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BloodBoal

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First Contact. It has the strongest theme. And despite being written in 2 weeks it works very well in the film and is a solid listen. Despite the fact that Joel's contributions sounds rather different then his dads.

Also like how the Quest theme from Trek 5 is used as connective tissue.

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Hard to say. It used to be Insurrection, and since the album was missing some of my favourite bits, that was the expansion I was waiting for the most (from the TNG scores). But in the end, First Contact may actually work better as a full score.

I still don't know what to do with Nemesis.

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Tolkien's stories are all about lots of walking across big landscapes and stopping off to eat every second page. How anyone can write so much analysis on his works boggles my mind.

Star Trek has spaceships, memorable dialogue, great distinctive characters and big themes about the human condition.

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The First Contact because of the gorgeous hymn-theme for the most part but I really like the mechanical Borg music and suspense scoring as well. And it is a nigh-seamless collaboration with Jerrald and Joel.

This is followed by Nemesis and Insurrection in that order.

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NEMESIS, if only for it is the most unified and features the best set pieces. Though the others are not far behind, all could do with a more inspired orchestration (FC has some inventive touches, at least).

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I just wanted to tell you how grateful I am that you've accepted me despite my blunders. It is good to once again be among friends. You, Bloodboal are my friend. This dumb Dutch Elm is also my friend. And this grey whore is also...

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Gotta be First Contact. I was listening to the end credits from Insurrection the other night, and even though the interlude doesn't sound very Trekish, it's gorgeous and I love it. Never could connect with Nemesis (the movie or the score).

Star Trek is better than everything, if we're honest.

Tolkien's stories are all about lots of walking across big landscapes and stopping off to eat every second page. How anyone can write so much analysis on his works boggles my mind.

Star Trek has spaceships, memorable dialogue, great distinctive characters and big themes about the human condition.

Had to get him started, didn't you. . . ?

Star Trek Nemesis IS better than The Two Towers.


TTT > Nemesis > Interstellar > Drax

ROTFLMAO

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I love how the driving Starfleet theme from TMP makes a return as the Enterprise preps for battle. NSB pointed that out to me after I pointed out I'd cut off my hand for a complete Nemesis score, some 12 years ago now.

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Gotta be First Contact. I was listening to the end credits from Insurrection the other night, and even though the interlude doesn't sound very Trekish, it's gorgeous and I love it. Never could connect with Nemesis (the movie or the score).

Star Trek is better than everything, if we're honest.

Tolkien's stories are all about lots of walking across big landscapes and stopping off to eat every second page. How anyone can write so much analysis on his works boggles my mind.

Star Trek has spaceships, memorable dialogue, great distinctive characters and big themes about the human condition.

Had to get him started, didn't you. . . ?

Star Trek Nemesis IS better than The Two Towers.

TTT > Nemesis > Interstellar > Drax

ROTFLMAO

Laugh it up, fuzzball! But you didn't see us in the south passage. He expressed his true feelings for me.

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All of them have their merits. FC for its theme, INS for its action music and NEM for its set pieces. I do like the use of Blue Skies in Nemesis. It connects with me like DS9.

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I might be reading too much into it but I've grown quite fond of Nemesis over the past few years. For whatever reason, it seems like the richest of his TNG scores. You see, I never really connected with either The First Contact nor Insurrection as much because they represent what, I think, is a failure in living up to the legacy of two original two scores from Goldsmith. So both of those might be more Trekkian in a way they express the humanistic elements of this series. But they also fail.

Nemesis doesn't do that. Instead, it goes in an entirely different direction. It's almost a flipside of the humanistic optimistic vision that Goldsmith painted in his finest hour. The shades of Enterprise, presence of quest motif serve almost as a sardonic remainder of those time. And that's something else. Also, it's about the only Trek film score that attempts some sort of psychological depth. Goldsmith clearly was obsessed with Shinzon and gave him something that wasn't necessarily present on screen - a sense of dignity, determination and a healthy dose of sympathy. And that makes this work a bit more unique.

Not, it might not be the most entertaining, nor cheerful. But it goes deeper into the subject matter, no matter how far it might have wandered away from original concept. At least it is its own thing.

Basically, I think that from the storytelling point of view it has more to offer. For its film and for a listener.

Karol

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I also think Goldsmith gives some cool variations to his Enterprise theme once again. Subtle little ones for the most part and sprinkled in between the "doom and gloom" feel of the complete score. But at least they feel less "copies and pasted" than any versions found in either The First Contact and Insurrection.

Karol

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