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SCORE: Star Trek Nemesis (Deluxe Edition)


BLUMENKOHL

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3 minutes ago, TheGreyPilgrim said:

Is there a better thread-starting post than this one anywhere on JWFan?

 

Don't think there is...if you've got a review to post I say make a new thread.

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  • 3 weeks later...
On 1/17/2016 at 3:52 AM, Stefancos said:

Star Trek is better then everything!

Except when its 2009, or Into Darkness, or scored by MG, or scored by JG in Nemesis, or in those gawd awful books, and the up coming Beyond. 

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On 2/7/2016 at 7:25 PM, E.T. and Elliot said:

The Nemesis score is not bad.

 

The OST is a horrible experience but in complete form it's better.

 

Joey...that's just your OPINION....there are others like myself that enjoy Star Trek Nemesis' score.  You're becoming like Thor saying "the C&C sucks only the OST is better" but in a different way and has become irritating...

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I happen to think Shinzon's theme is pretty great and the score is loaded with killer renditions, such as Odds and Ends, Final Flight and the end credits. I feel even the action music rises above Jerry's typical output from the era. There's a solid 45 minutes of the Nemesis score that's up there with the best of the Trek scores and it's always a sad reminder of the great composer we lost all those years ago. It's Goldsmith's Trek swan song. :(

 

The franchise hasn't been the same without him.

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It's a fantastic release, really great liner notes, really great sound quality, awesome program on Disc 1.  The bonus tracks are nothing essential, though some of the source music is wacky 80s fun and the german recording of Clever Girl is laughably bad

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Both Insurrection and Nemesis were good OSTs that reflected the intended musical narrative of their respective films.

 

It's First Contact that gets problematic. The OST is too short and leaves out too many good cues. But the expansion throws everything in and suddenly the score becomes a chore to sit through.

 

And I hate having to use that skip button.

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On 2/14/2016 at 6:01 AM, Drax said:

Both Insurrection and Nemesis were good OSTs that reflected the intended musical narrative of their respective films.

 

It's First Contact that gets problematic. The OST is too short and leaves out too many good cues. But the expansion throws everything in and suddenly the score becomes a chore to sit through.

 

And I hate having to use that skip button.

 

The expansion sucks. Not enough ooby dooby. 

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  • 2 years later...

I wonder how much John Williams' mentorship to John Powell on Solo stems from an empathy for Powell's own recent tragic story? 

 

Surely there is some kind of bond that forms there? Giacchino didn't get the same treatment.

 

 

On 1/22/2014 at 1:57 PM, Blumenkohl said:

I'm also a deep believer in the idea that that in artistic fields, major and traumatic life events have dramatic impact on output.

For example, I don't think it's a coincidence that there's a demarcation between John Williams of pre-1975 and post-1975. Conventional thought is that the great John Wiliams we know today was born because of Jaws.

I don't think it was Jaws. I think the death of his wife deeply affected him. And he shaped those emotions into something really amazing with his output from then on. From a purely artistic perspective, that life event provided him with profound burst of emotional development that he has used since.

 

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3 hours ago, Blumenkohl said:

I wonder how much John Williams' mentorship to John Powell on Solo stems from an empathy for Powell's own recent tragic story? 

 

Surely there is some kind of bond that forms there? Giacchino didn't get the same treatment.

 

While I'm not familiar with this tragedy you speak of, it's very possible. As a teacher I naturally gravitate to and form the closest bonds with students who have had a rough life so far, as I remember my own childhood and what I wished I had in the form of a guiding hand. This isn't entirely conscious stuff, but with self awareness our suffering allows greater empathy and connection with others undergoing hardships in their own life, a greater understanding that the pain we feel is not exclusive to us, and that our pain can serve as a light for others in a similar position.

 

And of course, time and time again throughout history and our own lives, brush ins with mortality, be it ours or someone's close to us, is often a catalyst for noticing, appreciating, and harnessing the subtle nuances and shadings of everyday life on a level we weren't as intimate with beforehand.

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Like Williams, Powell recently lost his wife (2016):

 

Quote

If you were wondering why I wasn’t at the premiere in London on Sunday, I’m afraid it was because my wife, Melinda, who I’ve loved since the moment I saw her at a gig in the Bull and Gate, London on January 16th 1987, was dying in Los Angeles as I sat beside her. A few hours after the last notes of the music faded on the South Bank, so did she.

For the 29 years, 6 weeks and one day she was mine, she kept me honest…. she never was very impressed with anything I wrote or won, but she was willing to put up with me trying.


Laughed at my jokes when they amused her, let me make up total rubbish to try to trick her into believing stuff… that can really piss some people off… not Melinda….. and she was my muse. 

Everything I wrote before I met Melinda was probably just a foreshadowing… my heart hoping to meet someone like her. Everything since is bursting with her; her eyes, her hair, her body, her soul…. By osmosis, I couldn’t help but be a better composer if I were near her.

And thus I stayed close, so we could complete our journey together. 

Melinda Lerner 1959-2016

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14 minutes ago, publicist said:

Why is this in a Nemesis-thread?

 

I assumed 'cause the general topic of a composer's life experience and its impact on their work was broached here.

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  • 3 weeks later...

I just discovered this thread for the first time and I have to say:

I absolutely agree with Blumenkohl. It's a rather different score. Sinister, ugly, sad. My first impression of it was the Deluxe Edition. I have never seen the film or owned the OST. It immediately became my second Star Trek favorite score, only exceeded my The Motion Picture. I was never able to understand why it got so much hatred, but maybe that's because the OST has a fucked up program.

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16 hours ago, Brundlefly said:

I just discovered this thread for the first time and I have to say:

I absolutely agree with Blumenkohl. It's a rather different score. Sinister, ugly, sad. My first impression of it was the Deluxe Edition. I have never seen the film or owned the OST. It immediately became my second Star Trek favorite score, only exceeded my The Motion Picture. I was never able to understand why it got so much hatred, but maybe that's because the OST has a fucked up program.

 

I've been interested in the complete score for a while, this sounds very promising! Such nasty music,  and I eat all of that boring, angsty, weary underscore up.

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Nemesis is another under-rated Trek film score (Star Trek IV being the other). I do agree the OST is a shit program and the complete score definitely is better as a whole.

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  • 3 years later...

Shinzon's Theme in "A New Ending" is just chef's kiss perfection. I think John Williams is the last man standing who can write sweeping orchestra in that style. 

 

I used to be weirded out by the slow tempo of the TMP march in that track. Now the normal one feels too fast. Must be my old creaky bones! The old dying composer is slowing it down so he can savor his creation for an extra few seconds, one last time. 

 

If only we could do that with real time! 

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  • 1 year later...

So, if you listen to "Battle of Syracuse" from the new Indy Movie and then listen to "Attack Pattern" you'll find something very similar. 

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9 hours ago, BLUMENKOHL said:

So, if you listen to "Battle of Syracuse" from the new Indy Movie and then listen to "Attack Pattern" you'll find something very similar. 

Also your post above applies to Indy 5 as well (with a few tweaks)

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