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thestat

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  1. Let's play a game - what if First Man was replaced by a pointless quicky by Balfe.....We would not have The Landing. As I keep saying Balfe is a plasterer, not an artist and he should not be allowed anywhere near artworks like Ad Astra. Let Bruckheimer wear him out and discard as he does with everyone.....that's what's waiting for the dude. Trevor Rabin had his Yes career and Bruckie had his time with him and then it was the door, but where's Balfe going to go when the door opens to nowhere - he is kicked out in 3 years I reckon, where is the legacy? Additional music for this and that, Home 2: the Balfening??
  2. Thanks Thor. Koray - yeah, he's been a major composer for more than that, but Arrival was when he truly could attract studio capital - compare Last Days on Mars with Ad Astra.....
  3. Richter has a contract with DG - most of his works are released through them. It's a shame that even this has been balfed. One would expect Gray and Pitt to have some taste (and clout) to prevent this sort of Bruckheimerisation from happening. Though, in his favour, the track that Balfe posted on his youtube channel is not half bad. It's kind of what I would expect Richter to sound like......But he seems to have moved to a more large-scale Wagnerian phase, especially if one listens to Mary Queen of Scots or indeed Ad Astra. But this is probably going to be the breakout for Nils Frahm, as Arrival was for Richter.....listen to the dude's 'Says', which by all accounts is the key musical centrepiece:
  4. Totally agree with some of those comments. Uneven is the Pemberton brand - outside of The Dark Crystal, I don't think he's ever produced a cohesive score. Yes, Jobs has that awesome Glass-ripoff but it does not mix with the rest of the Atari soundscapes. But this works in his favour as he's able to sell this as diversity. Not sure about HTTYD3 - I love Powell, obviously, but this is yet again a case of too much mickey-mousing that is so prevalent in his animation work. If he could get to this level of consistency within the composition of a singular track, awesome:
  5. 'Experimental but safe' is the Pemberton brand, and it's working wonders. No dissing of the man, who by all accounts, including mine, is awesome (I saw him arriving late for the London fan film score convention, running out of the taxi etc, 'excuse' was that he'd got too hammered the night before - respect. The fact that he took what was effectively a fan convention so seriously to still bother turning up and doing talks is in his credit. But again, his The Dark Crystal score is better than any film score done this year - right?!
  6. Pemberton totally knocked it out of the park with this one. The score is gorgeous and massively succesful in using the general template of Jones' score (the recorder solos and atmosphere in particular) but it also pays homage to Last of the Mohicans (probably via Hurwitz' First Man) in using minimalist string figures to tie the whole together. This is especially powerful in Today We Fight.... What I find awesome is that he somehow captured the Trevor Jones essence here (or at least the late 90s variation of it). The sweeping melodies, quirky synth stuff, the use of gaelic instruments, and a general sense of melancholia that, to me, always was key Trevor.
  7. Yes, this one totally suffers from over-kill. There are moments of serious awesomeness all the way throughout - some highlights such as The Ritual of Chud are massive. But in most of the tracks, great melodies and tonal moments are suddenly overtaken by atonal effects and aggressive noise design. Yes, this is a FILM score and Wallfisch' stuff is impressive in the film itself and on a compositional level but as a listening experience, it's horrendous. But I was also not happy with the first IT score when it came out, but after watching the film, it clearly is one of the best and most melodic orchestral horror scores since Christopher Young's The Fly II, and that is really saying a frigging lot. I await to see the film here as there is so much great bombastic melodic, fully orchestral stuff going on here that any Williams fan should give it a try at least.
  8. And to keep harping on, - check out this rejected score clip from the Matrix: Reloaded (Davis might have used this for his Robin Hood supplement score though) - it is practically awesome on all fronts, swashbuckling is thy name: Gistech - do you mean Tokyo Ghoul or did he score another anime adaptation Attack on Titan - would fracking love that. And Davis' collaboration with Juno Reactor needs to be explored further. Mona Lisa Overdrive is still very likely the leading and certainly the most organic techno-orchestral fusion of all time and it's 17 years old. How did these people collaborate? I mean Juno was HUGE back in 2002 so to have them do this with Davis-----awesome. But what did they do, how did they come up with the rhythms, the crazy orchestrations etc. Cos this is not like Event Horizon where Orbital laid some beats under/over Kamen, this is an actual collaboration:
  9. Keanu is the heart and soul of The Matrix franchise, alongside Davis' idiosyncratic combination of Hollywood action licks and high-end post-modernism from Adams, Glass, Corigliano, Reich and infinity. If they reboot, Davis is a must, though not sure if he is even interested in scoring real films....I mean that downfall from Matrix: Revolutions to the John Cena 'piece' The Marine to a live action Tokyo Ghoul to some cheap beyond DTV flick this year is the quickest fall from grace (well, one that took place over 20 years) I've ever seen. Yeah, his opera is not great but taking a year out never destroyed anyone's careers quite like this - or was it that he turned down Speed Racer and got a bad rep for that? But again, doesn't quite fit with Davis' character....he seems to be a very amiable individual.....and I doubt the Wachowskis' would fuck up his career, considering the work he did for them on Bound etc. What the fuck happened? I mean, Davis still composes like this awesome Gothic masterpiece so why is no one hiring him:
  10. Beyond the Morricone, the theme from Yellowstone is effectively Quick and the Dead - perhaps massive homage or just, well, something, else. Play the key themes from Silvestri in your mind with this 'theme', slow it down, and well.....voila.
  11. So sad to see Balfe get another job, the Ang Lee Gemini Man project - I thought most sensible folk understood that he is only a Zimmer copycat with no original sensibility. I mean, Fallout had some good moments, but that whole 200-piece orchestra stuff is like Monty Python sketches on film composition.... The man is a simplistic tunesmith, though not very good at that either, to be entirely honest, ready to score the next McD commercial, he is not ready to take on anything requiring a real attention span. Beltrami, the original composer, is not exactly man of the compositional moment either.....but at least he is not Barfe. This was obviously the moment where Ang Lee lost control of the project and Der Bruckheimer took over, so nothing interesting. Everything has to sound like a reality TV show competition.....
  12. Yeah, Zimmer might do it, but he's going to get hammered with Dune. I mean, he has to do actual work for a production of that size. So, not expecting anything great. Just as long as it's not Balfe, the most banal, ad-man, jingle-happy nobody from HZ's works.
  13. I can guarantee you with 99% certainty it will be Holkenborg and Pope. And I will be immensely pleased. Yes, if JNH took it, totally awesome, Powell is too dynamic (ie. bitty, mickeymousey) for Cameron and Zimmer is too up his own arse too see the light nowadays. His scores sound like an absolute gas explosion from a Dunkirk vessel - and FINALLY, he's had a bomb that will destroy his superhero career! Goransson is too cool, happy to incorporate styles and not/or too strong enough for a steely Jim, yet he is a pop superstar so will this be enough to be flexible enough to bend the knee to Cameron? Tom, with massive help from Pope will natch it. Unless, my best man David Stone Hamilton gets it.....as if......
  14. Even though I agree with the previous poster - would love to hear what Hans came up originally - but sadly a lot of this sounds like copying Interstellar (when it's good) and Dunkirk (when it's totally useless). Hans is not a man to innovate from score to score, so if all sounds like previous work? But hey don't discount Lockington, he's not bad.
  15. I mean, yeah, okay, er.... this is bad. I would like to support Hans when he apparently goes solo and does a score.....but yeah. this is a flunkie junkie score that probably netted Zimmer millions. Wow. Anyone, and I do mean ANYONE, in the scoring business could have done this.
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