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


Ollie

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Plumbing for psychological depth, this Greenwood score (his first?) is a great showcase what fundamental effect a score can have on a movie. Halfway located between stark americana, sort of (Open Spaces), Penderecki and Bartok , it is almost strictly modernist chamber music and as such, not especially suited for entertainment consumption (but then, the album runs lean 32 minutes). It also gives good proof what an audience will or will not tolerate: in the cinema i saw it in the score brought forth a few angry shouts to turn off that artsy rubbish and afterwards some patrons complained loudly about the chutzpah of the filmmakers to serve them such heinous shit. Turned out the title 'There will be Blood' was taken a bit too literally and when Jason Statham didn't turn up, tempers flared.

 

Still, who would have thought that a Radiohead member would turn out to be the best impersonation of Alex North we would get in the 2000's?

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Medal of Honor: Airborne by Michael Giacchino

 

SUN - Soul of the Ultimate Nation by Howard Shore

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5 hours ago, publicist said:

 

Plumbing for psychological depth, this Greenwood score (his first?) is a great showcase what fundamental effect a score can have on a movie. Halfway located between stark americana, sort of (Open Spaces), Penderecki and Bartok , it is almost strictly modernist chamber music and as such, not especially suited for entertainment consumption (but then, the album runs lean 32 minutes). It also gives good proof what an audience will or will not tolerate: in the cinema i saw it in the score brought forth a few angry shouts to turn off that artsy rubbish and afterwards some patrons complained loudly about the chutzpah of the filmmakers to serve them such heinous shit. Turned out the title 'There will be Blood' was taken a bit too literally and when Jason Statham didn't turn up, tempers flared.

 

Still, who would have thought that a Radiohead member would turn out to be the best impersonation of Alex North we would get in the 2000's?

Bodysong would be his first score and also his first solo album. You might be familiar with this piece:

 

 

Karol

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I confess there's been two reasons why I haven't been here as much lately. One, my car CD player is broken, and I won't be able to afford to fix it for a long time. And two, well...I've been kind of hooked on video game music, and I did not wish to invite scorn and mocking for my jovial fondness for this.

Because good lord do I love love LOVE David Bergeaud's Ratchet and Clank scores. I can't help it. There's just so many spiritually satisfying tunes in these things. 

 

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3 hours ago, kaseykockroach said:

I've been kind of hooked on video game music, and I did not wish to invite scorn and mocking for my jovial fondness for this.

 

Nothing to be ashamed of. A lot of us here like/love video game music, and for good reason: some of it is better than film music (especially these days!).

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The Lion in Winter by John Barry: Pretty ace in all departments. Also the tightly spotted score doesn't seem to have a wasted note in it.

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Since seeing the Zimmer concert a cpl of weeks ago, I have been going back and listening to back catalogue scores of his.

 

Point of No Return  - meh. Nice ending though

Paperhouse - Meh.

Pearl Harbor - I loved this then and still do

Da Vinci Code - Have a new found love of this

Backdraft - Always loved this

Toys - meh. That song at the end is cool though

Hannibal  - Have a big fondness of this

Black Hawk Down - a cpl good moments.

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11 hours ago, Incanus said:

The Lion in Winter by John Barry: Pretty ace in all departments. Also the tightly spotted score doesn't seem to have a wasted note in it.

 

Indeed. And it's a score and setting that really benefited from Barry's simple orchestrations and melodies. Here they were absolutely spot on. It's my favorite Barry score

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:music: The Monkey King 2 by Christopher Young. One of my favourite fantasy scores of this decade. The first one was good but this one is better. But due to more introspective nature, and very few action bits, few people will share my sentiments. Less obnoxious blockbuster percussion accompanied by chanting chorus - combination that is a bane of modern film music. The choral work is subtler in the sequel and material gets to "breathe" more.

 

Karol

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A Cure for Wellness - Hans Zimmer farms out his Gore Verbinski collaboration to Benjamin Wallfisch, who struggles manfully. The movie, a sly, 'overproduced' variation on Thomas Mann's 'Der Zauberberg' with all of the usual blockbuster trappings (gratuitous eye-candy, over-generous length) bending Verbinski's sardonic, twisted humour demands an eclectic cocktail of musical styles and Wallfisch responds. Halfway located between 90's Danny Elfman with children's choruses, the occasional waltz outbreak (Zimmer's own 'Hannibal' comes to mind), nods to the eerie vocalise from 'Rosemary's Baby' and some dreamy JNH to flesh out the longer, more atmospheric parts (lots of piano over shimmering synth beds), the score ain't half bad. 

 

What it shares with many other recent counterparts out of the Hollywood machinery is a lamentable lack of originality: expertly is the best adjective i could come up with, because all those ingredients mentioned above were done more convincingly by their originators. What remains is a film-musical 'colour by numbers' that does its job but doesn't exactly arouses the seasoned fan. Wallfisch is at least a good craftsman. It still remains to be seen if he has a fingerprint strong enough to leave a lasting impression.

 

Dunkirk.jpg

 

Not much anticipation fast-forwarding through this album, as i found it an effective but incredibly monotonous experience in the cinema. My worst fears were confirmed, it's one of those souvenirs that never should have been released away from the movie to which it is eternally glued. Taken out of this context you are left with a propulsive pulse that lacks musical form and at 60 minutes, you'll find much worthier things to do with your auditory system.

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I would put it differently: the needs of the films are very different and the concept that was chosen for 'Dunkirk' just doesn't lend itself to a release away from the movie. To say it's lackluster would imply it needs to be great music to be a great score which is not the case, as has been proven and proven again.

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Well, it depends on how you define music, or 'listening pleasure'. I never had much time or patience for drones and monotonous spheres without musical development. They have their warrant but i don't see them as doing much good to the advancement of the art of music.

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Is music (or any art, come to that)

always in need of advancement? 

Can't it be enjoyed simply for what it is?

You hear "drones, and monotonous spheres, without musical development", while I hear interesting effects, and a certain musicianship. It's limited, but it's there. It's nothing simpler, than perception :)

 

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33 minutes ago, crocodile said:

The Monkey King by Christopher Young

The Agony and the Ecstasy by Alex North

Papillon by Jerry Goldsmith

House of Frankenstein by Don Davis

Sommersby by Danny Elfman

 

Karol

 

Good, very good.

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It's John Williams that is simultaneously at the height of his orchestrational craft and at the very low of his "magic" levels. I like about 10-12 minutes of it.

 

Karol

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3 hours ago, crocodile said:

:music: A.I. Artificial Intelligence. Much better.

 

Karol

 

It is his best work, probably to stay that way.  And one of the best scores ever written.  Maybe THE best. 

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On 05/08/2017 at 0:52 AM, Disco Stu said:

Very different movies but I am always mixing up The Lion in Winter and The Wind and the Lion

 

The Wind and the Lion and The Ghost and the Darkness for me. Especially since it's the latter that has actual lions...

12 hours ago, crocodile said:

:music: Tokyo Ghoul by Don Davis. CD arrived this morning from Japan.

 

What's it like?

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