What Is The Last Score You Listened To? (older scores)

[BloodBoal 7,538]

[Incanus 5,714]

So, could the Electro vocals be considered a modern sprechstimme of sorts?

Obnoxious sprechstimme then. It goes way over the top and annoying on the album.

Style of music aside, I don't find it any different from, say, The Lord of the Rings vocal passages. They comment on the action in the same kind of way, if I'm to be honest.

Karol

Be that as it may stylistically, it is still tiresome to listen minutes on end as it varies very little, just the same processed whispered lyrics over and over again. But then again I found most of the score unlistenable middle of the road Zimmer collaborating with umpteen people to produce the same stuff he always produces. But hey the fault is not in Zimmer, it is in me.

[crocodile 8,012]

So, could the Electro vocals be considered a modern sprechstimme of sorts?

Obnoxious sprechstimme then. It goes way over the top and annoying on the album.

Style of music aside, I don't find it any different from, say, The Lord of the Rings vocal passages. They comment on the action in the same kind of way, if I'm to be honest.

Karol

Be that as it may stylistically, it is still tiresome to listen minutes on end as it varies very little, just the same processed whispered lyrics over and over again.

I know, kind of like The Revelation of Ringwraiths, really.

Karol

[Incanus 5,714]

So, could the Electro vocals be considered a modern sprechstimme of sorts?

Obnoxious sprechstimme then. It goes way over the top and annoying on the album.

Style of music aside, I don't find it any different from, say, The Lord of the Rings vocal passages. They comment on the action in the same kind of way, if I'm to be honest.

Karol

Be that as it may stylistically, it is still tiresome to listen minutes on end as it varies very little, just the same processed whispered lyrics over and over again.

I know, kind of like The Revelation of Ringwraiths, really.

Karol

Sorry but that dog just ain't gonna hunt Karol.

[crocodile 8,012]

Sorry, not trying to upset you. Truly.

But you're wrong, vocals do change.

Karol

[Incanus 5,714]

Sorry, not trying to upset you. Truly.

But you're wrong, vocals do change.

Karol

But would I find them any less obnoxious if I don't dig the score in general?

It is definitely a score we have to agree to disagree on as I find it just about as far removed from my tastes as possible.

[Dixon Hill 4,234]

I like the score, and don't like the vocals. But I see Karol's point.

[crocodile 8,012]

Don't know, probably not. All I can do is explain things from my perspective. Those vocals actually serve a purpose. Electro is basically, for better or worse, a Gollum kind of character. And the vocals are literally voices inside his head. Subtle it ain't, but true to the character. The music in film literally blends sound effects and score, not quite unlike Atonement. There's nothing subtle about it, as you say, but it works very well.

Karol

[Faleel 5,348]

I find harpsichord obnoxious, does that make classical music bad?

[Incanus 5,714]

Don't know, probably not. All I can do is explain things from my perspective. Those vocals actually serve a purpose. Electro is basically, for better or worse, a Gollum kind of character. And the vocals are literally voices inside his head. Subtle it ain't, but true to the character. The music in film literally blends sound effects and score, not quite unlike Atonement. There's nothing subtle about it, as you say, but it works very well.

Karol

Oh true they might serve narrative purpose well and you might defend them from such conceptual basis but if I can't stand the music there is nothing you can do or say to make the music any better as it is not only a cerebral process of convincing someone of the worth of musical concept based on mere logic alone. True you can illuminate the qualities of the music and help people to appreciate the nuances but it doesn't go a long way in turning anyone's head if they find the musical basically unlistenable or uninteresting or lacking in appeal.

The Eiger Sanction by John Williams

[Koray Savas 2,251]

No one's trying to convince you, you're the one that chimed in.

[Dixon Hill 4,234]

Don't know, probably not. All I can do is explain things from my perspective. Those vocals actually serve a purpose. Electro is basically, for better or worse, a Gollum kind of character. And the vocals are literally voices inside his head. Subtle it ain't, but true to the character. The music in film literally blends sound effects and score, not quite unlike Atonement. There's nothing subtle about it, as you say, but it works very well.

Karol

Oh true they might serve narrative purpose well and you might defend them from such conceptual basis but if I can't stand the music there is nothing you can do or say to make the music any better as it is not only a cerebral process of convincing someone of the worth of musical concept based on mere logic alone. True you can illuminate the qualities of the music and help people to appreciate the nuances but it doesn't go a long way in turning anyone's head if they find the musical basically unlistenable or uninteresting or lacking in appeal.

Heh, glad you enjoyed my analyses.

Angels & Demons and Frost/Nixon

[Incanus 5,714]

I remember Frost/Nixon being quite effective in the film and have noted that several TV shows and films have obviously had it as a temp track. How is it as a listening experience?

Papillon by Jerry Goldsmith

[Marian Schedenig 8,193]

I find harpsichord obnoxious, does that make classical music bad?

[alicebrallice 134]

NP:

quite mesmerizing.

[Jay 37,364]

Hi Allice!

[alicebrallice 134]

oh hi, fancy running into you here!

[Jay 37,364]

I haven't listened to that particular Desplat score before. But I've been liking Desplat's stuff more and more lately (especially since all 3 of his 2014 scores so far kick ass). How do you rank it among his other works?

[Koray Savas 2,251]

New Moon is great. The film doesn't deserve a score that good.

[BloodBoal 7,538]

[KK 3,307]

I remember Frost/Nixon being quite effective in the film and have noted that several TV shows and films have obviously had it as a temp track. How is it as a listening experience?

Papillon by Jerry Goldsmith

One of his most effective and intelligent scores in recent years. Very good stuff.

I'm not the biggest fan of the vocal stuff in TASM 2, but I like a lot of the colours and textures Zimmer plays with. Just wish they toned down on the dub step.

[Koray Savas 2,251]

totonednes

Need to add that one to my vocabulary!

[KK 3,307]

Its a complex musical term obviously, you won't get it.

Stupid phone...

[gkgyver 1,645]

LotR: The Two Towers

Haven't listened to this, thoroughly, for what feels like years. Shore's ideas and themes are so streamlined, and presented so deliberately, and he makes it sound so effortless. Still unmatched after 12 years. Listening to "Theoden Rides Forth" on good headphones is almost like a spiritual experience.

[crocodile 8,012]

X-Men: Days of the Future Past

Karol

[Dixon Hill 4,234]

How To Train Your Dragon, How To Train Your Dragon 2 - John Powell

I had the most ridiculous grin on my face through both of them. This is what I love about movies and movie music.

[Incanus 5,714]

How To Train Your Dragon, How To Train Your Dragon 2 - John Powell

I had the most ridiculous grin on my face through both of them. This is what I love about movies and movie music.

Tremendous fun both!

[crocodile 8,012]

The first one offers a better album/listening experience, but the second one offers better composed music overall.

Karol

[KK 3,307]

Agreed. At first, I was underwhelmed, but then came to be impressed by how the writing has matured.

[Dixon Hill 4,234]

Batman Begins - Hans Zimmer

Minority Report - John Williams

American Beauty - Thomas Newman

[crocodile 8,012]

The Fury by John Williams

Harry Potter and the Chamber of Secrets by William Ross

Jaws (OST version) - Man Against Beast is one of the most awesome action pieces in Williams' career.

Karol

[Incanus 5,714]

The Fury by John Williams

Harry Potter and the Chamber of Secrets by William Ross

Jaws (OST version) - Man Against Beast is one of the most awesome action pieces in Williams' career.

Karol

Agreed. Williams was entirely right to blend the Korngoldian seafaring swashbuckle with the gripping shark music. Thrilling stuff and I feel the whole varied score is sadly overshadowed by the shark motif.

[crocodile 8,012]

It's funny how people mention only shark ostinatio where there are multiple themes in there. It's a rich score, thematically. Not to mention the fact I always liked the tuba theme better than the ostinato itself. Gives it more flavour.

Karol

[BloodBoal 7,538]

[Faleel 5,348]

The Meeting of Anakin and Padme was not on the OST!

[BloodBoal 7,538]

[KK 3,307]

It would have been more clever if you came up with something for Anakin too, considering he's the worse of the two.

[Faleel 5,348]

The Meeting of Anakin and Padme? More like The Meeting of Anakin and Pad-meh!

Over Rated (Over Hill)

Under Rated (Under Hill)

The Bridge of Khazad-Dumb

The Battle of the Pellesnore Fields.

[Sir Hilary Bray 235]

John Barry's On Her Majesty's Secret Service

from the adrenalin pumping theme to the sweeping grandeur of the Alpine helicopter journey to the near stately procession of the We Have All the Time in the World instrumentals that pop up and on to the crushing end it's something else. It's been a favourite since I first saw the film as a kid and it'll take something special in Bond soundtracks to dislodge its No.1 position. Every track has something such as Gumbold' Safe which gradually cranks up the tension or Over and Out which does the same thing, picturing the helicopters of Draco's force getting closer. Indeed, I've likely seen the film and heard the soundtrack so often seem to line up the dialogue to certain moments off the bat.

"Should've had you gift-wrapped."

[gkgyver 1,645]

So, could the Electro vocals be considered a modern sprechstimme of sorts?

Obnoxious sprechstimme then. It goes way over the top and annoying on the album.

Style of music aside, I don't find it any different from, say, The Lord of the Rings vocal passages. They comment on the action in the same kind of way, if I'm to be honest.

Karol

Only that Shore has a sense for the moment, the right tone, stylistic coherence, musical skill to make it work, and the common sense to not make the choir say "the ghosts are here, they are coming at me, they're scaring me, shit, can't ignore the creepy feel ..."

[Sharkissimo 1,973]

The more I listen to Zimmer's AS2, the more the massive hardon I once had for it deflates. Meh.

[Faleel 5,348]

HTTYD2

Flows better arranged closer to film order, with the Song as the second track, and Flying With Mother placed before Meet Drago and Stoick Finds Beauty.

[Dixon Hill 4,234]

Lost - seasons 1 and 4

[Incanus 5,714]

HTTYD2

Flows better arranged closer to film order, with the Song as the second track, and Flying With Mother placed before Meet Drago and Stoick Finds Beauty.

Gotta to love how unabashedly BIG this score is most of the time. You rarely hear this much joyous abandon in film music these days. And it is just not bludgeoning walls of noise but proper music.

[crocodile 8,012]

Is there a lot of unreleased stuff, Fal?

Karol

[ZackR 95]

How to Train Your Dragon 2

I took the kids to see the movie last night. I want to see it again but this is a terrific sequel. Just had a blast.

The score is beautiful. It's even better in the film. It's the score of the year so far for me. So much energy and joy that just explodes from the speakers and then quiet, tender moments.

This one will get a lot of repeat listens. It does work better in chronological order though.

[Faleel 5,348]

Is there a lot of unreleased stuff, Fal?

Karol

Well, mostly just short stuff, there is a short brass statement of the Love/Astrid theme from right after "Together We Map The World" unreleased.

The song seems to have two different versions in the film, one for the opening flying scene (it seemed to be the same as the OST version), and one for the finale scene of the film and the End Credits.

Also, the video released of the first five minutes has shorter alternate versions in Mockup form of: Dragon Racing, Where No One Goes (with a short "choral" "sweetener"), and Together We Map The World (including the brass statement of Astrid's theme).

[crocodile 8,012]

Soul of the Ultimate Nation

Karol

[Incanus 5,714]

It is interesting how Soul of the Ultimate Nation has grown on me over the years. At first I dismissed it as a mere weaker considerably less thematic cousin of LotR scores and while it exhibits the same elements it does have its own story to tell musically. As Shore says in the liner notes, the invidual pieces are more like self contained tone poems expressing the different cultures, ideas and characters of the story of the game and while there is a subtle thematic thread running through it all, the leitmotific writing is not nearly as prevalent as in LotR. But on the other hand Shore explores very interesting instrumental combinations and moods for regular symphony orchestra and choir while adding female soloist and theremin into the mix for further special colour. The end result is highly entertaining hour of music that plays as much like a film score as a concert piece in 20 mini-movements.

All the King's Men by James Horner: One of the more satisfying Horner album from last decade. To my ears the score adds some new Horner sounds with his grand tragic drama style with enough invention and convention to form a very strong listening experience that at 59 minutes doesn't overstay its welcome.

Hella W. by Panu Aaltio: A promising dramatic effort from the young Finnish composer. Written for piano, strings and woodwinds the score is a mix of classical and modern sensibilities with ostinati driven motoric figures so prevalent today joined by a simple melancholic, lyrical but memorable main theme that forms the heart of the score and receives countless variations throughout the album. Aaltio is obviously still finding his voice but his strong grasp of the orchestra is a joy to hear. The score felt a tad too big for the Finnish film about the female author, politician and cultural personality Hella Wuolijoki but captured the director's feel of film noir almost better than the film itself without resorting to all the musical clichés of the genre and is a great listening experience on album.

[Matt C 454]

War Horse - John Williams

I've only seen portions of the film, but the score plays much better by itself. Putting together a slideshow of rural England and playing a track like "Dartmoor, 1912" over it is much more effective than it is in the film.