Michael Giacchino - STAR TREK BEYOND (2016)

[Incanus 5,713]

Aren't those just parts of the end credit suite, meant to be edited together?

[BloodBoal 7,538]

[Giftheck 916]

I hope we get a DE, because I want this film's version of "To Boldly Go" and any suites he might have written. Once again, I'm not sure Varese has picked the best parts for this album. I'm hoping the album length isn't an indicator we won't.

[Pieter Boelen 740]

9 hours ago, Incanus said:

Aren't those just parts of the end credit suite, meant to be edited together?

That is very possible.

 

Here is what I know exists:

John Carter (2:25)
Tharks (2:04)
Princess Dejah (2:45)
Therns (2:41)
Time To Go Home (2:00)

 

How much of that was used in the end credits and to what extent they were truncated, I do not know.

But they were apparently separately recorded and are, in theory at least, suites of themes.

[Jay 37,249]

Giacchino's been recording suites of his themes for most of his recent film scores, he just doesn't always put them on the OST CD.

 

He did this for John Carter, Star Trek Into Darkness, Jurassic World, and of course Jupiter Ascending.  He might have for Tomorrowland, Inside Out, Zootopia, and Star Trek Beyond, we just don't know (yet).

[#SnowyVernalSpringsEternal 10,265]

What's the point of that?

[Jay 37,249]

I'm sorry, I don't understand your question.  What do you mean?

[#SnowyVernalSpringsEternal 10,265]

Why record suites and not put them on the CD?

[Jay 37,249]

The John Carter, Jupiter Ascending, and Jurassic World Suites were on the OST CD (Although I think there is more Jurassic World suites that weren't)

 

STID's weren't, likely because Varese only paid for a 45 minute OST and putting on both suites would have taken up 13 minutes of that.

 

He writes the suites first to develop the themes, then integrates the themes into film cues.

[#SnowyVernalSpringsEternal 10,265]

That might explain a few things for me, thanks.

[MedigoScan 324]

bah to the casual film-viewer

 

if you arent going to release complete scores, just put as much music from the movie on the album as you can

 

I am entirely reasonable!

[Disco Stu 15,495]

Just got notified that my CD is arriving tomorrow.  I'd be excited if I hadn't been listening to the score on Google Play for a week already!

[#SnowyVernalSpringsEternal 10,265]

That's the problem these days. By the time you actually get the CD you ordered you've already heard the score several, sometimes dozens of times.

[Jay 37,249]

I've heard the OST 20 times already probably, who knows.

Still looking forward to getting the CD tomorrow and checking out the booklet and making my own lossless rip.

[Will 2,215]

Saw the film today. It's my favorite of the three. The score was great in context, but there seems to be a ton of unreleased music. Nothing truly "must have" though.

[Jay 37,249]

The cue where Spock talks to Bones about Spock Prime is a must have!

[Wojo 2,453]

4 hours ago, Stefancos said:

That's the problem these days. By the time you actually get the CD you ordered you've already heard the score several, sometimes dozens of times.

 

Then just stop buying the CD. 

[Will 2,215]

2 hours ago, Jay said:

The cue where Spock talks to Bones about Spock Prime is a must have!

 

I can't even remember it to be honest.

 

Let's put it this way: There's no unreleased music that's stand out enough to make me desperate to see the film again so I can hear it. Then again, there was a bunch of unreleased TFA music that I didn't even know I wanted until the film rips were available. Perhaps if there's ever a Beyond deluxe edition I'll notice all sorts of stuff that I'm surprised I didn't initially consider must have. Who knows.

[Koray Savas 2,251]

2 hours ago, WojinPA said:

 

Then just stop buying the CD. 

Or stop listening to the streams. 

[Will 2,215]

By the way, in the end credits we hear, in order:

 

- opening with Courage theme, which has a new ending that is based on the "Star Trek Main Theme" material but is most likely not tracked

- Rihanna song

- A shortened version of "Thank Your Lucky Stargate," probably just the OST track edited down

- A shortened version of "Night on the Yorktown," probably just the OST track edited down

- The very end of OST final track (Courage theme and coda) 

[Jay 37,249]

So? @Koray? What do you think about the score?

[Will 2,215]

Oh, and there is indeed an unreleased mission theme statement near the end of the film (not the one in the final scene; it's before that). 

[Jay 37,249]

I knew it!

[Offline 29]

Wish I shared all your positive thoughts on the score you guys. I threw the entire trilogy in a playlist today and Beyond just doesn't do it for me like the other two did. I tune out most of the album after "Hitting The Saucer A Little Hard" and honestly don't notice it again until "Star Trek Main Theme" (which again, worst rendition of this theme I've heard to date)

 

What about this score is capturing you guys? Besides the "Yorktown" cue I can't think of any other cues that makes me go "Yes. This is fantastic". The first two had so many of those for me personally. Especially in the action cues. And this is coming from someone who is typically a bigger Giacchino fan than most of you here seem to be.

 

Enjoyed the film itself more than Into Darkness though.

[Dixon Hill 4,232]

Whatever one's subjective experience of the music, objectively it's compositionally quite ahead of most anything else he's done.  That alone makes me appreciate it.

[Offline 29]

22 minutes ago, TheWhiteRider said:

Whatever one's subjective experience of the music, objectively it's compositionally quite ahead of most anything else he's done.  That alone makes me appreciate it.

 

How would you say it's compositionally better?

 

I greatly apologize if this has already been discussed to a great extent.

 

I suppose it's similar to a well-made movie that just doesn't quite click with you. Hopefully it grows on me or that I can find something more to enjoy than the Yorktown cue.

[Jay 37,249]

Try Crash Decisions.

[Dixon Hill 4,232]

11 hours ago, zeekypttr5678 said:

 

How would you say it's compositionally better?

 

I greatly apologize if this has already been discussed to a great extent.

 

I suppose it's similar to a well-made movie that just doesn't quite click with you. Hopefully it grows on me or that I can find something more to enjoy than the Yorktown cue.

 

It would be hard to explain without a dreary academic parsing, but Giacchino has had a very observable arc of what I'd call increasing compositional confidence.  The music is becoming more free and spontaneous where before you could always sense a heavy framework to what he was doing, like he was composing by textbook rules.  The thing is, a track like Crash Decisions seems to be an exception to this, so I wouldn't necessarily recommend that as one to demonstrate this!

[Nic Cage Fugue 19]

45 minutes ago, TheWhiteRider said:

 

It would be hard to explain without a dreary academic parsing, but Giacchino has had a very observable arc of what I'd call increasing compositional confidence.  The music is becoming more free and spontaneous where before you could always sense a heavy framework to what he was doing, like he was composing by textbook rules.  The thing is, a track like Crash Decisions seems to be an exception to this, so I wouldn't necessarily recommend that as one to demonstrate this!

 

I'm noticing many more variations on the main theme, like that very pretty choral bit at the end of Hitting the Saucer. 

[crocodile 7,973]

1 hour ago, TheWhiteRider said:

 

It would be hard to explain without a dreary academic parsing, but Giacchino has had a very observable arc of what I'd call increasing compositional confidence.  The music is becoming more free and spontaneous where before you could always sense a heavy framework to what he was doing, like he was composing by textbook rules.  The thing is, a track like Crash Decisions seems to be an exception to this, so I wouldn't necessarily recommend that as one to demonstrate this!

"Spontaneity" is a key word here. I certainly enjoy that he seems to be more playful with his orchestrations. I love that there is so much woodwind material within the score. And that he finds way to come up with new hints and small variations on his previously established material. It's not that it necessarily needs to translate into a perfect listening experience for everybody. But you can sense he was trying to move a way from his dry and blocky writing style, also in the action music. In other words: his score is not only orchestral but also more symphonic. If that makes sense.

 

Karol

[Dixon Hill 4,232]

Yes, I don't think I've heard him so skilfully manipulate his thematic material as in this score.

[#SnowyVernalSpringsEternal 10,265]

Really? Examples?

[Jay 37,249]

Well, the final minute of "Hitting The Saucer A Little Hard" for one

[Dixon Hill 4,232]

2 minutes ago, Stefancos said:

Really? Examples?

 

Shall I do a "Guide To Michael Giacchino's 'Star Trek Beyond'" ?

[#SnowyVernalSpringsEternal 10,265]

If you are bored and have absolutely nothing better to do!

[Brónach 1,301]

He gets better. Painfully slowly.

[Koray Savas 2,251]

20 hours ago, Jay said:

So? @Koray? What do you think about the score?

I like it, but I personally feel like Giacchino peaked in 2010. It's why I'm always amused at those asking for examples to be convinced of his music. If you don't like the early stuff, move on!

 

I thought Tomorrowland and Jurassic World were his best in a long time, but couldn't really gel with Inside Out or Jupiter Ascending as much.

[Jay 37,249]

I'm sure you picked 2010 because that was the final season of LOST (and I agree that's his best work) but do you include Let Me In as peak Giacchino?

 

Do you like STB more or less than STID?

[Koray Savas 2,251]

Yes LOST's final season is a big part of that, because of how well he developed those themes. I would love for him to tackle another film like Let Me In, his score is romantic and horrific rolled in one. Some great melodies and underscore in that one.

 

He's done good to great work since but when I think of scores like Ratatouille, The Incredibles, Speed Racer, MOH Airborne, and all his early video game work, his post-2010 material doesn't compare.

 

As of right now I prefer Into Darkness. 

[Jay 37,249]

For me personally Tomorrowland is one of the best things he's ever done, but in general I do prefer those older scores as a whole over the newer ones.

 

But I still love just about everything he does!

[Koray Savas 2,251]

Oh yeah Tomorrowland is fantastic. It's up there among his best.

[TheUlyssesian 2,473]

I think the best thing he's ever done going by pure effort and ambition is John Carter.

 

There is a brilluance and exuberance to his earlier scores which seems to be missing now. Scores like Incredibles, Ratatouille, Up had wild imagination and excitement in them. Specifically Ratatouille which is actually pretty brilliant. There's some virtuoso displays of orchestration there. Also a lightness and nimbleness.

 

His current music while more sophisticated so to say is a bit leaden specially in the construction of themes. It seems writing really long passages of melodic harmony tires out the best of them except John Williams.

 

But he's still a pretty worthwhile composer. Still easily one of the 5 or so best working today.

[Koray Savas 2,251]

Guess I'm still the only one that John Carter does nothing for. 

[#SnowyVernalSpringsEternal 10,265]

*raises hand*

[A. A. Ron 1,736]

It took me a long time to "get" that score. Seeing the film a few times and hearing the sessions helped. Haven't quite decided if I like the score for Beyond better than Into Darkness yet.

[Disco Stu 15,495]

5 hours ago, amh1219 said:

Haven't quite decided if I like the score for Beyond better than Into Darkness yet.

 

I do not. There was an emotional core to Into Darkness that I find more compelling. I love the Five Year Mission theme of course but I found the array of themes in STID more satisfying personally. 

 

I do think Beyond is a very good score. 

[Koray Savas 2,251]

I prefer Into Darkness just for the Kronos Wartet!

[Perrinzki 8]

I have wished for Giacchino to fully come back to that pre-2010 style that got me truly engaged to his music. It is a strange feeling, because in some areas he has actually improved, yet I still yearn he writes something with so much personality, energy and heart as, for example, "The Incredibles", "Speed Racer", or the magnificent "Ratatouille" (still his best film score, in my opinion),. I have a nagging feeling he would have killed "Zootopia" had he done it before 2010; but somehow, that turned out just average.

 

On the contrary, this isn't to say he has lost that part of him, because I still hear bits and pieces of those traits in his more recent works, while also developing a grander dimension, exhibited in works such as "Super 8", "John Carter", "Dawn of the Planet of the Apes" "Jupiter Ascending", "Jurassic World", etc. that I'm sure will in the future round his music out to be a truly complete package. This is why I, along with many others, are waiting to hear what he conjures for, particularly, "The Incredibles 2".

[#SnowyVernalSpringsEternal 10,265]

The Incredibles always makes me switch it off after a few tracks and listen to some John Barry instead.

[Wojo 2,453]

The Incredits are sufficient. I think I'd listen to Giacchino more often if I just distilled his albums down to one GH compilation.