5760 replies to this topic

[Incanus]

The Village by James Newton Howard

The Happening by James Newton Howard

[publicist]

L. A. NOIRE / Andrew Hale

Surprisingly potent orchestral jazz/noir score on the trail of Goldsmith (L. A. Confidental) and Grusin (Mulholland Falls). While the abundance of overly short tracks sucks, you can condense it down to a perfect 35-minute album with 3 songs recorded for the game. The orchestrations are classy and the sometimes impressionist jazz vignettes seem extravagant in a year when SNOW WHITE AND THE HUNTSMAN and SPIDER-MAN are the summer's musical all-time high.

[Miles Prower]

Creepshow (John Harrison)

Objectively this is a 2/5 album, but I love the film to pieces, so it's 5/5. :-P

[crocodile]

Some recent score I listened to:

Moon by Clint Mansell
Taras Bulba by Franz Waxman
The Missing by James Horner
Star Trek II - The Wrath of Khan by James Horner
Star Trek IV - The Voyage Home by Leonard Rosenman
Star Trek VI - The Undiscovered Country by Cliff Eidelman
The Lord of the Rings by Leonard Rosenman
John Carter by Michael Giacchino
Romeo and Juliet by Nino Rota
The Aviator by Howard Shore
City Hall by Jerry Goldsmith
Predator by Alan Silvestri

And some Stravinsky ballets as well. And bits of Hook.

Alien by Jerry Goldmsith

Karol

[Incanus]

Good stuff!

Minority Report by John Williams

[crocodile]

I'd also like to point out Moon is Clint Mansell's finest work. I really, really enjoy this album.

Karol

[Incanus]

I have to take a listen. I have not explored that much Mansell outside Requiem for a Dream, which to tell you the truth did not impress me much. But exploring relatively unknown composers to me is always interesting.

[crocodile]

Here's the long final track which contains most of the material used in a score. It's not a traditional film music, obviously, but works very well imo. I prefer him to use something from his actual musical background, as opposed to his attempts and string quartets and ballets (even though I like Black Swan).



Karol

[Koray Savas]

The Fountain is his best, for me.

[tannhauser]

Desplat - Harry Potter and the Deathly Hallows part 2

I don't think Desplat's Potters get much love round here, but I'm very fond of both of them, especially part 2, placing them miles ahead of Hooper's and Doyle's efforts. DH2 has I feel the best use of Hedwig's theme post-Williams, and he does some interesting things with it, it's never just there out of routine and necessity like it seems to be in some of the other films. Lily's theme is gorgeous and heartbreaking and a really solid emotional core to the score. The other major new theme which I call the "Statues" theme, while on first listen seemed quite weak, really grew on me, and the way he modulates it into the major key in "A New Beginning", with Hoopers bittersweet harmonies underneath, gets me every time. I think it's a really strong score which fits the film perfectly, and is a worthy finale to the franchise.

Does anyone else love these scores?

[crocodile]

The Fountain is his best, for me.

I warmed up to his work considerably. And you can take some credit for that, Koray.

Karol

[Chaac]

I'd also like to point out Moon is Clint Mansell's finest work. I really, really enjoy this album.

Karol

I love that CD. Great in the film as well.

[Incanus]

Capricorn One by Jerry Goldsmith

[Koray Savas]

The Fountain is his best, for me.

I warmed up to his work considerably. And you can take some credit for that, Koray.

Karol

Glad to hear it, although I don't remember what I did lol

[KK.]

The Fly by Howard Shore

This is one of my favourite scores by the composer. I absolutely love the brooding romanticism that this score is drenched in. And the operatic constructs that Shore so effectively employs really brings out an overarching sense of a tragedy (so much awesome doom and gloom). And I absolutely love the larger than life, melodramatic statements of the themes, especially when they explode in awesome cues like The Finale. And its also nice to hear where some of the Mordor constructs came from This is certainly one of the composer's finest.

[Miles Prower]

The Fly by Howard Shore

This is one of my favourite scores by the composer. I absolutely love the brooding romanticism that this score is drenched in. And the operatic constructs that Shore so effectively employs really brings out an overarching sense of a tragedy (so much awesome doom and gloom). And I absolutely love the larger than life, melodramatic statements of the themes, especially when they explode in awesome cues like The Finale. And its also nice to hear where some of the Mordor constructs came from This is certainly one of the composer's finest.

I agree with everything you just said. Always had Cronenberg's movies and Ed Wood on as a kid, so I was a fan of Howard Shore before LOTR! (He said with snarky faux-hipster voice ) It's just great music.

Listening to The Wrath of Khan right now... man, I'm enjoying it so much. It's like Elfman on Batman, you can feel Horner bursting with excitement at getting paint on a large canvas (a metaphor he'd surely approve of). I get the same vibe from Krull.

[tannhauser]

The Fly by Howard Shore

This is one of my favourite scores by the composer. I absolutely love the brooding romanticism that this score is drenched in. And the operatic constructs that Shore so effectively employs really brings out an overarching sense of a tragedy (so much awesome doom and gloom). And I absolutely love the larger than life, melodramatic statements of the themes, especially when they explode in awesome cues like The Finale. And its also nice to hear where some of the Mordor constructs came from This is certainly one of the composer's finest.

Ditto. It's a real treasure in his oeuvre.

[Hlao-roo]

A Shine of Rainbows - The Henry Girls

[Incanus]

The Fly by Howard Shore

This is one of my favourite scores by the composer. I absolutely love the brooding romanticism that this score is drenched in. And the operatic constructs that Shore so effectively employs really brings out an overarching sense of a tragedy (so much awesome doom and gloom). And I absolutely love the larger than life, melodramatic statements of the themes, especially when they explode in awesome cues like The Finale. And its also nice to hear where some of the Mordor constructs came from This is certainly one of the composer's finest.

I think I have to give it a listen after a long long while. It is a great score, especially showing strong dramatic sense and Shore's unique orchestrational skills so early on. And as mentioned most Shore's scores prior to LotR offer small hints at the grander architecture of that trilogy of scores, either motifs in earlier or embryonic forms or stylistic traits showing up gradually and finally coming together for LotR where as the composer said he was ready, utilizing all that he had learned in his career.

[Faleel]

Star Trek - Michael Giacchino

I am starting to enjoy this now, especially in complete form, Hangar Managment is my favorite cue so far, Spocks theme is my favorite theme, the motif in Jehosefats is my least favorite.

[Matt C]

Does anyone else love these scores?

I like Part 2, but I love Part 1... it's gotten as much time in my CD player as Williams' Azkaban score. Everything about that score just clicks, and there's a lot of nuance and detail in the writing itself. I find it overflowing with thematic material, and the action cues are just amazing. I know other users don't like the scores because 1) they don't like Desplat or 2) it's not scored by Williams.

Part 2 has some truly great moments, but Part 1 is just... beautiful. It has his fingerprints all over it, and that's a good thing for me.

[Miles Prower]

Aliens (The Deluxe Edition)

It's derivative of Alien and Horner's two Star Treks. Who cares? The action music is great.

The percussion-only tracks are also a lot of fun. I'd totally march into battle with the perc-only Ripley's Rescue playing.

[Incanus]

Does anyone else love these scores?

I like Part 2, but I love Part 1... it's gotten as much time in my CD player as Williams' Azkaban score. Everything about that score just clicks, and there's a lot of nuance and detail in the writing itself. I find it overflowing with thematic material, and the action cues are just amazing. I know other users don't like the scores because 1) they don't like Desplat or 2) it's not scored by Williams.

Part 2 has some truly great moments, but Part 1 is just... beautiful. It has his fingerprints all over it, and that's a good thing for me.

I tried to like these two scores, I really did but they just don't click with me as strongly as with some. In part 1 no matter how many themes there are, those do not sound strong, memorable or particularly emotional to me but rather detached and minimalistic meanderings. To his credit Desplat does sometimes capture the spirit of Potter music spot on.

Part 2 is a bit better on the emotional department but lacks the sense of powerful finale and Desplat had to give in to the modern blockbuster scoring cliches even more here.

And of course many fans would compare this and every other Potter score to Williams' scores. It is quite natural. But none of the composer who came after Williams, in my opinion, had the same ability to write so clear, apt or memorable thematic identifications for these stories even though they might have other fortes.
I might try and see if these two would resonate a bit better now after some water has flowed under the bridge and I have gained some distance to them both.

[Hlao-roo]

I don't think there's another composer I've tried as hard to like as Desplat. I appreciate what he brings to the table, but a consistent emotional connection with his music has been elusive.

[Marc]

[Incanus]

King Kong by James Newton Howard

[ZackR]

I love this score. The rejected one is great too but I really love Kamen's.

[publicist]

I tried to like these two scores, I really did but they just don't click with me as strongly as with some.

May have something to do with the fact that they are some of Desplat's less successful efforts. Listen to NEW MOON or GOLDEN COMPASS to hear strong post-2000 blockbuster scores.

[Ren]

Part 2 is a bit better on the emotional department but lacks the sense of powerful finale and Desplat had to give in to the modern blockbuster scoring cliches even more here.

Can you please explain, I'd love to hear your opinion on modern block buster cliches as its something I teach about.

[Koray Savas]

I don't think there's another composer I've tried as hard to like as Desplat. I appreciate what he brings to the table, but a consistent emotional connection with his music has been elusive.

I'm sure you've heard a lot of his work, but my personal favorites are Fantastic Mr. Fox, The Curious Case Of Benjamin Button, New Moon, Moonrise Kingdom, The Ghost Writer, and The Tree Of Life.

The Ides Of March and Extremely Loud And Incredibly Close are good ones too. I wasn't really a fan of his until he teamed up with Fincher.

[ZackR]

Wings (1927) La La Land

I am really surprised by how much I enjoy this. Definitely recommended and I am afraid this is one many might overlook. Check it out.

[crocodile]

I tried to like these two scores, I really did but they just don't click with me as strongly as with some.

May have something to do with the fact that they are some of Desplat's less successful efforts. Listen to NEW MOON or GOLDEN COMPASS to hear strong post-2000 blockbuster scores.

They don't click with me either. Some parts I find interesting, especially some subtle nods to William's style. But as a whole I prefer Desplat to express himself in his own voice. The Golden Compass would be an excellent example.

Karol

[Chaac]

Wings (1927) La La Land

I am really surprised by how much I enjoy this. Definitely recommended and I am afraid this is one many might overlook. Check it out.

I'm looking for the film. I didn't know it had an original score.

[Wojo]

Wings (1927) La La Land

I am really surprised by how much I enjoy this. Definitely recommended and I am afraid this is one many might overlook. Check it out.

I'm looking for the film. I didn't know it had an original score.

It is on DVD and BR at Amazon, about $13 and $16 respectively.

I bought the LLR score but haven't gotten around to taking the wrapper off. I'm hoping that I can use my digital camera for a serviceable photo of the signed liner notes for album art, because my flatbed scanner is not with me at the moment.

[Matt C]

And of course many fans would compare this and every other Potter score to Williams' scores. It is quite natural. But none of the composer who came after Williams, in my opinion, had the same ability to write so clear, apt or memorable thematic identifications for these stories even though they might have other fortes.

That is true to a degree. As soon as it became apparent Williams wasn't returning for a fourth go-round with Potter, I figured it's best for people just to judge the scores on their own merits (as hard as it sounds), and not think "this would be so much better if JW was scoring this!" -- although I did think that when I watch the fifth film. But I think Desplat was a good choice after being Doyle's bombastic score for the fourth and Hooper's TV-movie scores for the fifth and sixth films.

There isn't much in the way of minimalism in Desplat's HP scores. There are a few moments here and there ("Harry and Ginny", "Lovegood", "The Exodus"), but the orchestra is pretty dominant. For me, Desplat's music isn't detached, it's subtle and refined -- which I appreciate. But when the emotions really kick in, like "Farewell to Dobby" and "The Resurrection Stone" -- it hits pretty hard.

I don't like all of Desplat's work -- some of it is overly cutesy (Julie & Julia) or just too minimal like Carnage and La prophet.

[Koray Savas]

Moon Breakers by Bear McCreary

Awesomeness.

[Jason LeBlanc]

Hmmm, haven't heard of that one before. is it new or old?

[Wojo]

Brand new, Bear just announced it on his Facebook hours ago.

Strike that. June 19, but I don't know if Bear announced it before about one hour ago.

[KK.]

Samples, for those interested:
http://www.bearmccre...ers-soundtrack/

[Wojo]

Hmmm. If the game is free on Steam, I wonder if I can pull the soundtrack files from it and save $3.96...