Richard Penna

The credits suite is indeed really good. But assuming it's WLB and it ends up as a nice single $20 CD, I'll very likely get it even if it's just to curate a nice alternative playlist. I'm less interested in whatever the other one is. I do have both Starship and AvP but I'm not sure enough to buy an inevitable 2-CD set.

Nor me - I actually had to check my flac archive to check whether I'd bought this at some point in the past, and I don't have it. I have two tracks that I must've obtained at some point. I put on the OST on Spotify earlier and it was a kind of enjoyable half hour with a few proper highlights, so particularly as I never bought it, I reckon I'd be up for this.

They're better programs than the OSTs, at least... I mean there's more music.

That's not a Varese title (https://en.wikipedia.org/wiki/Varèse_Sarabande_albums_discography)

I'd be open to that if it's got some interesting unreleased material. I'm giving the OST a refresher and it now comes across to me as a more melodic variation on the sorts of Horror stuff I like from Bishara. Rebuying Starship would be a slightly tougher sell as I'm not familiar with the film nor what's missing, but still open to it.

Album 1: Album 2: https://www.facebook.com/varesesarabanderecords/posts/pfbid02ScpKeXgngEtS8XUCV3ASfvW3coS7YQTTXCWXHmWhQnjzMLMVKXQuGJgCKBQPvb2Bl What Lies Beneath suggested already on FB. Second... alien, monster, blood, planet... gun. Could it possibly be Starship? Feels like yesterday that I bought the first one with the huge mastering error.

I always like the simpler arrangment for this - the original definitely the best. I don't particularly go for the Shaham arrangement but actively don't like Mutter's. No doubt others will see her playing in a better light than me, but I feel her style is completely at odds with Williams' careful, usually structured style. Far too much meandering around with bits that aren't relevant to the core idea. She's no doubt a very skilled player but it always seems to me that she's just showcasing her speed and versatility instead of tailoring her playing towards what JW's pieces need and, where appropriate, what a film needs. Tibet/SL were case studies in a soloist being a perfect match in terms of their playing style and Williams's score. I can't say the same about ASM.

2012 edition finally gone. And in non-Williams news, Djawadi's Fallout likely on my imminent purchase list.

They also need to use Newborn's theme for the opening and closing.

What absolute bollocks It really does sound like he got up at 8am yesterday morning, noodled on his keyboards for 3 hours and came up with that. It's so uninspiring. It goes with my belief that when he's given some inspirational, life-affirming project he comes up with some tat like this, but when given 4 weeks and a film to just.... score, he does a really great job.

I listened to Djawadi's Fallout the last few evenings and it seems to fall right into my taste range. Very little going on thematically at surface level but it's one of those scores where he manages to keep me engaged for the full 70 minutes without ever being new or very distinct. A bit like Eternals, anyone completely allergic to the vaguest RCP influence should run holding their noses, but Djawadi has clearly got some chops in some extended rhythmic and melodic ideas.

I love the TTRL OST but in this case I'm not really interested in the additional material.

I got an e-mail about 12 hours or so ago. I use gmail but we also have a family domain so it doesn't go directly there. Doesn't seem like they're in the remotest urge to get TLW back in stock. I wonder if sales slowed after the initial buzz?

I have tens of Blu-rays but only around 10 ripped, and a few of them were more so I could skim a few bits without needing the disc in the drive. Essentially I narrow it down to those that are either particularly important to me or are hard to find in physical format and therefore I want the digital copy. Far more DVDs fall into that category for me, particularly TV shows. I'm not quite picturing a full dystopian future where nothing is available to own, but I want a PC-based copy of important stuff that no studio can suddenly decide to pull. This is visual media only, of course. I rip all CDs on receipt - there should be nothing that isn't in my flac archive.

Now playing: Nightwing. Beautiful score and Varese club album, which I purchased blind entirely based on samples.