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Showing content with the highest reputation on 04/06/22 in all areas

  1. Hello there! Whew. There's a lot goin' on there. Maybe it's the garbage audio quality, but from here it's like "Scherzo for X-Wings" had a mutant baby with "In the Moonlight." This one's definitely a grower for me. Maybe he'll revise it.
    18 points
  2. I want to destroy these people who talk through the entire performance.
    13 points
  3. Love it!! It's definitely less melodically unified, and a bit more haphazard in general, than JW's Overture to the Oscars. But it's chock-full of wonderful Walton influence and delightfully exuberant. A real joy to listen to -- reminds me why JW is my all-time favorite composer. A bit of American Journey melded with Overture to the Oscars and For New York/To Lenny. Just magnificent. The quote of "Hooray for Hollywood" at the very end is so cheeky! JW blends it in so well. (Did anyone else catch it? I'm pretty sure it's there though maybe I'm imagining it.)
    9 points
  4. I can acknowledge the patriarchal society we live in and especially in film music. However, if this score was written by a man, we would've roasted him the same. The sus activity from Disney and the sus performance of this score are the issues at hand, not the composer's gender.
    8 points
  5. People had suspected due to the recent takedown notices, and now it's officially on the Disney Music licensing platform. Releasing June 8th. Original Album Release Date 06-08-2022 Total Duration 42:11 Genre Soundtrack Copyright Year 2022 Copyright Notice Lucasfilm Ltd. 1. Knights of the Old Republic II - Main Title 2. Peragus II 3. A Dark Awakening 4. Who's on Board? 5. First Battle 6. Nar Shaddaa 7. Iziz 8. Ebon Hawk Damaged 9. Citadel Station 10. Battle Stations! 11. Korriban 12. Telos 13. Combat 1 14. Tomb Interior 15. Battle the Monster 16. Droid Planet 17. Hidden Academy 18. Ebon Hawk Normal 19. Palace Grounds 20. Peragus Dark 21. Polar Regions 22. Dxun Jungle 23. Iziz War 24. Kreia's Darkside 25. Academy Ruins 26. Battle 4 27. Final Battle 28. Planet Core 29. Knights of the Old Republic II March https://www.disneymusiclicensing.com/album/MTk2Mzg2My0wNWRkYjQ
    8 points
  6. I'm getting spoiled by a new JW composition every week.
    8 points
  7. What do you mean? You don’t think it’s strange that they waited so abnormally long to announce her? (They even announced the Andor composer before her, and that show comes out even later.) You don’t think it’s strange that her Obi-Wan theme was replaced at the last minute with a theme by John Williams? You don’t think it’s strange that she wasn’t allowed to adapt JW’s theme in her score, and instead one of his decades-long collaborators Bill Ross was hired? You don’t think it’s strange that Bill Ross apparently ended up doing way more than simply integrating JW’s theme, to the point that he even scored big sequences like the Obi-Wan vs. Vader duel? You don’t think it’s strange that Ross gets a big listing all to himself in the credits, right after Holt’s name, rather than appearing later with the additional music composers? You don’t think it’s strange that this is a show full of legacy characters set between the PT and OT, and yet not a single JW legacy theme has shown up yet? Come on, there are way too many things out of the ordinary here. Frankly I find it ridiculous that you could think the desire to make sense of all this, is rooted in sexism. We would be just as curious (and upset at the problems with this score) if this were a male composer.
    8 points
  8. Has this been posted yet? Disney just officially released a KOTOR 2 soundtrack. https://www.disneymusiclicensing.com/album/MTk2Mzg2My0wNWRkYjQ
    5 points
  9. i feel like there has been repeated behind the scenes infighting about how the score is supposed to sound like
    5 points
  10. I'll just rephrase what I said before. I have absolutely nothing against Holt - I'm sure she'll make a decent name of herself eventually - but this was most definitely not the time to be experimenting with new talent. As a lot of you said, with The Mandalorian it made sense to go off-tradition and the results were mixed but worked well overall. This, however, when you're dealing with legacy characters in a gap between two massive legacy 'eras'... it should have been fucking obvious what the requirements are.
    5 points
  11. And the music was much better then.
    4 points
  12. I like it! And boy, it was way longer than I thought it would be! This will make a nice opening track on some future Williams album, hopefully!
    4 points
  13. I love this piece. Has elements of the style of pieces like the Esplanade Overture (which is one of my favorites), but with aspects of Williams more recent style. I love his playful side, and the piece really has some nice complexity. Not to cause unnecessary arguments, but it does make a difference when Williams has time to meticulously work though a piece versus a hurried two-week assignment. A studio recording would bring out all those contrasting lines so much better--every part of the orchestra really gets a chance to shine. Those last 40 seconds are like every Williams' big endings in one--damn. Very happy it a bit longer than most of his occasion pieces too--very satisfying overall.
    4 points
  14. And still continuing my journey of refamiliarisation and discovery:
    4 points
  15. 4 points
  16. What is the point to go to a concert and talk through it?. And yes ' Hooray for Hollywood' quote was nice in the ending.
    4 points
  17. what a random but timely bump for me, I listened to my new copy of the OST album today (I finally got the jewel case version) and quite enjoyed it! I hadn't listened to any version of the score in a while. That Fathiers track is good, yea, and I also really like A New Alliance and Chrome Dome
    4 points
  18. I think, the theme for Vader itself sounds very good, the problem is that there is already a better one.
    4 points
  19. I really enjoy all SW scores composed by aother composers, even Joseph Shirley on BooK of Boba Fett did a good stuff. But this is the first time that I am extremely disappointed. There is nothing, it's generic like all TV shows. The Theme of Obi-Wan by Williams is great, I love it, but it's only on the first episode. A new theme for Leia ? Really ? And Vader too (a brass thing with 2 notes) it's not there have allready 2 of the best thèes of musical film history. I don't understand what's happenning here. Next time, call Stephen Barton and Gordy Haab instead of the last marvel composer in the move...
    4 points
  20. You’re not wrong @Jurassic Shark I love Star Wars. Full on adoration. I love Rise of Skywalker. I love Episode I. Sometimes I can’t help myself but dabble in some discussion. But when I find myself having to defend, I get exhausted and withdraw. I just have grown so tired of getting nowhere with some of that kind of thing. If I could have back all the time I’ve spent on the Internet debating the Prequels, I’d be a happy man.
    3 points
  21. Definitely! I hear some echoes of ‘The Adventures of Han’. There’s what sounds like a jazzier version of its rapid-fire trumpet passage, and the ending timpani solo is also quite similar.
    3 points
  22. Am I mistaken, or has Lucasfilm stopped doing novelizations after Rise of Skywalker? I ask because this is where gaps in logic can sometimes be made more tolerable. If we had authors getting inside the heads of the characters, we could easily accept these little inconsistencies that hang up our enjoyment. I hereby submit two excerpts from the non-existent Obi-Wan novellization: And...
    3 points
  23. I always enjoy seeing a young Patrick Doyle in Kenneth Branagh’s Henry V. In case anyone does not know this already, he is the English soldier who starts singing his own setting of non nobis Domine at 3:30 in this clip (he can also be seen at 1:45): I have fond memories of a concert he did with the London Symphony Orchestra to raise money for Leukaemia Research (now Blood Cancer UK) at the Royal Albert Hall a few years ago. My sister was undergoing treatment for leukaemia at the time and it gave us a real boost.
    3 points
  24. I love the piece, had the classic hollywood sound through the whole thing with the little special ending. One can only hope they release a recording of this with Soundings and maybe a few others...
    3 points
  25. I'll answer, since I also consider JW's work for the first two trilogies superior to his work for the third trilogy. It's not really suspicious if you take into account that the movies for which the scores were written are separated by decades, and in the mean time JW has both grown older and changed his style. It's no coincidence that Superman and E.T. are stylistically much closer to the original SW trilogy than the last SW trilogy is, as they were written in the same years. It's totally possible to compare JW's works, taken as pieces of music independent of their movies, with other musical works written by other composers and for different media. In this regard, I believe JW absolutely deserves to be included in the list of the great composers (not just "movie composers") of all time, the list that includes people like Bach, Mozart, Beethoven, and so on. I even consider him superior to several of the great "classical" (in the broad sense) composers. This does not mean that every single 5-minute piece of his output is a masterpiece, or that everything he wrote is at the same level. By the way, just to play the game, here is my ranking of the SW scores: V and IV (more or less equivalent, although different), I, VI, III (the last reel is amazing), II, VII, IX, VIII
    3 points
  26. This is a great JW interview. He's so expansive here, which is rare for JW. Edit: I've never even heard JW talk this much about Andre Previn.
    3 points
  27. As a film music fan, I don't mind that a Star Wars show is comfortable establishing its own musical identity without JW themes. That might not be my preference but I don't mind the decision. So far, I just haven't liked the music much at all. And without an official release, I can't fully judge or appreciate the music on its own. I'm still curious about this score. It's not a complete snoozefest yet.
    3 points
  28. After the whole Captain Marvel situation where that was more of a blatant effort to disparage Pinar Toprak (for which Giacchino had to step up and clarify things), I can see being a little suspicious of a similar thing happening in a later Disney franchise (that is currently going through lesser fans review bombing the series because the crew decided to defend one of the lead actors from online attacks). However, with how transparent Holt herself is about things having been a bit different prior to JW coming in (plus the way the credits are lined up so blatantly like it is for Ad Astra/Age of Ultron), there's definitely a larger implication of behind the scenes fuckery that goes beyond the previous instance of a composer needing help on her first big project (which is far more understandable for a character that had no on screen history prior).
    3 points
  29. I thought the blade Runner world from episode two was pretty sweet but the planet in episode 3 was definitely pretty lame
    3 points
  30. Kevin Kaska's score for the premiere was bloody wonderful. Lovely emotional moments, and damn his action and fun establishing pieces were great. Happy to have him onboard as a new composer.
    3 points
  31. My head's exploding from all the new CDs, music, and concert work premieres. In my 30 years of being a fan, I don't recall a richer period... He should have turned 90 years ago!
    3 points
  32. Just watched ep 3… I will preface this by saying I loved Loki's score and am by no mean a Nathalie Holt hater or anything. I will also say that I found Powell's score for Solo to be great so I'm not just shittalking because it's not Williams score. But wow… the music in that episode was so bad… the music itself was bored to death and so was I. How can you possibly end up with this! There's something fishy imho.
    3 points
  33. Holt's The Planets
    3 points
  34. Hey, a fellow nerd nerd like me! I thought I was alone...
    2 points
  35. Listening to it again this morning, it really does have some JW action music tendencies, especially after the opening fanfare. The fun melody almost recalls the desert chase from TROS.
    2 points
  36. How is it that video games get scores that are fully orchestral and significantly better than the iive action counterparts which inspired them?
    2 points
  37. This is great! I’m hearing some influences from the beach montage cue in Jaws as well.
    2 points
  38. *Chef’s kiss* I want an official recording of this piece, conducted by the Maestro too!
    2 points
  39. Man, it’s depressing just how much better this sounds than Holt’s Obi-Wan Kenobi.
    2 points
  40. The awful looping is the best part.
    2 points
  41. It's remarkable how well it works with the tempo of the troopers' marching footsteps. If you didn't know, you'd assumed it was composed for that scene.
    2 points
  42. According to this Facebook, PD was in Rochester, NY (USA) last weekend for a pre-concert at the Rochester Philharmonic's Harry Potter and the Goblet of Fire LTP concert.
    2 points
  43. Stay diverse: I'm also in the middle of a Stranger Things rewatch (close to the end of S2), so I'm definitely getting music faster than I can listen to it at the moment. And there's a Music Box Records order arriving next Tuesday…
    2 points
  44. Wow, that really fired on all cylinders for me. Was not expecting to come away from The Orville thinking I had seen some of the most high quality sci-fi visuals in TV The budget must’ve expanded significantly and they were unabashedly just flexing, but in a way that enhanced the scenes and remained coherent - which if New Trek is anything to go by, is pretty rare. I think this kind of puts the final nail in the coffin of New Trek doing absolutely nothing better than The Orville I think they managed to make the show more visually interesting without sacrificing the more retro aesthetic which is very impressive
    2 points
  45. It's got nothing to do with the fact that she's a woman, and everything to do with the fact that the score rejects the usage of themes audiences know and expect, despite the fact that Star Wars has such a wealth of well-known themes built up for these different characters. That, and the fact that the music identity for this show seems to be in conflict with itself: part of it is largely non-thematic and/or uses new themes for characters with pre-existing themes, overall in a more modern RCP, Zimmer style; and other bits use the Kenobi theme with an orchestra, written in the vein of Williams. They are vastly different approaches, so it's jarring. It just makes one wonder how we got to this point.
    2 points
  46. Thanks for sharing the video. As far as the music goes... it's got a lot going on. It's tone is kind of odd. It's got a fun tone to it, sometimes almost comical. The bouncy percussion and bells and thing remind me of JW's music for the news or maybe some of his Olympics stuff. It almost sounds like a less grand, slightly more formal Galaxy's Edge. Maybe this piece is an example of JW writing a concert piece like he does film action scene music. It kind of has JW action music qualities.
    2 points
  47. You can tell that Natalie Holt really relished writing the first ever theme for Darth Vader.
    2 points
  48. I always loved Vader's Theme from Star Wars '77.
    2 points
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