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


Ollie

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5 hours ago, Incanus said:

Well that is unfortunate but I somehow had a feeling that the sequel wouldn't be any more special musically than Jurassic World was. Which is sort of sad. But then again the new films feel like a desperate try at revivifying something that doesn't really need a 10 film franchise. 

End credits suite track is half-enjoyable but the score, while not inappropriate, feels very watered-down. It's very anaemic in the film as well, not sure what to do with itself. What I heard from The Incredibles 2 fares better. But then, I have yet to get through its gargantuan album so that can change.

 

Karol

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For all its formidable length, I thought the OST for Incredibles 2 was a pretty breezy listen. Really fun, much better than Giacchino's milquetoast work on Fallen Kingdom.

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Michael Giacchino - The Incredibles 2

 

SUPER FUN!  I loved this!  It was actually extra nice to hear something so upbeat and peppy after the dreariness of the Fallen Kingdom OST.  I think I liked this more than the first album, which admittedly I haven't actually listened to that many times.

 

Incidentally, this is really a 62 minutes long album program with a ton of bonus tracks afterwards that are nice and all, but you don't need to listen to them every time.  So really the actual OST album is a nice, breezy listen!

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Jazz, samba and Naked Gun-like cop show parodies are sure better fit for MG's abilities than lofty and exalted. Pastiche still reigns supreme but there is a tangible sense of buoyancy and fun, not to mention virtuosic players, so forget fast about Jurassic Wold 2 and move over here.

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Amazing Spider-Man by James Horner

Congo by Jerry Goldsmith (took the complete score and made my own album off it, longer than the OST but took off a few redundant cues)

Jurassic World: Fallen Kingdom by Michael Giacchino

 

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 The Incredibles. That's more like it, Mr Giacchino.

 

 

Now playing: :music: The Man Who Killed Don Quixote by Roque Banos

 

 

Karol

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Amazing Spider-Man by James Horner

So far the only 'modern' superhero score I have any emotional resonance with, though admittedly something about the orchestration/recording feels a little flat for me. And the album does have several dead spots. Another for the "Make my own album!" pile, but it can be praised that it's surprisingly not all that tiring at 77 minutes. I find myself involuntarily whistling that main theme fairly often.

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I'm not really hearing any instrumental details or flourishes that that populate a lot of Horner scores from the previous decade, hence the aforementioned flatness (night and day going from Pagemaster to this orchestration-wise). I haven't heard a lot of 'modern' Horner yet, so I don't know if this is consistent or not with what Horner sounded like at that point.

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8 hours ago, kaseykockroach said:

Congo by Jerry Goldsmith (took the complete score and made my own album off it, longer than the OST but took off a few redundant cues)

 

 

The expanded Intrada was an impulse buy for me. I only listen to the OST anyway.

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I wouldn't know how to compare the two as I first heard the score on its own through the Intrada album. I really only took out a lot of the 20/30-second tracks, pretty much adding up to a 49-minute thing. Be it what it may, it's basically a lovely appetizer when I don't have the time or energy for Ghost and the Darkness.

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10 hours ago, crocodile said:

 Now playing: :music: The Man Who Killed Don Quixote by Roque Banos

 

 

 

Save for a few fleeting moments it's not very imposing, sadly, more like cluttered and thematically limp. And i thought an operatic score by a spaniard for a spanish legend - bring the Clara. 'Man of La Mancha, this ain't.

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Darkest Hour by Dario Marianelli

How you react to this score all depends on how you approach it. The best way to do that is to see at as more like a concerto for piano and orchestra, because that's really what it is. I feel it captures the classical style of the time period covered, and is certainly a great composition. At times it feels like a Mozart piano concerto in the way it plays out, which is not to say that it is anything close to the works of Wolfgang, simply that it holds a similar feel at a Marianelli level.

 

The Shape of Water by Alexandre Desplat

This score is okay. I'm not really entranced or captured by it, and it's certainly not too high on the list, but Desplat captures the eeriness and beauty of a strange semiaquatic love story, with all the peculiar romance and the occasional slight reminder that this is still a strange swamp creature or whatever.

 

Rogue One: A Star Wars Story (FYC) by Michael Giacchino

I feel a lot of the bonus material offered on the FYC would've been OST worthy (An Imperial Test of Power, Approach to Eadu, etc.). Many will trash this score because it simply isn't Williams (and with Solo a few weeks ago, it really is not that great), however I still like the score as much as I can. There are many good moments but the themes aren't steady enough to support the score as Powell's Solo does. The action pieces are also more Giacchino-like than Star Wars-like, but that's allowed. When it's emotional, it's good (Stardust, {Saw's Death} in An Imperial Test of Power, Your Father Would Be Proud, etc.). Overall it's an okay, pretty good, alright listen, at least in context.

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The Incredibles 2 by Michael Giacchino

20000 Leagues Under the Sea by Paul Smith

Solo: A Star Wars Story by John Powell (for the billionth time and I'm still in love with this)

Casper by James Horner

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I was so excited that I bought both the high-res downloads (well, all the formats really) and the CD. ;)

 

I listened to it 5 times already so I do understand what an obsession means. As you can probably tell, it's awesome. :)

 

Karol

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Technically it can be any music played from reading score sheets since it doesn't specifically say "film" score ;) 

 

On that note, I listened to Rabbit and Rogue on my bike ride this afternoon.  Sublime.

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If it's by a film composer we usually talk about it here. Makes it simple. We could create a thread/poll for that really. It's a pretty wide, varied and interesting subject - non-film work by film composers.

 

Karol

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Yes...

 

:music: Jurassic World: Fallen Kingdom. A more careful listen this time. It's not really bad in any way, just feels slightly less "special". It's simply "another one of those" - competent enough but lacking any true hook. I suppose the good thing is that Giacchino doesn't even really try to channel Williams this time. But by doing that, he also makes this score less of an event. It's not horrible in any way but it has a misfortune of being surrounded by much better stuff coming out at the same time.

 

Karol

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13 hours ago, crocodile said:

:music: Jurassic World: Fallen Kingdom. A more careful listen this time. It's not really bad in any way, just feels slightly less "special". It's simply "another one of those" - competent enough but lacking any true hook. I suppose the good thing is that Giacchino doesn't even really try to channel Williams this time. But by doing that, he also makes this score less of an event. It's not horrible in any way but it has a misfortune of being surrounded by much better stuff coming out at the same time.

 

Not horrible but really not worth discussing much, either. It's depressingly simple in idea and execution.

 

Positively Goldenthal-ian on the other hand:

 

 

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Ooh Christopher Gordon is at it again!

 

In regards to Giacchino... no, not much to talk about really. I feel he works much better when he's focusing his energy on animation or something more quirky. Big epic stuff just isn't his forte, with the exception of Jupiter Ascending segments maybe.

 

Karol

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Chris Gordon, Chris Young... Any of the Chrises.

 

@Stefancos Is there a Giacchino score that you like at all?

 

And yes, The Incredibles 2 is enjoyable. I'm relieved it's not as Barry-heavy this time.

 

Karol

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Jurassic World: Fallen Kingdom by Michael Giacchino

Pretty much everything I could have asked for as far as modern monster carnage music goes, filling that criteria far moreso than JW1's music ever did (it's practically embarrassing how much better this score is). If this movie/score came out 10-15 years earlier, back in the day when I was watching things like Abominable, Arachnid, Dinocroc, Frankenfish, Mosquito and such, kid me would have treated its presence like the second coming of our lord and savior Jesus Christ. Which is to say, fun music like this only brings a sweet reminder why I love this stuff in the first place. There's probably nothing here of interest to those who aren't into listening to this music cheerfully imagining someone getting their limbs severed off by a ravenous prehistoric beast, but for dweebs like myself, this is a banquet of gory goodness. Fantastically aggressive brass, deliciously over-the-top choir, jungle percussion, not to mention the best recording I've ever heard for a Giacchino score, it's all here and accounted for. And sweet merciful hades, this recording. I wish every Giacchino score could be re-recorded to sound like this. Is he finally done sounding dry? We'll just have to wait and see, I suppose. If not, well, I'm happy at least this sounds superb. 

It's baffling that it's the same orchestrator as JW1, as that aspect is hugely improved here as well. So many instrumental details and flourishes that were completely absent last time. 

Really digging the main theme too. It brings to mind both Christopher Young and Goldsmith's The Final Conflict. It's of far greater intrigue than JW1's theme, though the latter's cameos throughout this do sound lovely, leading one to figure it works better as a supporting theme than a lead. 

It's funny and quite relieving we have two John Williams-originated franchise sequel scores this year, and neither of them are pastiche works. Thank grop.

 

The Incredibles II by Michael Giacchino

First off, love how well this was mixed with the movie. It was beyond refreshing that this was heard loud and clear, in this era where film scores usually have to battle with sound effects and dialogue. But nope, Brad Bird clearly wanted the music at the forefront, and it kicked arse. It was mixed way better than Solo's score in that movie, that's for dang certain!

On its own, it's not quite as engaging, but it's certainly a breezier listen than his recent bloodthirsty dinoscore. I appreciate it sounds a little less like a John Barry pastiche and more like a Giacchino work with Barry influence. And yeah, HERE COMES ELASTIGIRL will probably be my jam for awhile.

 

 

 

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