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  1. 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.
  2. 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).
  3. 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,
  4. 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
  5. Don Davis - Tokyo Ghoul

    Don is back - and he is as good as ever:
  6. 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.
  7. 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.
  8. 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.
  9. 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?
  10. Got to say - this was an astonishing concert that showcased MG's range and personality. I have made my share of critical comments but the man has the skills, the scores are the real thing, there are awesome themes, the orchestra is used creatively. What else. Oh, he sings as well. I wish to apologise to MG if he ever reads these boards. He is a truly great composer. But I stand by my comments, and this is largely echoed, ironically, by the concert venue, as everything sounded a thousand times better than they do on cd. MG, WTF, we know you love the 70s sound but it does not work with your scores which are not scored with the orchestras Schifrin, Goldsmith etc had back then. They were very restricted bands often recorded in mono. Your work is not nor are your compositions designed for this. Release your version if you have to and let someone else do a proper master of your score and get it out there Think back to your childhood Giacchino - Imagine Williams was offering everything from Jaws and Star Wars but only on crackly mono lps, on 'sandcakes'. All you could have is 19th century turntable discs. You would be upset - to many of us this is what your work sounds like. Your obsession with mono sound is terrible and needs to stop.
  11. Mark Mothersbaugh's THOR RAGNAROK

    How do you not like this score? The orchestral writing is solid - you hear the instruments, you even hear an oboe get solo time! When was the last time you had that? And the retro music is from a guy that invented that music - it's not like he is lacking credibility! That is Devo in orchestral action right there. This is a dream come true to be honest. Goldenthalesque bombast with awesome synth work that harkens back to Tangerine Dream and even Jerry Goldsmith at times. Listen to the opening 30 seconds. What score does that remind you of? Big themes that actually work and develop. What is the problem? Not enough Tyler repetition or burby brass? To me, it is astonishing that the two best scores of this year - well, frankly only good blockbuster scores - come from pop or rock stars - Mothersbaugh or Bates. The rest is nonsense. RGW's WW was wallpaper etc.
  12. A terrible terrible score. The only bits that work are the ones that reference Vangelis. If I want to hear this sort of noise, I will go and contact a building contract as they have all the tools necessary for this sort of indiscriminate vomiting of noise.
  13. Blade Runner 2049

    Awesome. He is one my favourites, and it has to have been one of the tragedies of conteporary film music that the fact that Goldeneye was shot with a French financial incentive that resulted in Folk's dismissal from what would have been a career making event