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KK last won the day on April 16 2016

KK had the most liked content!


About KK

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    Karl Ulrich Nikolaus Traeger
  • Birthday June 13

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  1. In Prague until Wednesday. Then in Lisbon until Saturday. And then in London for a full week! Anyone in town?
  2. Those are the Pride colours Richard, which I assume were painted on to celebrate the LGBT community.
  3. This is a very rich composition Marty. Beautiful photo! They should have filmed The Hobbit there!!
  4. Spent the last two days in Iceland. Some clicks:
  5. It's ridiculous how obtuse the media and people are being about Scorsese's comments. He's obviously pointing at a genuine industry problem, where one mass conglomeration has developed a manufacturing process that no longer allows for other creative voices in the cinema. It is pretty much a fact that the combined rise of Marvel and Netflix have effectively eliminated the "middle-class" film from theatres. So as a filmmaker, you either create big-budget CG superhero flicks that fit in Marvel's iron-cast success template, or you make a small-budget indie dramas that no one but Academy voters will be watching. Scorsese could prob give two shits about arguing the supposed "merit" of Marvel flicks. He just doesn't want to live in a world where that's all that's available. And frankly, neither do I. It's a very valid discussion to have. And it's telling about the state of the industry when it's Scorsese being ridiculed at the end of the day. Hollywood gets bored so easily...
  6. Cheers for the videos Sharky. I agree that his stuff is by and large too over-produced my liking. Kid clearly knows his stuff, but his aptitude for the function of design (harmonic or sonic) seems to get in the way of the actual spirit of his music, especially when at the end of the day, that remains the soul of jazz (which from what I can tell, seems to be a shoehorned genre monicker for him anyway). I do think his latest album has some good stuff, but even then his voice doesn't seem to have a bold stamp or personality of its own, preferring to get lost in the shimmering harmonies of his earlier a cappella stylings. With that said, I think there is something about the spirit of music-making of the last video that is definitely worth celebrating. As grandiose, and over-the-top as it is as a virtuosity showcase, when you're able to create a space that really transports your audience to that kind of frenzy, that's top class musicianship at work. I was later much less impressed with the studio recording of this on album. Much more schizophrenic and even mechanical. But hey, if this kid is ever back in town I'm definitely hitting that concert up.
  7. Ooph. This thread reeks of Neo-neo JWFan...
  8. I thought it was excellent. It's the first time I'm convinced by Lanthimos' attempt at Kubrick's language and formula.
  9. I agree. It worked really well as a one-off. But I'm giving them the benefit of the doubt.
  10. It's a dull chore to sit through. Only Edgerton and Pattinson bring some life into it. It's all one monotonous history lesson.
  11. This. Those opening credits was a big film music moment for me as a kid, before I knew anything about Williams or Zimmer. Also remember getting all swept up by the rush of all those running ostinati in the opening of the Matrix. Was super bad-ass: Kilar's music also does wonders for the opening Coppola's Dracula. Absolute chills when the title card pops up...
  12. The King by Nicholas Britell Don't let the lofty-minded track titles fool you. Some occasionally interesting textures aside, it's a largely monotonous sonic palette that borrows from the Zimmer school of brooding minor-key melodrama. Britell's clearly got an interesting ear for sound, but his core musical ideas sometimes lack real weight or variety, so far that it becomes more colour than substance. His mixes also tend to drown out the details of his textures, sometimes resulting in amorphous blobs of sound, especially with the primarily string-driven work of this score. With that said, it's not a bad listen at all. Cut it in half and you've got some decent, if a little half-baked, elegiac period-piece soap. Succession by Nicholas Britell A more successful effort at Britell's genre-bending brand. Melodrama served in some delicious Baroque stylings meets Britell's dabbling in hip-hop. Like its cousin, Vice, I'd imagine it works very well in context. Though once again, the high-minded track titles will draw a chuckle or two (at least the cited musical "forms" have a more passing resemblance to the actual music this time), and the whole thing is too long and pretty mono-thematic, but it's good fun. Midsommar by Bobby Krlic All the usual genre stingers aside, this is strong stuff with a distinct sonic stamp that manages to assert itself as more than sound design, but moving music. Not an easy listen by any means, if especially because it brings back some uneasy memories of the film itself. But I'd say both the opening "Gassed" cue and the finale are some of the year's most powerful moments in film music. The Lighthouse by Mark Korven Again, some really interesting sounds that worked very effectively in picture. But frankly, I just don't have the patience for it on album. Well, at least not 30 minutes of it. Maybe on another day.
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