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What Is The Last Score You Listened To? (older scores)


Ollie

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Hard Rain by Christopher Young: After the cool dramatic main title theme this score becomes a non-stop action piece with just a few moments of respite in between all the kinetic action cues which can be a bit exhausting. While competent this isn't exactly the most pulse pounding foot tapping actioner in terms of memorability. Sadly there is also no end title or satisfying finale as the score just comes to a halt after the last action track and the obligatory end credits song is tacked at the end (which I never listen to). Still the work shows off Young's versatility but doesn't rise above 3½ star rating.

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Mandy by Johann Johannsson

 

Good stuff. It's essentially a dreamy synth-scape with touches of 80s industrial grunge, guitar and drumkit calling cards. Maybe the album is a little longer than it needs to be, but still a treat and a reminder of how singular a voice we lost with Johannsson.

 

Oh, and this is pretty much an anti-JWFan score.

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Just now, Richard said:

:music:  SUPERMAN. Sublime. Just sublime. There's no other way I can describe this score. I'm approaching JONATHAN'S DEATH. Oh, those basses!

Truth.

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Castle Rock by Thomas Newman

 

It's only really a handful of cues, and it's largely meandering underscore, but he does seem to channel an edgier sound than the usual brand of "blah" Newman we've been getting in recent years. Though I guess that shouldn't necessarily be mistaken for interesting music.

 

 

 

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This is pretty lovely, actually. I was always fairly bored with Cocoon's listening, so I'm pleasantly surprised this is engaging my ears. I don't have any argument for one being better than the other, I suppose it's merely a matter of what's being done with the same ingredients this time around.

I'm happy the new release includes the album, since this has sounded like a fine presentation to me. Funny he would use the rhumba later in his Roger Rabbit score.

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:music: Harry Potter and the Deathly Hallows Part I and II by Alex Desplat. Such a frustrating experience. You see, the vast majority of material is actually very solid. But it is also so scattershot that you can't help to think that Desplat had a hard time fulfilling the film's demands. Looks like there were too many cooks - make it to sound like Williams, Zimmer and god-knows-what-else in between. Such a shame, the ideas in isolation promised a much better result.

 

Karol 

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Assassin's Creed Syndicate by Austin Wintory: I love the chamber music dimensions of this score and how despite of it Wintory still manages to write highly energetic, witty, atmospheric and memorable music for a game about hooded acrobatic assassins running through the 19th century London. The composer took the epoch's musical style very much to heart with the small ensemble which might have been playing in the salons of the well-to-do citizens or at soirees of the time and combined these string forces with piano, synths, voices, percussion and trumpets for a delightful romp that I find myself returning to time and time again.

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It's not the kind of score I casually enjoy listening to. But I do respect it. And there's something very appealing about the recording/performance. Feel more heartfelt than more analytical sound stage recordings. And the score plays better in its chronological form actually. It didn't think it would matter much...but it does.

 

:music: Batman Returns

 

Karol

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Born on the Fourth of July by John Williams: Going through the JW/Stone collaborations in reverse order but no matter, the music itself is as brilliant as in the two successors with heart wrenching elegiac and warmly glowing lyrical Americana coupled with angry avant garde scoring techniques for strings and brass for the war sequences where Williams throws in even a bit of ghostly disembodied synth choir whispers for good creepy measure. While a lot of the score is theme and variations on the trio of thematic ideas the 25 minutes of the OST album is too little of this wonderful lyrical music. I hope one of the labels decides to expand all three JW/Stone collaborations soon-ish.

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U.S. Marshals by Jerry Goldsmith

 

Rounds (for Guitar) by John Williams

 

Conversations (for Piano) by John Williams

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The Silence of the Lambs, by Howard Shore :music:

 

A lightweight, mellifluous score that is very effective at creating multiple layers of tension and dread throughout the film. The main title and end credit pieces are excellent.

 

***** out of *****

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2 hours ago, John said:

The Silence of the Lambs, by Howard Shore :music:

 

A lightweight, mellifluous score that is very effective at creating multiple layers of tension and dread throughout the film. The main title and end credit pieces are excellent.

 

***** out of *****

A bit too brooding to achieve full marks from me ( even though the dread is its primary function) but a strong 4 star effort from Shore on album.

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Overwhelming piece, kind of Delerue's 'Hymn to the Fallen'. The film was shot forty years after the battle of Dien Bien Phu in Vietnam, which cost thousands of lives on both sides, for another pointless cause.The music adds poignant meta comment not on the different ethnicities involved but a general sense of loss and tragedy. Sadly one of the few worthy projects in Delerue's later career.

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