5749 replies to this topic

[alicebrallice]

They sell John Williams bags?

 

if only, eh? 

 

She means she got the bag itself from H&M.

 

nope.

 

NP:

 

[Ro Sajooc]

Soul Of The Ultimate Nation by Howard Shore

[crocodile]

Evil Dead

Independence Day

Warriors of Virtue

 

Karol

[Jason LeBlanc]

Thank you, spotify!!

 

 

SimCity by Chris Tilton

 

Great stuff to listen to at work.  i stopped before the Night Versions started, which still makes a great presentation.

 

Escape From Tomorrow by Abel Korzeniowski

 

Super fun, I want this guy to make more stuff!

 

Die Hard 5 by Marco Beltrami

 

Alright, I admit it - this is kind of a good score.  I quite enjoyed the new variations on Kamen's theme, and the action music is relentless fun.  But man, it was hard to listen to at work - the piercing trumpets at full volume really cut through any other noise in a room.

[Faleel]

On Her Majesty's Secret Service - John Barry

Best Bond Score Period.

[Incanus]

Agatha Christie's Poirot by Christopher Gunning: Full review coming soon-ish in the Reviews section. But let's just say here that it is pretty wonderful music.

[alicebrallice]

NP:

 

[Koray Savas]

How is that? Never knew Debney did a Sims game.

[alicebrallice]

I'm into anything that's even a little bit medieval-influenced, so I listen to it quite a lot. nothing extraordinary, I usually just have it in the background while I'm doing other stuff, but that being said I think it's definitely a sweet and enjoyable little score. worth checking out, I'd say!

 

[gkgyver]

As soon as I point towards Alice's avatar, she changes it .... something fishy is going on! 

[crocodile]

Frozen Planet

Moby Dick

 

And Sibelius 4th symphony (just came back from the concert).

 

Karol

[gkgyver]

Listening to Star Trek right now.

It really is a great score. I like the variations of the main theme a lot. It's a pity Giacchino didn't create a secondary main theme for Into Darkness. It has nothing to do with the quality of his Star Trek main theme, it's the simple fact that he uses this as his only main theme in the second film in a row. You can't even do that with Goldsmith's theme. It becomes tedious.

[Jason LeBlanc]

Yea, it was nice that Horner had a secondary main theme for Khan that he could turn into the main theme of Search.

[crocodile]

Which one are you talking about? The Spock/Kirk theme?

 

Karol

[Jason LeBlanc]

Basically the second half of the long main theme

[gkgyver]

Such a theme is exactly what STID needs.

Well, Giacchino's effort may be slightly dissapointing compared to 2009, but I don't see someone better for it.

[lonzoe]

 

 

 

 

[Richard]

On Her Majesty's Secret Service - John Barry

Best Bond Score Period.

 

VERY. WELL. SAID!!!

[Faleel]

Basically the second half of the long main theme

The Enterprise theme?

[crocodile]

The Adventures of Tin-Tin

War Horse

Lincoln

 

Fire Water Paper by Elliot Goldenthal

 

Karol

[Faleel]

Batman Forever - Goldenthal

Tomorrow Never Dies - Arnold

Independence Day - Arnold

Alien - Goldsmith

Aliens - Horner

Batman 1989 - Elfman

[crocodile]

Quite a nice lineup, mister.

 

Karol

[Faleel]

Wasn't overly impressed by the Alien scores, but it was my first listen. some of Aliens reminded me of this:

[crocodile]

None of the first three Alien scores are necessarily what you would consider to be an easy listen. But they're all fascinating and intelligent. But yeah, it takes time to get most out of them, especially that they're really difficult music to "enjoy". For me, the landing cue from Goldsmith's score might be one of the very best things he's ever written. It's as good as s-f music gets.

 

 

Karol

[Incanus]

Alien is indeed a fascinating score. It is beautiful how Goldsmith slowly peels away the wonderment of space and descends into this completely alien and strange soundscape that is unsettling and inventive and most of all scary. The music first draws you in and then proceeds to scare the living wits out of you. And despite the score not being easy on the ears, the whole musical world the composer builds is so compelling you can not but be impressed.

 

And the sequels do that to a certain degree, containing challenging writing but of course the novelty of the horror is diminished a bit and other elements take over, namely more violent and viscious action writing.

[publicist]

 

PAIN & GAIN - Steve Jablonsky

 

Largely electronic pop score with some entertaining pieces (see above). On the whole, there is much too much directionless droning and not enough musical content/development to even recommend it as a dubtape.

 

 

SIDE EFFECTS - Thomas Newman

 

Newman in safer havens again. After the not wholly agreeable slambang shenanigans of SKYFALL, here comes Newman doing what Newman does best in this genre, namely developing a distinctive percussive sound with several layers of interest running throughout. Lots of quiet and loud tinkling of bells and triangles and spherical guitars in minimal mode thrust forward with unease (befitting the Soderbergh thriller i suppose), though there are neither obvious themes nor obvious set pieces to hang onto, apart from a rising and somewhat curious fragment that is best heard in SALT WATER.  So it's strictly for fans of Newman's more peculiar style, but as such, it's hard to resist.

[Matt C]

The Forbidden Kingdom - David Buckley

 

The Chinese instruments -- paired with simple but harmonic orchestral writing -- make this RC/MV score very enjoyable. It doesn't have that sheer power of Badelt's The Promise (partly due to the smaller orchestra), but in its own way it's more broadly appealing. The score is at its best when it's in its mystic dramatic mode, especially in "Her Destiny Was Written" and "The Seeker of the Prophecy"... and the final cue "As One Tale Ends" is a great finish to the album.

 

Fun stuff.

[publicist]

 

STAR TREK INTO DARKNESS - Michael Giacchino

 

A closer inspection of Giacchino's new score solidifies the general impression of it in the movie: like Abrams' movie, it has a certain flair for the BIG moments but is disappointingly shallow  in connecting all the dots. Giacchino has proven that he's adept at solid orchestral writing so his dependence on very simple (and very tiring) rhythmic devices comes as a surprise for such a kinetic venture. The theme from 2009 is proudly paraded around without doing anything that it didn't do the last time, only Spock's theme gets some serious workout in a fight sequence and the new thematic material tends to be so mousy that your enjoyment largely depends on how you like the themes from the first film. Obvious deviations from the established orchestral formula are LONDON CALLING and KRONOS WARTET, one which satisfies itself with doing an uninspired Philip Glass impersonation, the other giving us a war cry similar to countless video games and last year's DARK KNIGHT RISES (it's symptomatic that the track titles are far more inspired than the actual music).

 

So while it's far from being a disgrace within current blockbuster parameters it seems to lack anything that rises above dutiful and a bit joyless handiwork. 

[alicebrallice]

NP:

 

[KK.]

@ Publicist, although I'll likely get burned alive for it, you've perfectly expressed my thoughts on the score. It's surprising (and perhaps a bit scary) how spot-on you articulated them.