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Showing content with the highest reputation on 05/27/18 in all areas

  1. 8 points
    I think The Adventures of Han is a delightfully fresh and fun piece that achieves quite a lot of different things at once, and in subtle ways. Connective tissue and seemingly throwaway moments actually hearken back (or is that forward?) to a lot of the action writing in the OT, but just in quick glimpses/foreshadowings. It's a sort of in medio res piece, and might seem less tightly constructed than it actually is, which is a rather apt way of having form serve as a kind of characterization. The piece is structurally who Han is as a character: Someone who suddenly finds himself in the middle of a (mis)adventure. On the surface, it's music of impulse, whim; it's designed to feel rhapsodic, even though, as has been pointed out, it's actually a kind of rondo. On the other hand, it's Williams also showcasing his less romantic, more modern style. The motivics are more concerned with rhythmic twists than long-lined lyricism. It's a less heroic, more haphazardous take on the elements that constitute Luke's theme. A sort of curveball Luke in minor mode. It's clever and catchy, and bridges the old and the new in a very elegant way.
  2. 6 points
    This isn't really related to the new theme, but rather how the old themes are incorporated in the movie. I don't really consider this spoiler territory, but just in case... Jeez, who'd have thought that about ol' JW... ?
  3. 6 points
    The only bad Star Wars score.
  4. 6 points
    I mean, for all we know, Williams saw Giacchino as a threat. He could see the potential for Giacchino to become the king of Star Wars, and so his direction to let new composers do their own thing is a vehicle to divide and conquer. Giacchino really was the next John Williams, until the last John Williams caught on!
  5. 5 points
    So I've given this a handful of complete listens by now (although I haven't yet seen the film, and don't know when I will). It's a great score, at bottom. I agree with the naysayers here that the percussion loops are cringe-worthy on first listen. However, after more listens it feels completely natural. It just takes some getting used to. (A similar thing happened for me with Giacchino's Force theme variations in Rogue One -- initially the ending phrase sounded awful but over time I grew to love it.) Williams' concert piece is top notch. While the hero theme is perhaps a bit too close to Poe's theme, it does get some great variations (the high trumpet stuff is pretty fun and seems to have been designed with Powell in mind haha!) The searching theme is the real standout to me. It's an earworm and sounds like classic Williams. While it does get some good variations on album, I was a bit disappointed to find that the "You might want to buckle up, baby" cue from the pre-release clip doesn't seem to have been released (unless I'm missing it). The action writing here was indeed a bit overwhelming on first listen, but some of it really is terrific. E.g., "Corellia Chase" is quite swashbuckling at the beginning and contains a really fun brass segment: And then that transition to the main SW theme is sublime and reminds me of JW's little Anakin's theme fanfare at the end of the podrace. Even better are the rising fanfares that follow, suddenly quieting to a beautiful violin note that fades out. It all feels wildly romantic, auguring the romantic spirit that will be truly unleashed later in the score. Before that, however, "Flying with Chewie" gives us that classic Powell pastoral "into the sunset" spirit, actually reminding me just a bit of Thomas Newman's Saving Mr. Banks. Then the romanticism kicks in for "Lando's Closet," a cue that knocked my socks off when I first heard it. By now I'll admit it's starting to sound a little stale because of too many listens haha, but the theme is just downright gorgeous. It appears KM even gave it his highest compliment -- insisting that it must have been ghost-written by JW because it was so good. "Reminiscence Therapy" is, as as its title suggests, pretty heavy on JW references, but I'd say they're all well done. It's a very entertaining cue. In particular, Powell's use of Chewie's theme to lead into the SW main theme and rebel fanfare (as seen in the Falcon pre-release clip) is utterly sublime. @TGP's description of this spot as "balletic" was, in my view, spot on. The best part is Powell's end bit of the Chewie's theme statement -- the low string swell with the harp gliss as the Falcon sways wildly. It's stunningly graceful and romantic, or, as I might call it, "epic." Hard to put into words why I like it so much but it's just so perfect. The only problem with this cue is that everything that follows it on the album is pretty underwhelming in comparison. "Break Out" also has a pretty frickin' awesome verson of Chewie's theme -- and there are all sorts of great, non-thematic short musical moments in this score (e.g. the fanfare at the end of "Marauders Arrive"). It is a little disappointing, however, that Powell's terrific themes did not get too many statements (at least on album). Some of you are probably wondering whether I think this was better or worse than Rogue One. I'd probably say slightly better, although Powell did get to build his score around some great new Williams material (on which the score relies very heavily) so that doesn't necessarily mean that Powell did a "better job" than Giacchino. Certainly, I thought Rogue One was a very good score, and I think this is too. I'd probably prefer to have a totally new composer (e.g. JNH) take a stab at the next spin-off just for the sake of variety, but Powell's work here is definitely superb.
  6. 3 points
    One area I think JP deserves a lot of credit is for smartly re-using OT music. I like how deep he reached into ANH material, the humorous in-universe version of the Imperial March, and the elongated statements of the Rebel Fanfare/Falcon Theme. Fun stuff. And I'm really glad JP didn't touch the Force theme even once.
  7. 3 points
  8. 3 points
  9. 3 points
    I love this moment, recalls the Ewok Celebration track and the bouncy brass of the Prequels. pure Star Wars. I'm also growing exceptionally attached to Chewbacca's theme, humming it almost as much as Han's theme. both get some fantastic development and variations in the score.
  10. 2 points
    Not my review: https://www.theclicktrack.net/single-post/2018/05/27/Solo-A-Star-Wars-Story
  11. 2 points
    There is no contest here. JP wrote a smarter score. But I still maintain that Gia can write a good SW score, but not with just 3 weeks.
  12. 2 points
    Broadcast starts in a couple of hours! http://classicalwcrb.org/post/film-night-boston-pops#stream/0
  13. 2 points
    Your Father Would Be Proud raises the entire R1 score to a level of perfection for me. All the themes were already good, but YFWBP just put it over the top. Such an emotional piece. It could really stand on its own as a concert piece. Also, I have a thought. It seems to me that the Rebel Fanfare is now the Falcon's theme more than actually representing the Rebels. Which makes sense given its previous history. The Rebel Fanfare shows up in bits and pieces throughout ANH, but it really gets its due during TIE Fighter Attack, which, of course, heavily features the Falcon. It appears other places, but is most prominent in the OT when TIE Fighter Attack returns to score the Falcon's harrowing journey through the interior of the Death Star II. Its next prominent quote is in TFA, when it is boldly stated when the Falcon appears onscreen for the first time during "The Falcon." And now, here, during Solo, Powell quotes it all the time when they're in the Falcon. So what do we think? Is it the Falcon's theme now? It at least seems heavily associated with the Falcon at this point.
  14. 2 points
    We're not friends anymore.
  15. 2 points
    Muad'Dib

    John Powell kicks ass

  16. 1 point
    It's still fits in with Williams' 'Rebel Spaceship Fanfare' title. In the sequel era, the Falcon is the last surviving warship of the Galactic Civil War, having played integral roles in the destruction of the two Death Stars. It's THE Rebel Spaceship.
  17. 1 point
    Its intended specifically for the spaceship at the top of the film, and than extrapolated to relate to the Rebels in general. That it is a "spaceship fanfare" would make the transition of association to the Falcon more palatable. It probably suits the Falcon more, in terms of the musical quality of the motif, than Ben Kenobi's theme suits the concept of The Force.
  18. 1 point
    Loert

    John Powell's SOLO: A STAR WARS STORY (2018)

    JW told JP that the Rebel Fanfare was a theme for the Millenium Falcon from the beginning. JP said so in an interview (can't remember which one now).
  19. 1 point
  20. 1 point
    ...I was not ready for that post.
  21. 1 point
    In the long run, there isn't much you can say with comparing this to Rogue One as while it's of course the same franchise, they're very different stories and genres. There are objective differences (Powell's score is way better orchestrated, recorded and performed by a few thousand kilometers), but a person enjoying Rogue One's musical narrative can still claim to be sane, I'd say.
  22. 1 point
    One of my favorite little cameos is the Rebel fanfare here: from 1:49-2:11
  23. 1 point
    It doesn’t resemble a demo or an alternate
  24. 1 point
    Holko

    What Are You Eating Tonight?

    Chicken cubes in bechamel sauce topped with a grated mix of port salut, smoked cheese and blue cheese (and various cooked vegetables for my parents - broccoli, carrots...), cooked in the oven until light brown at the top.
  25. 1 point
    So whose for more SW movies scored byJohn Powell with a theme by Williams?
  26. 1 point
    Bespin

    The Classical Music Recommendation Thread

    Going back to this 1963 classic Beethoven Symphony cycle. Unbeatable!
  27. 1 point
    Kasey Kockroach

    STAR WARS general thread

    I'm watching The Last Jedi for the first time. As someone who enjoyed Force Awakens then forgot about it hours later, struggled to stay awake for Rogue One, and actually had fun with Solo...I'm very confused why I'm supposed to hate this. Issues are apparent, but nowhere near as intensely so as I had long anticipated.
  28. 1 point
    The OST is the lesbian version.
  29. 1 point
    Good music videos are still being made.
  30. 1 point
    I believe they are the only two he contributed, though his influence is definitely felt in some other parts. Powell is to be commended for his singular incorporation of some of Williams' essence in this score, to enhance his own already distinct style and technique.
  31. 1 point
    Nick Parker

    Video Game Music

    If you'll permit me, I'd like to share my first recordings I ever made, about five years ago. These were from a session I did with one of my best friends. We took a couple video game tunes we enjoyed and decided to do a free improvisation on them. Here's the first, from the NES game Startropics. It took us a little bit to warm up, so to speak, so I prefer it to start around this time. I might also recommend that you end at 6:57. I like the material that comes after, but I'm concerned it runs too long. EDIT: Crap, the time URL on the first video isn't embedding properly for some reason. In that case, please start at 3:38. And here's one from Ocarina of Time. These were fun to do, and I hope you enjoy these performances! (And now you know my dark secret...Nick Parker isn't my actual name....)
  32. 1 point
    Stefancos

    Headphones

    Word!
  33. 1 point
    Nick Parker

    Headphones

    "Hey man, we gotta go back to base." "You serious? We about to pull the biggest haul in our lives, whachu need from base right now?" "C'mon, man, you know." "For real, those damn Hello Kitty phones?" "C'mon, man, you know I can't pull anything without my Hello Kitty phones." "Yeah man, I feel you. While you're in there, grab me mine, aight?" This post is not sponsored or endorsed by Beats or any affiliated company.
  34. 1 point
    I noticed that too, maybe it's the more straight-forward structure of it? The leaner orchestrations also give it the vibe of a smaller TV orchestra. Somebody should edit it to be the title sequence for a cheesy 80's spin-off show titled "Han and Chewie" or "Han Wars".
  35. 1 point
    Holko

    Solo: A Star Wars Story (Ron Howard 2018)

    Just got back. It's meh. Not bad, but nothing great either. Currently the score is the only standout I can think of, and that's mostly because I listened to it many times beforehand. All the action got really overwhelming, then I got really annoyed at the stuff at the end. The only part I really laughed at was the Teräs Käsi reference. What I kind of liked was Enfys Nest, and the early Corellia and war segments - I always lamented that we never really got to see what everyday life was like under the Empire (apart from the bastards closing Bea Arthur's cantina), which would show us why the Rebels are doing what they're doing. Overall, it had the charm, looks and emotional level of the Jedha skirmish crossed with Baze and Bodhi's deaths. If this is what Star Wars Stories are going to be like, I don't want Disney churning them out every two years, I may even stop going to them.
  36. 1 point
    RIP captain canaday
  37. 1 point
    You mean the more commonly called 'Death Star Motif'? It was ressurected by GIacchino in Rogue one so here is just "re-used"
  38. 1 point
    The music was great in the film. I had listened to the OST before hand so I knew what to expect. I was quite upset when I noticed some folks in the theatre grimacing when the awesome gang theme and choir showed up. It's different, but I absolutely love it and it's originality. The theme is in there once every two minutes, but it's so great it's hard to say they overused it. It was very nice. I love this score.
  39. 1 point
    John

    Rank the Star Wars Movies

    Twelve year old bump. 1. The Empire Strikes Back (5 out of 5) 2. Star Wars (5 out of 5) 3. The Force Awakens (4.5 out of 5) 4. The Last Jedi (4 out of 5) 5. Return of the Jedi (4 out of 5) 6. Solo: A Star Wars Story (3.5 out of 5) 7. Rogue One: A Star Wars Story (3 out of 5) 8. Revenge of the Sith (2 out of 5) 9. The Phantom Menace (1.5 out of 5) 10. Attack of the Clones (1 out of 5)
  40. 1 point
    Stefancos

    Champions League Final

    Gareth looks lost in Spain though, and miserable. He wants to play. He would do well in Germany.
  41. 1 point
    I've started watching The Orville and gotta say it's much more entertaining than anything Star Trek!
  42. 1 point
    Shut the fuck up, Richard!
  43. 1 point
    I stand corrected, filmmusic. More than rhapsodic in the strict sense, I was referring to free-form type of structures usually employed by JW when writing concert suites from film material, but you're definitely correct pointing out the rondo-like structure of the piece.
  44. 1 point
    TownerFan

    "Monsignor"

    There is indeed some religioso writing in a few cues, such as "Audience with the Holy Father" and "Santoni's Compassion". Some of those gestures were also used in the "Death of Yoda" cue in ROTJ a year later. Also, the motif in "Santoni's Compassion" which develops from the Gloria material always reminded me a bit of Andre Previn's Four Horsemen of the Apocalypse main theme.
  45. 1 point
    That one was either my 3rd or 4th time (stupid memory, lol) ... saw Oasis a couple of times and Liam in his Beady Eye days, too. 'Who Built The Moon?' is probs the High Flying Birds' best album to date, IMHO.
  46. 1 point
    and when williams retires from the saga, he will want the classical sound to continue or not?
  47. 1 point
    PrayodiBA

    John Powell kicks ass

    Tracklist for Hubris: The Prize Is Still Mine (14:29) A Prussian Requiem - I. Introduction To Moltke - II. The March (4:50) A Prussian Requiem - III. Beware The Bear (2:06) A Prussian Requiem - IV. We, The Glorious Dead - V. Easy (6:27) A Prussian Requiem - VI. The Papers Of Peace - VII. Let The Rails Roll - VIII. Victory Is Ours (9:32) A Prussian Requiem - IX. My Reasoning (3:32) A Prussian Requiem - X. The Gift (9:51) Requiem Addendum (7:26) http://www.hans-zimmer.com/index.php?rub=disco&id=1639 another hour of Powell's music will face to face with Giacchino's Fallen Kingdom
  48. 1 point
    Saw the film yesterday. It was fun alright but not extremely fun or truly interesting. Nice that some lore from the old expanded universe was made canon. the different actor would have worked better if han was below 18 years of age but well. Would have preffered a better look alike but in the end it doesnt matter that much. The score i did not like very much, the Williams theme is nice but i think these spin off movies are going to ruin the musical integrity of the saga... as new themes are being written fir characters that do not have themes in the main saga...and themes assoiciated with some tings are being reused for other things/characters. Why is williams now so trigger happy (or let others) with the star wars main theme (luke's) and he barely used it the prequels...and does not use it for Luke in TLJ... While i didnt like the score that much (a little RCPish for my tastes, but not that much thankfully), i dont mind different composers tacking the spin off films and doing their own thing ( i can see williams preferring that over having someone copying his style but i dont really believe he was upset with giacchino's work). But i prefer what giacchino did for rogue one trying to retain the same musical. Sad Williams did not thought to write a theme for him and sanction the re-use of OT music in the film. Rogue one needed a lot more of rebel fanfare (i dont know why is was not used more really) and imperial march. But giacchino went the logical way of not using the later for the empire per se, because it does not appear that way in a new hope...and then later in everywhere else every other composer ends using it even as the "real" hymn of the empire.....
  49. 1 point
    It’s the laser wands she stole! And don’t get me started on George Martin stealing the loveable imp. Willow may very well be the most influential fantasy film of all time.
  50. 0 points
    I am! I'd normally object to J. Williams contributing themes, but I really love what Powell did with it. He pretty much made it his own thing and played around with it like any composer would their own main theme. I don't like the Williams version as the orchestration and performance just sounds really stiff and bloated (almost TFA-ish in terms of how unpleasant the recording is), but really, in fairness, it's just a demo. A rough draft Williams did to give Powell a basic idea as to what he wanted. It'd be very different, certainly a bit more refined, if it was for the actual film. I just wish it wasn't on the album as it's space that would have been better left for more music from the actual score. I deleted it as soon as I could and don't need to hear it again.
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