Holko

ATJ has energy and Hemsworth's hamming it up amazingly but... All the movies so far had very distinctly different visuals, characters, plots, visceral tangible tactile filmmaking... this is just stalling, Fury Road memberberries with bad fake "big epic" over the top CG stuff? eh

Agreed but that's Tom Scott.

I guess my best thought so far was making these services enforce a process where a release, when added to the service, can only be assigned to an artist with explicit approval from that artist or the legal entity that represents them?

ok

Joel McNeely has a direct email address on his site so he was an easy pick for a contact attempt, now he responded with "Wow, that’s unbelievable. How do they get away with this? I’m forwarding on to some people."

Second pass at an edit: I shortened Armada Battle. I realised a lot of the messiness comes from tempo shifts, abrupt/imperfect transitions and some basically 1:1 reprised segments. I narrowed down the key offenders to 3 sections that I removed: 2:48-3:32 (the Wings / Challenging the Alpha reprise), 4:55-5:39 (The Kill Ring reprise) and 6:22-6:44 (The Hiccup & Toothless Attacked reprise). Not to toot my own horn too much but something must be right about my "musical sense" because thankfully the first and third are actually on cue borders, some of the weaker transitions come from that, and because the FYC contains the cues separately that also gave me some clean openings/endings to work more flexibly with. The first and second are simple transitions, switch the later section in for the removed one when it would come in, let the buildup bleed through in a crossfade etc. The third was trickier since I was left with a buildup and a quiet unimpressive clean opening, so I snatched 3:30-3:32 for a quick brass and percussion burst to patch the transition with (and make a tiny fragment of the removed material live on!). To further "clean up" the tempo, I tightened up the 4:31-4:34 buildup to the fast Love Theme (made it start earlier, shortened it a tiny bit), and very slightly sped up 4:44-4:55 which is a kinda weird drop in tempo after that Love Theme. I'll need to live with it a bit, come back after some time of course, but I think I succeeded in tightening it up, focusing it more on the new stuff, new renditions and better integrated old renditions.

It's out of stock there too, not even orderable.

Those goddamn demasters.

Now apparently there's a new batch from a different company for Goldsmith, Jarre, Poledouris... something needs to be done or this'll get out of hand.

AI. Bought it on ebay for 70€ after I let it go OOP... then it gets reissued a few months later. Those should really be communicated better!

AI. Idiot young me let it go OOP because he didn't quite "get it" yet. Then bought it on ebay for 70€.

My impression from my second listen was that a lot of it is just carefree and cutesy fun, with a little threatening/action thrown in but not with that much emotional depth or stakes or weight. 1 and 2 build to their endings better.

At this point JW's only gonna die from a heart attack when he wins his 6th oscar.

Yeah, it jumps right into material that we're hearing for the first time as if it was known material he's free to vary, very different from the almost formal introductions in the other two. Y'all are mad, Powell's action is pretty much all awesome and fun. Also... Haha no, I can't even think of any that really affect me outside of the epilogue.

Well yeah the multiple cue track for one alternate thing is stupid but I can only really remember that happening in Sleepy Hollow.

And somebody else will find another one interesting. And somebody else will want to keep them all. And somebody will prefer a version and want to put it in the main program and it's easier when it's already joined in as intended, no editing needed, just a track rename. So where's the problem?

5!

Yep, the Jónsi song! I think now was the first time I listened to the entire thing, and I'm pretty damn sure it's the last. I like Sticks and Stones and really like Where No One Gkes but this is just... no. Yeah unfortunately I just went by ear tweaking it for half an hour to go well enough with the preset of my earphones.

If this takes you hours for free for a score you don't even necessarily care about... then why can the paid professional only throw together something so bland and low effort? Though at least there are no mistakes in it except for the bad font choice, as far as we can tell for now.

First impression is that this score's fantastic. Fun new themes, some real interesting variations on the old ones, some amazing highlight cues, you really can hear the maturation of Powell's writing, there's even a surprise source cue! On the second listen though, I wasn't 100% satisfied with the structure. It's going along nicely and then oh no, we're at the end already without that much buildup, when many of the themes barely got space for nice renditions? And we're already doing the big epic sad ending when the score itself didn't much suggest that this was all leading to a big sad ending? Though the film absolutely does not build up to it either so that makes sense. Also it has the messiest battle cue of the three. I just thought that 2 does a better job with its structure, having an arc, feeling like a full journey, having enough space for all the themes to be explored, having more emotionally charged key moments etc., largely helped by the movie being much better and allowing for all that of course. Ironically this is the longest of the 3 scores (if only by a few minutes and helped by the credits) but somehow on this listen I felt like it should have definitely been longer, which I never really thought with the really well-rounded first two. But Busy Busy Berk is still amazing. And holy shit Forbidden Courtship. And Romance in the Clouds! And The Hidden World! And Grimmel's Surprise! And Viking Wedding / Boat Epilogue! And Setting Up Camp! And Stronger Together! And Into the Hole! And With Love Comes Loss! Oh, and all the Powell quotes in the booklet are lovely! And I didn't know he was so involved in even the script/ideas phase! My first pass at an edit looks like this: I did a little blanket EQing across the whole thing to boost the mids. I took many of the OST titles where I liked them better but it's all the DE tracks. Joined Mysterious Creature with Toothless in Love. Joined Valka's Warning with Setting Up Camp, in reverse order (heavier cue first, playful second) because I felt it makes for a better transition between the darker ending of Exodus and the playful Forbidden Courtship that way. Moved New Berk Feast forward to replace Near Miss Valka (makes this block more light, no short dark interruption), also lowered its volume a bit, what is it with loud medieval source cues in the middle of the program, first the Nelwynses then this Joined Near Miss Valka and Ambush / Cage Fight Joined Stronger Together, New Island and Into the Hole, the latter two especially work better joined when the tension is kept up instead of them just being short disconnected cues. Also the first 12 seconds of New Island were moved to the start of this track, before Stronger Together. Joined With Love Comes Loss and Grimmel's Surprise

I was just randomly scrolling through MBR's stock categorised by labels I know when I saw that Cinevox had already expanded Giú La Testa and it was reissued and still in stock. I don't know how I never knew about that or never tried looking for it, I've loved it since I first heard the OST on the first big Morricone box, and loved it even more after I finally watched the movie (which easily became my favourite of the "Once Upon trilogy" - the score might be too, I really like America now but it's not varied enough, and I don't really want to bother with West until somebody does a proper sounding release). So I just did a quick sample check to see if it's a worthy release, not still a mess like that West reissue, and ordered it immediately with HTTYD3 in maybe 5 minutes. And I still friggin' love it, just a perfect blend of beauty and melancholy slightly tinged with spaghetti western textures and sprinkled with some fun additions, I especially adore the aching theme for the flashbacks that's often played by lush romantic strings or the female vocalist. Most of the alternates aren't huge revelations but it's a nice alternate program and I found all the differences interesting enough.

First half of the order is in!

So I was listening to my usual Tidal playlist of weekly new release recommendations and I came across some weird albums by known but not huge film composers (Broughton, Debney, McNeely, Badelt), all with nondescript titles, 3 tracks not recorded with a real orchestra, with obviously AI generated covers. I couldn't find anything about any of them except for the streaming/youtube uploads, nothing on the composers' sites, no news about them. The Youtube uploads are not on the composers' own Topic channels, but on "Release - Topic", and all attributed to the Vietnamese "OnlyStar Music" production company. What can be done about this if it's some larger scale scam?

Well it's not what we now know as Hedwig's Theme but the piece that's on the LLL as "Teaser". It's half as long and lacks the Nimbus section for example.

Classic great-grandpa humor!