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Everything posted by KK

  1. I thought it was old with the first season itself. Can't quite muster the energy to bother with the second yet.
  2. Ah but you see, he does a lot of the same plink plonk stuff that you’re condemning here. It’s more vague “pretty” chords than it is beautiful melody.
  3. Meh. The bulk of his work is pretty lukewarm, "pretty piano" stuff. I don't think he really has the chops to reach the upper tier of film composers.
  4. Yea, the raw material itself is great, though as you say, you can tell this stuff was really designed for studio recording over live performance. Which might make it a suitable alternative listening companion/option to the album. But I don't think the symphony as a whole, on its own legs, is much good.
  5. Sometimes directors stumble onto these Euro-minimalist pieces (think Richter, Einaudi, Frahms, Arnalds, even Jóhannsson etc) during the temp-track stage, and then paste it all over the film. I'm somewhat familiar with Dustin O'Hallaran from the duo, but I find most of his stuff way too light and sentimental for my taste (pretty piano noodling over comfortable synth beds). I do like parts of their A Winged Victory For the Sullen album though. And yes, "ambient/pop music for orchestra" is a big selling trend around euro-centric/Icelandic artists right now. People eat that stuff right up.
  6. Yeah, Goldenthal-isms aren't exactly very diverse. I don't think he really got the chance to write enough music to really diversify his symphonic palette (disregarding stylistic/genre anomalies like Frida). But with this symphony specifically, the first movement draws from the Sphere material, and the second movement from his Final Fantasy score: From what I remember, it just wasn't a very interesting, or novel take/development on the material. I didn't see any reason why that material was shoehorned into the symphony form outside of trying to find a home and audience for it in concert hall. Which is certainly not unprecedented, but at least when the likes of Shostakovich and Vaughan Williams were drawing from and re-appropriating their film music for the concert hall, they had interesting structural recapitulations of the material.
  7. Yea, lovely shades in that one. Though I prefer the more contemplative Quiet City, it's lovely to hear these murkier sides to Copland's harmonic language. Much of which would inform Williams' own denser material. In the spirit of #StuBait... I don't know if it holds up very well in the symphonic form for me. It has some fantastic colours in it, but I can't seem to derive a very meaningful structure or take-away from it. Last I heard it, it still came across as Sphere-cues stitched together, with flashy zingers every now and then.
  8. That's not Rombi. That's a piece from duo Dustin O'Halloran and Adam Wiltzie, who go by "A Winged Victory for the Sullen", from their album of the same name. Rombi has written some lovely stuff though:
  9. A fine evening for Copland's contemplative harmonies...
  10. Fair enough. But to me, it was just a basic procedural dressed up in Fincher gloss. The Terror, Atlanta, The End of the F**king World, My Brilliant Friend, Homecoming were all much better shows from the same year.
  11. I saw an interview recently where it looked like his age was finally catching up to him. And very solid choices listed by these fine gentlemen.
  12. I normally don't like these guys, but this arrangement with the LSO is actually quite nice:
  13. I can appreciate Brahms, but he often puts me to sleep. Delivery is a big thing when it comes to clicking with his work. I'd rather play some great Beethoven instead.
  14. We should get rid of them!
  15. I always thought that transition was pretty rough. And the show had a hard time finding its footing, especially in the following season. Andy was insufferable. Spader had some great bits though. The show managed to get it together again in its last season, as it drew closer to its finale. But a lot of that owes itself to these great characters.
  16. The Lion King (2019) Not awful. Just...pointless. On IMAX, the gorgeous African backdrops take your breath away. And yet Pride Rock has never looked stranger. The beauty of the original film is that the indulgence in its visual artistry, over-the-top cartoonish characterizations and exuberant songs led to the fantasy of it all. Clearly a nearly beat-for-beat remake of the same concept with uber-photorealism in mind just doesn't work. For all the singing, dancing, and wise-crack lines, the whole thing feels remarkably lifeless. Because of course, animals just don't behave this way. The only characters that seem to work are Mufasa and Scar, where Jones' bravado and Ejitifor's more subtle performances seem to gel more with the primal physicality of the lions. When you have more varied characterizations like Simba and Nala, you just hear Glover and Beyoncé reading lines into a recording booth, pasted on top of CG walking animals. Maybe this whole thing might have worked better if they committed to a darker, more animalistic interpretation of the story. Shakespeare in the wild. But that wouldn't have been nearly as lucrative for Disney. One thing it did do for me is remind me how glorious Zimmer's score is...though the idea of this recording is as artistically bankrupt as the film itself anyway...
  17. You and me both! It took me long enough to get this shot without people intruding my view!
  18. Long layover in DC...made the most of it!
  19. Trailer looks good. Not entirely convinced by the de-aging shots though.
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