Richard Penna

Fair enough, and I agree that sometimes buying a CD and all the associated shit doesn't feel needed. Certainly there's a release that's sort of on my list at the moment that I don't want physically (I want a handful of tracks) but there's no way to get it other than buying a piece of plastic. Certainly in other cases such as Sleepy Hollow, Doug's definitely got some issues with his editing, but isn't mastering just a choice that's made by the engineer? It doesn't strike me as lazy, especially if they're doing more work on top of just transferring the tapes.

Have you ever considered contacting Doug with your comments/suggestions about mixing? Mentioning them on a public forum is one thing, but when you're openly admitting to pirating it and considering just not paying them (for a score that musically you liked) just because you don't like a few aspects of it, I dont really see what you're achieving other than clearly hating basically everything Doug does.

HTTF is a nice piece slightly dethroned by the OTT ending where the orchestra and choir are absolutely belting out. I'd prefer a more straightforward orchestral approach without choir.

I like the film - well directed and acted. The score is a mixed bag for me; some highlights such as HTTF but overall the score has too much of a monotonous sound for me to enjoy as an album. I'm not a fan of patriotic brass and strings to start with, but an hour of it tires me. No doubt orchestration enthusiasts go nuts and it works well in the film, but I don't find it works as well for listening.

The physical location of musicians shouldn't have a bearing on whether they're involved if Bear is supervising orchestra recording sessions over Zoom.

Huh? Have we missed something indicating Plan 9 isn't involved?

IMO there should be samples of every single track, not just half a dozen randomly selected tracks, some of which aren't unreleased music. I don't know about anyone else, but with a score like this where I've never seen the film and only have the prior release, being able to hear significant representative parts of the entire work before a purchase is a pretty critical factor. I don't buy stuff just because it's Young or other completist reason - it has to properly interest me. I bought Varese's Nightwing based entirely on hearing a large handful of samples and no other reason. Of course, instant streaming is the best way to address that...

I'm vaguely tempted to pick this up so I own it in some form, as the OST has some nice material. The Int'l store has no indication that it's not shipping yet, but is also charging a totally unreasonable price - 25% markup over the US store and waaay too much for only 2nd class post.

They've updated with cover art - this is the full 3000px version. Also, both are on digital-preorder for 3rd May so we can listen properly.

They'd get away with it if they were spoiling ESB, but this is not a huge movie and a lot of people will never have seen it. I think I've seen bits, but I certainly hadn't remembered the ending.

There are a minority of cases where I think Varese's fee limitations actually helped, and I think this is one of those. Might pick it up eventually given that this should also have been newly mastered, but sifting through the CS on YT, whenever I get to a cue that's properly doing something, it's a cue on the OST.

Seemingly not - its recording engineer Geoff Foster works at Air Studios, London: https://www.discogs.com/release/4105352-Clint-Mansell-Doom-Original-Motion-Picture-Soundtrack

Boy, did we get #2 wrong. I have a track from Doom which appeared in Top Gear years ago. Does anyone do samples any more?

I've never heard a note. I'm not a fan of Tyler outside of his Yellowstone universe work.

6pm UK time iirc, so 5 hours from now.