point. I put on the OST on Spotify earlier and it was a kind of enjoyable half hour with a few proper highlights, so particularly as I never bought it, I reckon I'd be up for this.

They're better programs than the OSTs, at least... I mean there's more music.

That's not a Varese title (https://en.wikipedia.org/wiki/Varèse_Sarabande_albums_discography)

I'd be open to that if it's got some interesting unreleased material. I'm giving the OST a refresher and it now comes across to me as a more melodic variation on the sorts of Horror stuff I like from Bishara. Rebuying Starship would be a slightly tougher sell as I'm not familiar with the film nor what's missing, but still open to it.

Album 1: Album 2: https://www.facebook.com/varesesarabanderecords/posts/pfbid02ScpKeXgngEtS8XUCV3ASfvW3coS7YQTTXCWXHmWhQnjzMLMVKXQuGJgCKBQPvb2Bl What Lies Beneath suggested already on FB. Second... alien, monster, blood, planet... gun. Could it possibly be Starship? Feels like yesterday that I bought the first one with the huge mastering error.

I always like the simpler arrangment for this - the original definitely the best. I don't particularly go for the Shaham arrangement but actively don't like Mutter's. No doubt others will see her playing in a better light than me, but I feel her style is completely at odds with Williams' careful, usually structured style. Far too much meandering around with bits that aren't relevant to the core idea. She's no doubt a very skilled player but it always seems to me that she's just showcasing her speed and versatility instead of tailoring her playing towards what JW's pieces need and, where appropriate, what a film needs. Tibet/SL were case studies in a soloist being a perfect match in terms of their playing style and Williams's score. I can't say the same about ASM.

2012 edition finally gone. And in non-Williams news, Djawadi's Fallout likely on my imminent purchase list.

They also need to use Newborn's theme for the opening and closing.

What absolute bollocks It really does sound like he got up at 8am yesterday morning, noodled on his keyboards for 3 hours and came up with that. It's so uninspiring. It goes with my belief that when he's given some inspirational, life-affirming project he comes up with some tat like this, but when given 4 weeks and a film to just.... score, he does a really great job.

I listened to Djawadi's Fallout the last few evenings and it seems to fall right into my taste range. Very little going on thematically at surface level but it's one of those scores where he manages to keep me engaged for the full 70 minutes without ever being new or very distinct. A bit like Eternals, anyone completely allergic to the vaguest RCP influence should run holding their noses, but Djawadi has clearly got some chops in some extended rhythmic and melodic ideas.

I love the TTRL OST but in this case I'm not really interested in the additional material.

I got an e-mail about 12 hours or so ago. I use gmail but we also have a family domain so it doesn't go directly there. Doesn't seem like they're in the remotest urge to get TLW back in stock. I wonder if sales slowed after the initial buzz?

I have tens of Blu-rays but only around 10 ripped, and a few of them were more so I could skim a few bits without needing the disc in the drive. Essentially I narrow it down to those that are either particularly important to me or are hard to find in physical format and therefore I want the digital copy. Far more DVDs fall into that category for me, particularly TV shows. I'm not quite picturing a full dystopian future where nothing is available to own, but I want a PC-based copy of important stuff that no studio can suddenly decide to pull. This is visual media only, of course. I rip all CDs on receipt - there should be nothing that isn't in my flac archive.

Now playing: Nightwing. Beautiful score and Varese club album, which I purchased blind entirely based on samples.

I've had degradation too - I got a Jurassic trilogy Blu-ray set a few years ago and TLW now refuses to play, full stop. I can see some colouring on the outside so it's evidently worn or rotted away. Thankfully I have the DVD and it's my least fave of the three by miles so I'm not actually that bothered. I'm finding an urge with my absolute favourites to rip the entire disc to my PC, which is also a mega-convenient way to watch it.

I have the previous release and find it overlong. Chances of my buying an even longer one without samples are zero.