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thestat

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  1. 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.
  2. 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.
  3. 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:
  4. 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:
  5. 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.
  6. 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.....
  7. 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.
  8. 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......
  9. 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.
  10. 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.
  11. What is going on in this score? Yes, HZ had to recalibrate as Kinberg tried to piece up the madness of the production. But this sounds either like one of those early Media Ventures trailer CDs from the late 1990s or a total mess of Dunkirk and other nonsense that he has been fumbling about with. This is so bad. Is this the worst score of Hans' career - it sounds like cheap trailer music done in every film industry in the world. I think the world finally caught up with Zimmer. He cheapened the standards and now the poor standard sound better than him! Ironic and he better get back on his game. A Widows score consisting of nonsensical rythmic stuff is not going to make him relevant. Time to harvest the good times. Hans - your time is up. Innovation is over. Stopped with Interstellar.
  12. Yeah.....this actually really makes sense. Desplat was composing for future audiences.....his score still stands as intellectual but also totally genre........ But at the end of the day, Desplat would not have been able to compose a love-fest like Rodan, a massive 5 minute piece premised on Alien3's Ignition scene, combined with Horner's marine martiality. Yes, it's fan service, but you guys are the fans. Why the fuck are you not happy! What do the fans want then? Something different (you didn't like Desplat), or something similar (you don't like McCreary), wow.......... Something exactly like your silly little self, whoever you are.
  13. Yavar, yes, used to love that theme. It's sad that FreeClyde seems to have disappeared. But I think Thaxton, a nemesis to many, now a friend after years, is working hard on Joel's stuff. The episodic stuff on Stargate need to be released.
  14. Man, isn't it clear that the mandate from both McCreary and studio was - Elliot Goldenthal. The orchestrations, melodies, weirdness, and crazy choral stuff is totally exhibing Goldenthal strains. Rodan - the best track - is such an awesome homage to the Alien franchise - the theme is from Alien 3, the military percussion is total Aliens. Amazing score but with all those all important Bear inflections.
  15. I was mystified by the presence of a Graeme Revell 'Duty' score I heard back in the early 2000s that was fantastic and massively orchestral (hence done by Tim Simonec). Then I got his Big Red One (the score, not anything else you might think of). Call of Duty 2 (don't play videogames) is out on youtube!. I mean, if you like Giacchino's work in the series, this is quite close to that awesomeness, probably not as dynamic as Giacchino, but close and so similar in orchestration.....wtf. Is there for any of you can identify a version of Revell's scores that uses massive chorus and Goldsmithian orchestrations or was i too stoned in the early 2000s? No, it wasn't Joel's piece or 13th Warrior. Sorry guys; it was probably this. Back in the early 2000s, ostinatos were creative. No chorus, I'm afraid: Sorry guys, it was probably this: Back then ostinatos were creative orchestral devices and I simply remembered wrong as now they are the A to B of anything. Still a solid piece of music, some solid orchesration and JNH style action. The horn and flute action in all these pieces is fantastic. Have a gander at all of the tracks, seriously. You won't regret it.
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