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What Is The Last Score You Listened To?

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The Sisters Brothers by Alexandre Desplat: Sparse but very typically Desplat in its unusual and unique tenor which is always good.

 

Out of the Shadows by Christopher Gordon: Another one of those scores that feels a bit closer to the concert hall in style and presentation while clearly still a dramatic score. Dark and brooding but as usual well orchestrated and surprisingly boldly old fashioned in some of its choices, e.g. a lengthy brass chorale in Incantation. Gordon continues to impress. There is also the more modern edge to the music where Gordon implements synths, electric guitar and drums into the orchestral mix to give it all a more contemporary feel but they work even to my conservative ears quite well here. While not exactly a triumph for the composer it is is a solid piece of work. Seriously this guy needs more high profile film work.

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The Russia House (Jerry Goldsmith)

 

Contemplative and rather introspective orchestral jazz score with nicely understated exotic flavours.

 

The type of album one listens to in a darkened room while enjoying a glass of whiskey.

 

 

IMG_20181011_200010_edited.jpeg

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:music: The Complete London Sessions by Georges Delerue. Had a bit of a long and bad day at work so now so now recovering my broken spirit with a bit of Delerue. It is somewhat melancholic but quite soothing.

 

Karol

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Michael Giacchino - Bad Times at the El Royale

 

I hate to say it, but this was EXTREMELY boring

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1 hour ago, Jay said:

Michael Giacchino - Bad Times at the El Royale

 

I hate to say it, but this was EXTREMELY boring

 

I actually had hopes for this one, this seems way out of line with Giacchino's usual fare, project-wise.

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2 hours ago, crocodile said:

What do you think of Arnold's Godzilla. It is actually one of my favourite works of his. Feels less over-cluttered than Independence Day.

 

Karol

I'm not the man to ask for compelling thoughts. I'm despicably easy to please when it comes to monster carnage music.

 

It's fun! I actually really liked the OST playlist (well, would-be OST anyway), but there's definitely kernels of goodness within the whole thing. It's pretty relentless stuff, but well, it's freaking Godzilla music. That main title cue is colossal! It makes Kersplat's score sound like a frail old coot (but I still like the latter for its gritty tone).

I also unfortunately have stupidly fond memories of watching my VHS of '98 Godzilla horribly often. Why did I like this thing? I don't know, aspergers, I guess. Gojira it ain't, but I still kinda like the monster design. Looks cool for what it is. 

 

What the hell is Matthew Broderick doing in a monster movie though?! They could have at least decapitated him like Owen Wilson in The Haunting, or have him maimed by an anaconda!

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This week I listened to the new Saving Private Ryan.

 

I will have to compare the two new film cues with a wav editor, because honestly, I don’t have enough concentration to hear the differences with the album cues.

 

Dumb like that.

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Poltergeist by Jerry Goldsmith

It's my favorite.

"What does that mean?"

It means exactly what you think it means.

"Your favorite Goldsmith score?"

E'yup.

"Your favorite horror score?"

Probably.

"...Your favorite 80's score?"

Of any decade, any era of human civilization. 

"...Oh, dear. Do you play it a lot?"

Nope. It's been two years since I last played it. 

"So why did you play it tonight? Special occasion?" 

Nope. Just selfishly felt like treating myself.

"Wow, you're a jackass. You don't deserve to have music this perfect in your life"

Nope, yet here it is! 

"So, why is it your favorite anyway?"

It's perfect. 

"What's perfect?"

Everything. Every cue. Every minute. Every second. Every millisecond. It's perfection. Pure. Concentrated. Perfection. All of it. It is pure constant heaven for my ears. Every second is either spent savoring this delicious lushness, or giddily awaiting the out-of-body experience that is Escape from Suburbia

"Awaiting? Can't you just skip to that track rather than play the whole score?"

That would be disgusting. 

"Weirdo"

A weirdo whose all-time favorite film score is Poltergeist. I own all the album releases of this. Why? Because it's my favorite. It warrants the overkill. 

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12 hours ago, Incanus said:

The Sisters Brothers by Alexandre Desplat: Sparse but very typically Desplat in its unusual and unique tenor which is always good.

 

Out of the Shadows by Christopher Gordon: Another one of those scores that feels a bit closer to the concert hall in style and presentation while clearly still a dramatic score. Dark and brooding but as usual well orchestrated and surprisingly boldly old fashioned in some of its choices, e.g. a lengthy brass chorale in Incantation

 

That brass chorale is really something. Sounds simple but few film composers nowadays manage to come up with something like that. The Desplat is sparse but the few driving pieces (i. e. the main theme and 'Going to San Francisco' are really something).

 

 

I saw that movie again and you turn the Goldsmith off and bang, it's gone. Another one of his brilliant meta-hooks with the seesawing harmonica characterizing (in 2 notes) the seedy varieté origins of Hopkin's character, the demented puppet and the general uneasiness that cuts even through the romantic scenes. It being a Fox movie probably earned JG the commission but director Attenborough couldn't have wished for a better composer.

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Impression: good, sympatico in its small-ish approach devoid of bombast, but too sketchy. Hurwitz has good ideas and one or two pleasant synth backings but - in a fate shared with many of his current peers - he is not able to weave it into a bigger musical frame. So what remains is a collection of cues, either lilting variantions on the main theme or atmospheric stuff but never a 'bigger picture'.

 

Still, will be one of 2018's more noteworthy additions.

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The Lost World: Jurassic Park by John Williams: It is awesome. Pure and simple.

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3 hours ago, kaseykockroach said:

Poltergeist by Jerry Goldsmith

It's my favorite.

"What does that mean?"

It means exactly what you think it means.

"Your favorite Goldsmith score?"

E'yup.

"Your favorite horror score?"

Probably.

"...Your favorite 80's score?"

Of any decade, any era of human civilization. 

"...Oh, dear. Do you play it a lot?"

Nope. It's been two years since I last played it. 

"So why did you play it tonight? Special occasion?" 

Nope. Just selfishly felt like treating myself.

"Wow, you're a jackass. You don't deserve to have music this perfect in your life"

Nope, yet here it is! 

"So, why is it your favorite anyway?"

It's perfect. 

"What's perfect?"

Everything. Every cue. Every minute. Every second. Every millisecond. It's perfection. Pure. Concentrated. Perfection. All of it. It is pure constant heaven for my ears. Every second is either spent savoring this delicious lushness, or giddily awaiting the out-of-body experience that is Escape from Suburbia

"Awaiting? Can't you just skip to that track rather than play the whole score?"

That would be disgusting. 

"Weirdo"

A weirdo whose all-time favorite film score is Poltergeist. I own all the album releases of this. Why? Because it's my favorite. It warrants the overkill. 

 

Are you talking with "grandpa" again?

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Candyman by Philip Glass: Beautiful main theme and greatly used through the score. I love the big part the choir plays in the score. And I aslo like the organ incorporated into some tracks.

 

Hellraiser by Christopher Young: The two main themes are stunning, haunting and have a really great gothic tone that I love. I think that maybe the album would have benefited if some of the more ambient, experimental tracks were left out, but nevertheless, this is a fantastic score.

 

Could anyone recommend me some more horror scores like this two?

 

Bad Times at the El Royale by Michael Giacchino: I have to disagree with what Jay said a couple of post up this one. While I think it would have benefited from a shorter presentation leaving out some quieter cues, especially from the first half, I don't think it's a boring score and I really like the atmosphere it creates. It's quite a different score from Giacchino's usual style and it reminds me of Brian Tyler's Yellowstone and some of the scores by the Cave-Ellis duo, like Hell or High Water or Wind River.

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On 10/11/2018 at 11:42 PM, Jay said:

Michael Giacchino - Bad Times at the El Royale

 

I hate to say it, but this was EXTREMELY boring

 

Pity, because its not the kinda film Gia is known for.

 

Total Recall (OST)

 

Or rather, CD 2 of the Neil S. Bulk produced set.

Rather brilliant if you need a 40 minute album to underscore your fitness session. Jerry really nailed this.

 

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7 minutes ago, Jurassic Shark said:

 

You should get all his albums in The Classic Film Score series!

 

I have the Star Wars ones, it's enough for the moment! But this compilation have the mention "Recommended" on arkivmusic... so I ordered it.

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The Ghost and the Darkness by Jerry Goldsmith

 

The Blue Max (Tadlow re-recording) by Jerry Goldsmith

 

Lionheart by Jerry Goldsmith

 

Sky Captain and the World of Tomorrow by Edward Shearmur

 

Keisuke Wakao Plays the Music of John Williams by John Williams

 

:music: Empire of the Sun by John Williams

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When i saw this movie in my early teens i mistook the score for Williams - the big musical brush is really similar - but surprisingly low-profile George Fenton did it. It's helped by the fact that one of the main themes is the great 'Danny Boy' (sic, 'Londonderry Air') which i didn't know back then. But Fenton's own flying theme is also very memorable (ca. 01:58) and when both meld into an orgiastic climax (here after ca. 02:55) it epitomizes the young soundtrack nerd's wet dream: that's how it should sound! It's a great addition if you like the 'Amazing Stories' Mission episode and similar.

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6 hours ago, kaseykockroach said:

The Adventures of Tintin by John Williams

I'm surprised no one's mentioned this one to me whenever I lament "Phooey, John Williams hasn't done a fun score since The Lost World!". Digging this one so far! A theme hasn't grabbed my attention, but there's definitely plenty infectiously joyful energy to be savored here. 

 

For some unfathomable reason it's not very well regarded, but it's easily one of my favourites from Williams's 2000+ output. The pirate music is probably the most piratey stuff he's ever written.

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3 hours ago, publicist said:

When i saw this movie in my early teens i mistook the score for Williams - the big musical brush is really similar - but surprisingly low-profile George Fenton did it. It's helped by the fact that one of the main themes is the great 'Danny Boy' (sic, 'Londonderry Air') which i didn't know back then. But Fenton's own flying theme is also very memorable (ca. 01:58) and when both meld into an orgiastic climax (here after ca. 02:55) it epitomizes the young soundtrack nerd's wet dream: that's how it should sound! It's a great addition if you like the 'Amazing Stories' Mission episode and similar.

 

Wonderful score, with excellent Danny Boy and Amazing Grace arrangements. One of my favourite Fentons, and I like it better than Williams's The Mission.

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A solid "greatest hits" sampler, probably done in concordance with the upcoming Williams concert in London.

 

Quite unnecessary for almost anyone on this forum. But if you're a casual listener who just wants one album of Williams' movie tunes this is a safe bet.

 

The only "unusual" thing in this is the rather "baritone" sounding violin solo for Schindler's List. I rather like it.

9200000090894668.jpg

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1 hour ago, Marian Schedenig said:

 

For some unfathomable reason it's not very well regarded, but it's easily one of my favourites from Williams's 2000+ output. The pirate music is probably the most piratey stuff he's ever written.

Judging by the fact that people here never shaddap about TLJ's score and such, I can only surmise it's because people hate fun.

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4 hours ago, Marian Schedenig said:

 

For some unfathomable reason it's not very well regarded, but it's easily one of my favourites from Williams's 2000+ output. The pirate music is probably the most piratey stuff he's ever written.

 

Honestly it's one of my favorites from Williams' output in general.  The album just goes down so smooth, and for as complex as a lot of the music is, Williams throws a lot of personality into each cue, particularly each set piece. 

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3 hours ago, Stefancos said:

A solid "greatest hits" sampler, probably done in concordance with the upcoming Williams concert in London.

 

Quite unnecessary for almost anyone on this forum. But if you're a casual listener who just wants one album of Williams' movie tunes this is a safe bet.

 

The only "unusual" thing in this is the rather "baritone" sounding violin solo for Schindler's List. I rather like it.

9200000090894668.jpg

That "violin solo" is actually an arrangement for solo cello and orchestra.

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