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thestat

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  1. thestat

    Justin Hurwitz's FIRST MAN (2018)

    Learn a bit of film music history before making allegations. The score to First Man has practically no Influences from any other piece of music. Granted, Last of the Mohicans is the temp track for The Landing. The Rest - give it a go. No Hans Zimmer factory McDonalds nonsense here.
  2. thestat

    Justin Hurwitz's FIRST MAN (2018)

    What are you lot talking about? The similarity between Hurwitz and Powell's United 93 is only incidental, reliant on a few similar string gestures in the end. The percussion is different, the structure is fundamentally different. The Landing is clearly inspired by The Promentory from The Last of The Mohicans, from the insistive undercurrent to the structure of the piece (the breakout of the melodic part at about 2 mins). The instrumentation is very similar from the bass guitar used in the background to bring an appropriate 60s folk feeling to the whole piece to a nice and inspired nod to Jones' use of snare drums in The Fort Battle. Yet, Hurwitz' work stands out on its own, due to its incorporation of post-minimalist techniques and a clear unabashed sense of merging a jazzy melodic sensibility with massive Hollywood bombast. And this is only on the basis of one track.
  3. thestat

    Horner's House of Cards

    One of the best scores ever:
  4. One of the defining tracks of the 90s. Please discuss. Is this a Revell score - whoever it is, awesomeness!!
  5. Dudes. The problem is not if LB had a sample library or wanked off to a microphone. There clearly is an orchestra here and it has been recorded. The problem is not the sound (though it is amusing to hear an engineer make a group of 12 brass players sound like a casio sample). The problem is why does it not do ANYTHING AT ALL. It just makes noise.
  6. 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.
  7. 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?
  8. 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.
  9. 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.
  10. 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.
  11. 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).
  12. 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,
  13. 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
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