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thestat

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  1. I actually walked past a shop this morning that was having its renovations done and with the clamour thought someone was playing the latest 'cool' single. Sounded a lot like the industrial noise here. Turned out it was actually industrial noise from some guys molding a hatch. How have we got to a stage when construction workers make better music than actual composers? Seriously. Have a look at yourself, and have an even more thorough look at Zimmer as the embodiment of this retardation. I know this is an old man argument but really - Dunkirk is the same stuff they do down the road and Hans would not deny it.
  2. thestat

    Balfe's Picasso

    Oh, the great and important Koray Savas with a Justin Theroux icon. Can't argue with him - he seems 'alternative' and so edgy, using an image from HBO show. I might have to respect him cos he likes a cancelled HBO show and identifies himself as a leftover. What a guy. Point being, instead of looking at nobodies like Savas, can we congeal our efforts to ensure Balfe is just blacklisted from film music?
  3. thestat

    Balfe's Picasso

    I hate Lorne Balfe's work. He is the lowest common denominator in film music. Terminator: Genysis ended up sounding cheaper than the original. This is probably a world record of scamming tax deductions as Fiedel's work was home grown and somehow Balfe made it sound cheaper. Yet, I am impressed by his work on Picasso. There is some real talent here, challenging orchestrations, melodies that do not go where you expect, strange instrumentation, a sax to carry the melody. A true example of a 1990s score. This is really good. What the fuck. Is this a Balfe score or some lackie that did the job? Are those terrible scores attributed to Hans and Lorne just tax evasions? You get it on Spotify. Listen to it yourself. This is great creative orchestral music. Not the balfe lowest common denominator trash that gets put out in his name. I suspect a scam on tax here, or this is a ghost written score by someone who knows how to do music.
  4. It is so good to hear a clearly recorded Giacchino score. The man is a totally different composer on this fidelity. Seeing his astonishing concert at the Royal Albert, and having to justify to everyone why he sounds so bad otherwise, has hopefully made an impact. He has some real talent but the silly recording gimmicks have hampered him, not with his buddies of course. Chad Seiter is one of the most talented composers out there and he does not go with the mono sound. Now, it must have been someone in the industry with the clout to state that to Giacchino and he has had to adapt. Good fucking riddance. Even though both scores (Jurassic and Incredibles) are only perfunctory at best, having this sort of recording for War of the Planet of Apes, well - a huge fucking missed opportunity.
  5. Guys, Spacewalk. This will be one of those tracks that people reference as top tracks of the year. It pays affectionate homage to Apllo 13 but does its entirely own thing with what sounds like a huge frigging orchestra. The best thing to take from this is the orchestrations. Spacewalk: listen to the main violin motif that drives the piece and then note how it is complemented by an entirely different bed of strings doing a countermelody. The lushness of sound is phenomenal, especially in this era of singlistic sounds by simple sources. Of course, the brass counterpoint is fantastic. Very Goldsmith in parts in fact with the syncopated hits. This is real music. If Abrams etc have any sense, they will hire McCreary for any of the subsequent episodes. The talent here is phenomenal. McCreary is of course known for his instrumental work on Battlestar Galactica and Outlander. The frigging showcase of All Along the Watchtower from Battlestar makes him not only a composer but co-creator. McCreary for Star Wars.
  6. The score was fantastic - a true flashback to real science fiction music from the era of Young's Species and Goldenthal's Sphere. The ignition scene early on uses that ostinato Bear introduces in the opening titles to great effect. I was a bit disappointed that the opening titles were not even more dynamic. At first, I thought it may be that they only had budget for a string orchestra, though this was clearly not the case. All I can think of is a somewhat displaced Psycho/Herrmann situation then. But yeah, the rest of the score is astonishing. The breakdown scene makes great use of ostinatos that discount the silly Zimmer mould for a much more refined Williams approach, and that scene with the unbalanced wheel is pure Horner, from its percussion to the way it uses strings as rhythmic devices (think of Clear and Present Danger).
  7. Dear god....or whatever. What is this creature Koray Savas. He is probably a Trump supporter and a Brexiteer which invalidates his pass as a human being. Not eligible. Hey you guys - to quote something you like - have a good regander at Derieviere's work on Remember Me - anyone that likes Davis or Young will be happy with this work,
  8. 2017 has been an interesting year. It has produced the worst kind of 'advances' in film scoring (namely Zimmer's Dunkirk and Blade Runner, both which work beautifully in their respective films but can be very problematic if this is taken to be the new sound of blockbuster cinema overall - they work in these dystopian films, but the whole groany industrial landscape is not applicable to all films but we all know Hollywood will try to make it so as Hans is cool with the kids). Simultaneously, there seems to be something of a backlash going on against the Zimmer banality. Five scores this year could stand the test of comparison to glorious 90s film music (in chronological order) 1. Guardians of the Galaxy 2 - a truly fantastic effort from Tyler Bates showing the range he has. There are some real orchestral fireworks here as well as great epic material. 2. Valerian and the 1000 Planets - a diverse and idiosyncratically impressive score from Desplat with great energy and some stunning action material. 3. Tokyo Ghoul - Don Davis' work for this Japanese film is beautiful, occasionally youngian, sometimes very davisian, with a stunning central set piece with The Kaneki Metamorphosis - a candidate for track of the year surely. While this is not a Hollywood film, it implies the standards that composers still associated with the industry sometimes attain when they are let loose from their studio shackles. 4. Thor: Ragnarok - Now this one is simply the best score of the year. Massive, epic, symphonic, electronic, poppy. It is all things at once and sounds like Elliot Goldenthal met up with Kraftwerk, got drunk and made a scorebaby together. 5. Justice League - there is no amount of elation that can describe hearing the one and only Batman theme again. Some of the score is a bit all-over-the-place, but all of the thematic material is truly fantastic and shows why Elfman is still the king of superheroes. The Anti-Hero Theme is just astonishing. And a real nice fuck you to all the Zimmer fanboys. The fact that these scores came out in one of the darkest years of humanity is astonishing. Even more impressive is the range of composers we are seeing. Bates and Mothersbaugh do some good stuff but nothing on this scale. Desplat and Elfman are old hands at this but it is so refreshing to hear them bring their skills to the film medium in a way not hindered by silly demands to make everything ostinato. Finally. Davis needs to be hired more. If this means productions outside the US, let it be so. At least it produces seriously good scores. 7
  9. thestat

    Don Davis - Tokyo Ghoul

    Don is back - and he is as good as ever:
  10. thestat

    Scores 2017

    It has been a barren year for good scores, but there are some, even, many bright spots. 1. Valerian - Desplat (this is running away easily with the best score of the year award, it is so good, so innovative, always surprising, muscular, sensitive - desplat!) 2. Thor: Ragnarok (who would guess Motherbaugh would follow up on his contemporary Elfman and redefine synths for mainstream film music. Fuck Zimmer and noise, seriously. This is the future .- a Goldsmith inspired creative synth use - the synths are both bubbly and epic, hard and contemporary) 3. Guardians 2 - yeah, Tyler Bates is at the top of score lists because he can coordinate a great, massive, old-fashioned orchestral bombast score. Lokutus, if you 'no like', give an example where something is better than 'Two-time Galaxy Savers'. 4. Apes - Giacchino - it is different, it is orchestral, There is Exodus Wounds'. 5. Tokyo Ghoul - Don Davis - go on youtube and listen to a track called The Kaneki Metamorphosis - this is the goods.
  11. thestat

    The Official Don Davis Thread

    I found this score beautifully composed - a score with a strong theme, some awesome orchestratión, some challenging material. No it is not the Matrix Reloaded! But it is a fantastic mystery score that sounds a lot like Christopher Young's work with a lot more aggressive material towards the end. Well, I dont have to sell it you as all of it is there on youtube: google 'the kaneki metamorphosis' and you are hooked. Great music. Seriously good, solid orchestral music.
  12. thestat

    Danny Elfman's JUSTICE LEAGUE (2017)

    Just as long as anything Zimmer stays as much away from this as possible. Hesus, I used to be the biggest HZ fan and still rank The Thin Red Line as one of the best scores of all time, but we are now getting into circumstances where musical talent is facing an existential crisis. Zimmer is fucking global warming. Let's try to stop this shit. It is ridiculous. Luckily the public are catching onto the sound so it will be over soon.
  13. thestat

    Carter Burwell

    Burwell is a fine composer but many of his greatest hits tend to be adaptations. Fargo, It Happened to You etc. I have yet to hear a great composition from him. Conspiracy Theory gets there as does the unreleased The Jackal but I wonder how much of that pumping score was his, considering that he is not exactly 'pumping'. But then again he did replace Barry on Mercury Rising to replace what the producers described as tedium with 'pumping'. This is the description of the score he did to The Jackal, so the 'pumping' must have been his work, right?
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