8 replies to this topic

[Blumenkohl]

Almost three years ago, you all may recall that I said some rather harsh words to Chris Tilton in the Sherlock Holmes thread. I basically told him, probably more harshly, that he was writing a baby version of Michael Giacchino's music. And I still stand by that assessment of his scores from that time (Black, Mercenaries).

The music was enjoyable, but at the end of the day you couldn't shake the feeling that Giacchino had sort of become an orchestral equivalent of Hans Zimmer with his minions or collaborators out there writing music largely in his voice. And just like Zimmer and co, daddy Giacchino was writing the main themes and the kids were playing with it, ala Black and Mercenaries.

Fast forward three years to today, and I decided to download the Fringe season 3 soundtrack on iTunes last night. I liked the samples so I went for it and gave it a listen on the way to work today. Let me make clear that I've seen a couple of episodes of Fringe, and I don't care for it much. So this is an assessment of the music as music.

So a curious thing happens when a minion begins to break away from his mentor and overlord. Finding one's own voice is the biggest challenge in just about anything you do. And that's usually what results in a whole lot of suck.

But not here.

What I hear in the Fringe 3 Soundtrack is a composer slowly developing an identity independent of his mentor, and it's exciting to hear. It's not all perfect, and there are Giacchinoisms still around, but the incidence rate of thinking you're listening to a Giacchino score have significantly gone down. But they are still there, like the Lost opening of "Reciprocity." I think this is the kind of stuff that'll disappear as he gains more independence from his current company of peers.

But overall the score develops really well, and while it is simple, it's not simple in the junk food way your generic Hollywood scores are today. It's thoughtfully simple, in the way only really talented composers can do. And it oozes a consistent atmosphere and a sense of storytelling, which is also something lacking in most other scores. Really nice integration of electronics into the mix as well.

So Chris, if you are reading this, keep up the good work. I think there's still more work to be done to differentiate yourself from the Giacchino gang. But you're on your way. So keep it up, you've got a lot of potential to be a great, so don't waste it writing music with someone else's language!

Oh and score rating: 8/10. Buy it!

[Jason LeBlanc]

Tilton's never sounded like a Giacchino clone to me. Do you have the Fringe Season 2 OST?

My favorite Tilton music is his score to Alcatraz. It's the best TV scoring since LOST! I REALLY hope it gets an official release, which is probably almost 100% unlikely considering the show was cancelled

[Wycket]

The Cape got a 2CD release. I doubt much is impossible these days with scores.

[Richard Penna]

Tilton's never sounded like a Giacchino clone to me. Do you have the Fringe Season 2 OST?

My favorite Tilton music is his score to Alcatraz. It's the best TV scoring since LOST! I REALLY hope it gets an official release, which is probably almost 100% unlikely considering the show was cancelled

I saw the first two episodes of Alcatraz (first episode... hmmm. Second episode... yes, it's absolute tosh) and I don't remember a note of the music. I don't even remember the main title music, which isn't greatly promising.

You can always hope for a promo I guess.

[Wycket]

Yeah, I really wasn't struck much by the music personally, though that doesn't mean it will never get a release. I can think of music from plenty of shows I'd rather have before it though.

[Koray Savas]

Tilton's never sounded like a Giacchino clone to me.

Ditto. His action music is considerably distinct to my ears.

[Stefancos]

I prefer Chris P. Bacon...

[Blumenkohl]

Me too. Crispy Bacon is delish.

[Jason LeBlanc]

The Cape got a 2CD release. I doubt much is impossible these days with scores.

Bear McCreary had a huge established relationship with LLL, and is a bigger name that Tilton and Datzman. Plus it had the backing of Universal TV behind it, Alcatraz is Fox TV.

I saw the first two episodes of Alcatraz (first episode... hmmm. Second episode... yes, it's absolute tosh) and I don't remember a note of the music. I don't even remember the main title music, which isn't greatly promising.

Oh, the main title music was absolutely nothing special at all. The scoring was best in the action scenes, like the chase towards the end of the pilot. The show wasn't great, but the scoring was