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  1. 25 points
    Tracklist with durations (from https://www.highresaudio.com/en/album/view/22pwf4/john-williams-star-wars-the-rise-of-skywalker-original-motion-picture-soundtrack): 1. Fanfare and Prologue 04:34 2. Journey to Exegol 02:49 3. The Rise of Skywalker 04:18 4. The Old Death Star 03:16 5. The Speeder Chase 03:21 6. Destiny of a Jedi 05:12 7. Anthem of Evil 03:23 8. Fleeing from Kijimi 02:51 9. We Go Together 03:17 10. Join Me 03:42 11. They Will Come 02:50 12. The Final Saber Duel0 3:57 13. Battle of the Resistance 02:51 14. Approaching the Throne 04:16 15. The Force Is with You 03:59 16. Farewell 05:14 17. Reunion 04:04 18. A New Home 01:47 19. Finale 10:51 Total Runtime 01:16:32
  2. 19 points
    I tried so hard to like this film. I held out until the very end hoping that something might happen to salvage what a mess this "final" entry was in my eyes, but nothing happened. In what was possibly a product of the film mix, the quality of my theater's speakers, or both, I could hardly hear the score throughout 85% of the film despite my best efforts. The film ended and the credits rolled and I felt immensely disappointed. I'd spent 2+ hours feeling numb to what was happening and both frustrated and surprised at myself for not feeling more when significant events were occurring with characters I had invested sizable time with. But then those end credits swung into that Rise of Skywalker theme and our theater was filled with that old Williams magic. Suddenly I was back to being a little kid again, discovering and in awe of all Williams had to offer for the first time, eagerly trying to get my hands on anything he had written. There is a seriously transportive nature to that theme that almost, to me, seems to perfectly embody the love and appreciation we have for this man and the impact he has had in our lives more than anything. It's more befitting of being representative of Williams saying goodbye to Star Wars and reflecting back on the stupendous nature of his incredible career than a closing theme for the Skywalker saga (as I'm sure others have noted). For a solid minute, I sat in that mostly empty theater and felt all these intense waves of varying emotions alongside the sinking realization that Williams was here to send us off with one final glorious farewell. Williams was able to conjure up more feelings from me and with more depth in that single minute than the entire film had in 2 hours. As much as I loved the new sequel scores, after the Last Jedi I was content with saying that Williams had said pretty much everything he had to say on this franchise but then this theme comes along and proves me dead wrong. It was like the last piece had finally clicked into place. It feels so deliberate and purposeful to me, almost as if Williams knew back when he was asked if he wanted to score these new films that he had this one last thing to say on them. Or as if he had written this theme in the late 90s/early 2000s and had just forgotten to use it in anything and discovered it stashed away in a drawer somewhere shortly before scoring this film. The man turns 88 in 2 months and still knows how to make me feel certain emotions better than anyone. I'm speechless and in total awe at how beautiful this theme is. This is a defining theme.
  3. 19 points
    OK. I saw the film in the theater last night. And holy motherforking shirtballs, THIS SCORE IS INCREDIBLE. I cannot recall another experience quite like this one, where I went to the theater and saw a movie, and was just in awe of how good the score was the whole way through like this. What was most amazing was that even after listening to the 95 or so minutes of score we have between the FYC and OST a lot before seeing the film and becoming very familiar with it, EVERY SINGLE ADDITIONAL, UNRELEASED CUE I HEARD IN THE FILM WAS SOMETHING I WANTED TO HEAR AGAIN OUTSIDE THE FILM! Every cue he chose not to put on the FYC or OST had SOMETHING special in it that made it worth having. I just sat there being blown away as cue after cue was a great unreleased highlight. I don't understand the reports from people saying eh, most of the highlights were on the FYC or OST, or eh, there's only 30 minutes of more music and most of it was older themes anyway, or whatever. No way! I mean, of course a lot of the cues do feature old themes, but many of those old themes are completely new variations of them! I heard an ABSOLUTELY FANTASTIC rendition of The Emperor's Theme unlike any I had heard before (it was a quiet rendition, on woodwinds IIRC), a great new version of Luke's theme, some great new Force Theme variations, and TONS, I mean just TONS of great new Rey's Theme variations. JW clearly is in love with Rey, and she is basically the main character of this film, and JW pretty much scores all her scenes with some new version of her theme, and I feel like we only got maybe half of these renditions between the FYC and OST. He does so much more with that theme in the full score. The other thing apparent from watching the film, is that it is very clear from watching that the film was scripted and shot as a longer experience, and then edited down within an inch of its life for the final cut. It's quite clear sometimes when entire scenes are missing (some of which we have the cues for on the OST album), and it's also clear in other times that the scenes he kept in where whittled down and down and down after the original cue for them had been recorded. This score is instantly my #1 most requested session leak / complete score release from all the John Williams scores that haven't been expanded yet. Not only is there just a bunch of great music you can hear in the final film that hasn't been released yet, based on everything we can hear right now it seems clear to me that the full sessions for this score would have the most amount of interesting music we've never heard. I can't remember the last time I was THIS into a new John Williams score this much, nor the last time I got 95 minutes of a score and still wanted more very very much. It's clear that JW was very inspired while writing this score, either by an earlier longer cut that made a lot more sense, or just something inside him that wanted to make this score really special. It's amazing to think that an 87 year old man who could have retired 25 years ago with a career more noteworthy than most composers can dream of achieving is still crafting masterpieces like this. Bravo, maestro!
  4. 16 points
    Has it been pointed out yet that Oma Tres is an anagram of Maestro?
  5. 16 points
    Forgive me if this is the wrong thread of the dozen available choices but I wanted to pop in and say that this is a fabulous sendoff for John's Star Wars - perhaps lacking a single moment of spectacular payoff, as is the film - but fabulous all the same. I have lately rediscovered Star Wars through my children, and I thank Mr. Williams for being the soul of this world since my own childhood.
  6. 14 points
    Here it is I think out of any cue in the film that isn't on the OST, this is the one that most SHOULD HAVE BEEN. It's not only the narrative and emotional climax of the movie, but the entire sequel trilogy, and the entire saga. And it features a glorious new rendition and reworking of what has been used as the main title theme for all 9 episodes. What was he thinking skipping over this one?
  7. 14 points
    Reposting from Twitter a little analysis I cooked up of this extraordinary piece of music: "Rise of Skywalker" concert arrangement based on two distinct but emotionally simpatico themes, a hymn (A) that's stated in full in the first minute (first woodwind choir, then strings), and a more lyrical, striving melody (B) that is stated over the next minute in strings and horns. The middle the piece is essentially a development section that sequences and composes out the B theme. Midway through, it becomes based on the music from the aftermath of the final battle in the movie.There's a big arrival back on the A-theme at 2:50, now much more fully orchestrated (in the film there's also chorus). This has some developmental qualities too (internal modulation to Db maj before returning to Bb), but overall serves a climactic & recapitulatory formal function. There are a few cadential delaying tactics before the very end, including a great brass chorale that evokes the conclusion of Rey's Theme nicely and a little rebel-fanfare-esque chromatic planing. The final bars make a brief, transformed statement of the B theme. The unusual structure of this piece -- bithematic ternary with some light rotational and developing-variational features -- is characteristic of I guess you could call "late" period Williams SW concert arrangements. "Rebellion is Reborn" and "Galaxy's Edge" work similarly. Watching the way his approach concert arrangements have evolved over time is fascinating. The developmental, dare I say sonata-principle-esque, impulse seems to be getting stronger and stronger the older Williams gets. In terms of melody & harmony, there's a nice mix of old and new here too. The A theme has a Lincoln-y quality, and the B-theme a War Horsey vibe (those tearjerking IV<=>iii progressions!), but I also get some ET, Amazing Stories, Midway, Spacecamp, even Close Encounters...I also hear Williams channeling Brahms quite strongly in the opening section, and echoes of Franck, Saint-Saens, and Prokofiev in the B-theme. As far as connections with Star Wars music, there seem to be some passing echoes of Rey (esp. her chimes), Rebel Fanfare, Jedi Steps, and March of the Resistance in there, plus Yoda/Young Anakin/Rose by dint of the lydian disposition of both A and B themes. Overall -- and my opinion will surely evolve over time -- I think it's an intensely beautiful, well-balanced, & sophisticated piece of music with a direct, heartfelt sentimentality that Williams does so well. Up there w/ Rey's theme as the best concert arr. of the ST.
  8. 14 points
    Well, there's close to half an hour of unreleased music just in the first half of the film [edit: the chart originally posted here has become outdated; Go to the main post for the most up-to-date version]
  9. 14 points
    I asked Mike Matessino about the chances of this and he said that "petitioning for isolated scores would be a very good way of sabotaging potential official expansions. It would send the message the The Phantom Menace: Ultimate Edition was what the fans wanted after all, and music recorded but not used could never see the light of day. Bad idea."
  10. 13 points
    The final sequence with the New Home cue was the best marriage of music to visuals in a long time. Perhaps it was the lack of dialogue and loud sound effects, but it felt like art. Rey riding down the sandhill was a nice callback, both visually and musically. I was happy that the saga ended with such subdued poignancy.
  11. 13 points
    Since we just switched to a new page, I'm going to indulge in quoting myself, because I feel like shouting to the heavens how good this score is!!!
  12. 13 points
    Holy crap check out this amazing unreleased cue for Rey training in the woods How could that not be on the OST?
  13. 13 points
    There's a moment in They Will Come you'll appreciate. This is a pretty lovely album. I had two immediate impressions. After finishing, I realize that TFA is 100% the score of the trilogy. TLJ and ROS help give it all a bit more hype and flavor, and feature the best versions of its themes, but as a fresh narrative and overall listening experience, TFA is the anchor. The other was while listening to the wondrous title track "The Rise of Skywalker," it occurred to me that this score and the trilogy overall...it's really for the softies! I've spent four years now reading comments putting down these scores as "weak", lacking a new Imperial March or Duel of the Fates, waiting for that badass First Order March (the biggest adrenaline junkies will probably be disappointed with The Final Saber Duel and Anthem of Evil) but that's not the tone of these movies or these scores. The way I see it, the music of the OT evokes heroism, spirited adventure, above all classicism in structure and craftsmanship. The prequels are all fire and brimstone, passion, war, aggression, tragedy. The sequels -- summed up in my mind by Rey's Theme, Jedi Steps, Rose's Theme, and now The Rise of Skywalker -- this is a musical trilogy of wistfulness and whimsy, nostalgia, loneliness, and magic. Altogether that is Star Wars by John Williams.
  14. 13 points
    Overall, my first impression of the soundtrack was extremely positive. I'd say I liked it MUCH more on first listen than I did the Force Awakens or Last Jedi OST albums. I grew to love the Force Awakens OST album, but my first listen was not an instant love, as it was so different from my expectations. The Last Jedi I l liked fine and still do, but was not blown away by anything. But this album blew me away. You can hear passion and excitement in this work. The Rise of Skywalker and The Speeder Chase are instant classics! The album overall has a nice flow and pace to it. The strengths of this work are the new themes (especially The Rise of Skywalker theme and the trio theme), the great new renditions of the other sequel trilogy themes (he continues to find ways to make Rey's, Poe's, and the Resistance's themes stray fresh), and the fact we finally got a proper John Williams action set piece track in a Star Wars score again. The weaknesses are the straight-up renditions of Original Trilogy themes towards the end of the album, and an overall unsatisfying end credits medley. I am thrilled we have a nice FYC with lots of additional music, and can't wait to see the film to hear what else it has is store for us.
  15. 12 points
    The music for that scene is on the FYC and the OST (it's in Seeing Sights FYC / The Force Is With You OST) Here it is. Amazing unreleased variations of Rey's Theme and Ren's Theme
  16. 11 points
    So by my calculations, there's almost 45 minutes of unreleased music heard in the final film, though it's still unclear how much of that is old recordings tracked in... (Apologies to mobile phone users, this chart only looks right on a desktop or tablet.... if you are on mobile, turning your phone sideways helps somewhat) [edit: the chart originally posted here has become outdated; Go to the main post for the most up-to-date version]
  17. 11 points
    Bespin

    What’s next for JW?

    First, the Pope must recognize that having scored the 9 SW movies, John Williams did a Miracle. Then we proceed to the canonization. After we’ll celebrate the 4th of May as the Saint-John-Williams.
  18. 11 points
    JW did what he probably was asked to do for the finale and end credits. I've seen people calling him lazy for that. An 87 year old that just composed 3 hours of highly complicated music
  19. 11 points
    Sorry if this has been posted already -- I'm just catching up with the discussion of this score. Here's what I make of the 3.5 new leitmotifs I heard after a first viewing. I'll be updating my catalogue with additional discoveries of course, so this is a bit of a first draft... 1) Anthem of Evil 2) Kylo Ren/Knights of Ren new theme 3a) Rise of Skywalker Opening Section (Hymn) 3b) Rise of Skywalker Middle/Trio Section (Cantilena) Overall, I thought the score was at its highest quality when it was based on this new material and developments of themes from the PT. Honestly rather disappointed in the missed musical opportunities though, and the clumsy needle-drops of so much preexisting SW music.
  20. 11 points
    My favourite imitation was done by Clint Bajakian for the video game Indiana Jones and the Emperor's Tomb. Not only did he convincingly imitate JW's various stylisms but he also managed to capture the playfulness of Indiana Jones music in particular. Some examples: This imitates JW's "Nazi" style to a tee (brass in octaves, snare drum etc.) (SHAMELESS PLUG ALERT) I have tried to imitate JW in the past, mostly unsuccessfully, but I think my most successful attempt was with this Prequel-style action track:
  21. 11 points
    Exactly! Couldn't have said it better myself mate. The thing about Williams' music (like Bruckner or Mahler or any other gas giant) is that I find it diffucult to memorise the material straight away. After about a week of constant playing something like this very last Star Wars score the pennies finally start dropping and the process of recognition begins. And what a wonderful process of discovery. Often a motif that sounds like something humdrum suddenly takes on new meaning. It's a bit like discovering a new Mozart String 4tet or delving into Bruckner's 5th Symphony (which only revealed its deep majesty after about the 30th hearing) . This is testament to the terrifying passion and sheer metaphysical weight of Williams writing. As far as I'm concerned he is up there with some of the greatest composers in history. As far as movie music is concerned Williams is the daddy of them all.
  22. 11 points
    01 Fanfare and Prologue at 2:41 !! The Palpatine's Seduction little evil motif that we can hear in Revenge of the Sith is back!! This is an amazing connection!
  23. 10 points
    One more thing that made this second viewing worthwhile... I took some snaps of the end credits. Only where it mattered most.
  24. 10 points
    heidl

    STAR WARS Custom Covers thread

    Here's a bunch of retroesqe artworks for the whole trilogy. TFA artwork by Struzan, all other ones by maestro Paul Shipper.
  25. 10 points
  26. 10 points
    Some more TROS praise from another one of my favorite composers, John Debney:
  27. 10 points
    I should probably point out here as well that Oma Tres is an anagram of Maestro
  28. 10 points
    Here's my breakdown all in one post 01 Prologue (1:45) [0:00-0:07] (0:07) = NOT ON OST [0:07-0:26] (0:19) = OST 02 Journey to Exegol [1:02-1:20] [0:26-0:28] (0:02) = NOT ON OST? [0:28-0:36] (0:08) = OST 02 Journey to Exegol [1:32-1:40] [0:36-0:56] (0:20) = OST 02 Journey to Exegol [2:13-2:33] [0:56-1:28] (0:32) = NOT ON OST [1:28-1:37] (0:09) = OST 01 Fanfare and Prologue [1:44-1:52] [1:37-end] (0:07) = NOT ON OST? 02 Falcon Flight (2:22) [all] = NOT ON OST 03 We Go Together (2:10) [all] = OST 09 We Go Together [0:00-2:33], with minor differences 04 In the Desert (2:26) [all] = NOT ON OST 05 A Prisoner (1:23) [all] = NOT ON OST 06 To Kimiji (1:37) [all] = NOT ON OST 07 Fleeing from Kimiji (1:53) [0:00-1:35] (1:35) = OST 08 Fleeing From Kijimi [0:00-1:38], with minor differences [1:35-end] (0:18) = NOT ON OST (Sounds like the proper ending to the cue) 08 Hallway Shooting (2:11) [all] = NOT ON OST 09 Hard to Get Rid Of (2:19) [all] = NOT ON OST 10 Join Me (2:21) [all] = OST 10 Join Me, with several sections removed 11 The Old Death Star (2:14) [0:00-1:14] (1:14) = OST 04 The Old Death Star [0:00-1:19], with minor differences [1:14-end] (1:00) = NOT ON OST (Probably the full ending to the cue) 12 Off the Waterfront (1:03) [all] = OST 04 The Old Death Star [2:21-end] 13 Final Saber Duel (1:38) [0:00-1:10] (1:10) = OST 12 The Final Saber Duel [0:00-1:05], with minor differences [1:10-end] (0:27) = NOT ON OST (The proper full ending to the cue) 14 Healing Wounds (2:49) [0:00-0:31] = NOT ON OST [0:31-end] = OST 12 The Final Saber Duel [1:42-end] 15 Advice (1:54) [all] = NOT ON OST 16 Battle of the Resistance (1:54) [0:00-0:02] (0:02) = NOT ON OST? [0:02-end] (1:52) = OST 13 Battle of the Resistance [1:12-end], with minor differences 17 Approaching the Throne (4:16) [all] = OST 14 Approaching The Throne, with minor differences (including a pitch-shifted opening and a different ending [a different choral performance with less orchestra under it]) 18 Parents (1:57) [all] = NOT ON OST 19 Coming Together (1:44) [all] = NOT ON OST 20 Seeing Sights (3:17) [all] = OST 15 The Force Is With You [0:00-3:02], with minor difference (including a clean ending) 21 Rescue (1:10) [0:00-0:15] (0:15) = OST 15 The Force Is With You [3:02-3:16] [0:15-0:30] (0:15) = NOT ON OST [0:30-end] (0:40) = OST 15 The Force Is With You [3:16-end] 22 Farewell (4:27) [all] = OST 16 Farewell [0:48-end], with minor differences 23 A New Home (1:42) [all] = OST 18 A New Home, with minor differences If I'm adding that up right, that's 21:14 of unreleased music! Here's a rough OST/FYC editing guide, following film order (or rather FYC order, since I haven't seen the film) THE FILM SCORE OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 FYC 03 We Go Together 2:10 (or for a longer version, use OST 09 0:00-2:33, with the FYC's clean ending)... or just stick ALL of OST 09 here. FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 FYC 07 Fleeing from Kimiji 1:53 (or use OST 08 0:00-1:38, with the FYC's clean ending).. or just stick ALL of OST 08 here. FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 10 Join Me 3:42 OST 04 The Old Death Star 3:16 (for a longer version, can edit in FYC 11 [1:14-end] at OST 1:19) OST 12 The Final Saber Duel 3:57 (for a longer version, can edit in FYC 13 [1:10-end] at OST 1:05) FYC 15 Advice OST 13 Battle of the Resistance 2:51 OST 14 Approaching The Throne 4:16 (FYC features a slightly different choral ending if you prefer that) FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 FYC 20 Seeing Sights 3:17 FYC 21 Rescue 1:10 (Instead of FYC 20 & 21 can use OST 15 The Force Is With You, and you can restore a microedit at 3:16 with FYC 21 0:15-0:30) OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51 Concert Arrangements: OST 03 The Rise of Skywalker 4:18 OST 07 Anthem of Evil 3:23 Additional film cues on the OST, that I cannot place chronologically because I haven't seen the film. Hopefully somebody who has can help! OST 05 The Speeder Chase 3:21 OST 06 Destiny of a Jedi 5:12 OST 08B [1:38-end] Fleeing from Kijimi 1:14 OST 09B [2:33-end] We Go Together 0:44 OST 11 They Will Come 2:50 Updated Google Doc: https://docs.google.com/spreadsheets/d/1VWApmUMfiSF9gvXb3LW9QloZO-St-ITFMF-qYaNN0fw And I've gone ahead and put all this in the main post of this thread for convenience; I'll now going forward only keep the main post version updated.
  29. 10 points
    Jay

    The Rise of Skywalker - Disney Records OST

    Dat final track length
  30. 10 points
    End Credits, if I remember correctly, consist of:: - traditional fanfare - one of the new epic themes, - Imperial March, - second of the new epic themes, - Rey, - something slower and climatic, also new - new action theme - Rebel Fanfare - traditional ending from New Hope.
  31. 9 points
    Marian Schedenig

    What’s next for JW?

    Vienna.
  32. 9 points
    The intricacy and depth of all the action cues is mindblowing. The man is 87 and is still sharp as a tac.
  33. 9 points
    @Falstaft (hiatus til TROS) Others have voiced this but I have yet to do so personally: you are such a treasured member of this community. Thanks for consistently sharing your wonderful insight with us as well as for your always quality posts and analysis.
  34. 9 points
    Another observation: I LOVE how Kylo Ren's theme is used in this film.
  35. 9 points
    Encore: Rise of the Skywalker, world premiere. please!! 😪😪
  36. 9 points
    Decided to throw together another editing guide, or rather lack-of-editing guide: A quick and dirty playlist to get the most total music possible, without using a WAV editor, just combining tracks from both into a playlist OST 01 Fanfare and Prologue 4:34 OST 02 Journey to Exegol 2:49 FYC 02 Falcon Flight 2:22 OST 09 We Go Together 3:17 OST 05 The Speeder Chase 3:21 FYC 04 In the Desert 2:26 FYC 05 A Prisoner 1:23 FYC 06 To Kimiji 1:37 OST 08 Fleeing from Kijimi 2:51 FYC 08 Hallway Shooting 2:11 FYC 09 Hard to Get Rid Of 2:19 OST 10 Join Me 3:42 OST 04 The Old Death Star 3:16 OST 12 The Final Saber Duel 3:57 FYC 15 Advice 1:54 OST 11 They Will Come 2:50 OST 06 Destiny of a Jedi 5:12 OST 13 Battle of the Resistance 2:51 OST 14 Approaching the Throne 4:16 FYC 18 Parents 1:57 FYC 19 Coming Together 1:44 OST 15 The Force Is with You 3:59 OST 16 Farewell 5:14 OST 17 Reunion 4:04 OST 18 A New Home 1:47 OST 19 Finale 10:51 SCORE TIME - 1:26:44 BONUS TRACKS OST 07 Anthem of Evil 3:23 OST 03 The Rise of Skywalker 4:18 BONUS TRACK TIME - 7:41 GRAND TOTAL TIME - 1:34:25
  37. 9 points
    I agree with everyone's comments on the OST. (Well, almost; MaestroUE, I don't know what defective mp3 files you must have been listening to!) This is a phenomenal presentation and I LOVE the power and punch in the loud parts. There's verve in there to spare, easily the LSO's equal to my ear. Like everyone knew this was the last hurrah and played it that way. The fanfare... good lord, it's almost beyond belief. My new insta-fave. We may not have always had new fanfare recordings, but when it counted most, at the last opportunity for a fresh recording, JW and the LA players delivered. Anthem of Evil... a minute and a half of gorgeously ethereal choir, and then the low low strings (and brass?) rise out of the aural void like the arrival of the end of the world. My very first impression was that it sounds like a transition that today's breed of film composer would synth in... but JW is simply in too strong a command of his craft and his players to have to resort to that silliness. Finally, for now, while I'm not as dismissive of the Finale as many here are, my hot take is that this was a bit of a missed opportunity. Especially the transition at 6:10, which strikes me as quite jarring, and the reprise of the fanfare, which seems...unnecessary? That said, I got the surreal chills around 9:00 hearing material from the very first OST in a fresh, new, vibrant recording. I mean, no one expected to hear the last two minutes of the Star Wars '77 OST in TROS. And now I'm convinced it could not have been any other way. We are truly, finally, utterly full circle now. It's JW's perfect sign-off. Those two minutes are, in my mind, the "bow" he promised us for his incomparable gift to us, four decades in the making. I am in awe of this album and this man.
  38. 9 points
    The Speeder Chase oh boy, this is a great action track!! Oh wow, features a REALLY COOL and very lengthy trumpet fanfare that was not heard in the clip posted! Oh, the fanfare returns! This track is great! Jeez, this might be my favorite action track of the sequel trilogy! Ha! It even has an almost concert-like ending bit! I wonder if that appears in the film that way or if Williams recorded it just for the album This album is paced incredibly well so far. Nice balance between fast and slow, exciting and scene-setting, etc.
  39. 8 points
    Since every cue we can hear on the OST is longer than its version in the film, we can assume all or at least most of the completely unreleased cues are actually shorter edits of the full versions of those as well, so there's probably closer to an hour of unreleased cues we know about, plus who knows how many additional cues for scenes that were completely deleted, or earlier versions of cues for scenes we have. We need Matessino to be allowed to go through everything recorded for the sequel trilogy and construct complete releases! Also: I really wish the FYC had been longer that 50 minutes! There's lots of unreleased cues that don't feature old themes that could have been included.
  40. 8 points
    karelm

    What’s next for JW?

    JW's mom lived to be 97 without "being sick a day in her life", dad lived to be 80. By all accounts, he will never retire because he is doing what he would do if he retired which is compose. So as long as he is physically able to, we will get new music from him and that could be for a few more years. Sure his pace has slowed and maybe he would prefer to do more personal projects but I still think we'll have a few more years of new music from our Maestro. I heard from many in the SWIX session that his mind, aptitude, endurance was the same as its been for decades.
  41. 8 points
    Really can't get enough of that statement of Kylo's/Ben's theme in Farewell, what with the new way Williams chooses to resolve it, the new orchestral presentation, and that new additional note at the end. It's so good that it literally retroactively redefines how we, the listener, hear every other instance of that theme prior to this one. When we first hear it in TFA, you think that that's it, that's Kylo Ren's theme! We're hearing it in full. But now you go back to listen to it after hearing it in Farewell and it feels like the theme is just hanging there in the air, incomplete, waiting to be resolved with that additional note. And it never does until 4 years and 2 films later when Ren's arc as a character (whether intended or not from the beginning) is resolved. And that unresolved nature to it almost seems like a deliberate choice now, as if Williams somehow was waiting for the moment in Farewell to finally complete it. God, it's so good. Perhaps that "unresolved" nature of his theme was clear from the start and I just never got it until now. Perhaps I'm just reading too much into this whole thing in general (quite possible!). All I know is that it's a genius statement of his theme and comparing that final instance with the first time we hear it is bonkers development that only someone like Williams could pull off. And he doesn't even dwell on it. It's such a fleeting moment, over and done with in 10 seconds! Ugh.
  42. 8 points
    Listened to all three sequel OSTs tonight; just finished. Pretty wild to go back to TFA and re-listen to the very first iterations of Rey and Kylo's themes, and then to hear how many times they are reprised in various interesting ways over the course of the trilogy. I will also say that I love the three main concert arrangements of this trilogy (one per film): "Rey's Theme", "The Rebellion Is Reborn" and lastly "The Rise of Skywalker". These are some of the best themes he's written in recent memory, and the arrangements are all top-notch. I wish JW would record a SW album now that he's finished with the saga. Use the Recording Arts Orchestra of Los Angeles (or the "Skywalker Symphony", or whatever) and just re-record a bunch of stuff, especially tracks he's never re-recorded before, like: "Duel of the Fates", "Battle of the Heroes", "Rey's Theme", "March of the Resistance", "The Jedi Steps", "The Rebellion Is Reborn", "The Rise of Skywalker" and of course the new arrangement of "Han Solo and the Princess", among others.
  43. 8 points
    Listened to the OST in one go last night with, you guessed it, my cat. A few thoughts, as brief as can be given the excitement (you can skip to the last line of this post for my verdict): The Rise of Skywalker suite immediately soars to the top track of the year. The writing style of this theme and many other moments in the score seems to capture an essence neither TFA or TLJ quite got to- an emotional and grandiose farewell to all that we love without reaching the "on-the-nose" point of nostalgia we would get otherwise (essentially, it's a new theme that encapsulates Williams' saga of music perfectly without needing to quote pre-existing music). The Old Death Star is one of my favourite tracks. I love that giant flourish. It gives off some prequel vibes almost, but in a sequel trilogy way, if that makes sense. And we already know about the awesome Imperial March quote. Funny to note that the statement of Poe's theme from the FYC track of the same name didn't make the OST! I was quite honestly shocked at Anthem of Evil, which lives up to and surpasses the title. I was absolutely floored listening to it- such a crazy cool piece of music!!! The first three notes of the theme do remind me of Holdo's Resolve though, but it's so very different and haunting that it completely gets a pass for the similarity. Not much to add about Speeder Chase that hasn't already been said, although I could've sworn my cat was humming the melody as I put him to bed. I can't blame him- it's, well, really catchy! Regarding the Finale, it certainly wasn't the best it could've been, but my initial disappointment is not as great as most's. I mean, after an album that good it didn't really matter to me what happened next. When looked at as the end to the saga it's decent, but it unfortunately doesn't do justice in culminating the sequel trilogy, which would've been preferred. My mind is racing with all my thoughts as I type this, so I'm not getting it all down right now, but these are my thoughts as far as I can gather. I LOVE THIS SCORE!
  44. 8 points
    Ha! That's it. Beats out my feeble attempt at making meaning of the name earlier in the thread. Wish someone takes that character -- which is really just a once-off 'tribute gag' -- and turn it into a proper SW character, appearing in the novels or animated series, at least. As I said, it's 100% certain that this scene; either a still or a gif, will wreak havoc among people's avatars in the days, months and years to come. Williams' "headshake" will be the perfect gif to add when someone says something stupid. I find it incredibly sporty of Williams to do that; what a day it must have been on the set when they put him through make-up and gave him that mask. I would expect someone like Goldsmith or Elfman to do stuff like that (per GREMLINS, THE GIFT etc.), but Williams has always come off as more reserved in such circumstances. His only previous cameo in a fictional setting was the 3-second bit in STACCATO, when he was in his 20s.
  45. 8 points
    One nice thing about getting some big ol mushy finale themes is that it's something ROTS and ROTJ lacked, just to have these prolonged happy resolutions in the music. Ep 3 is too dark to provide for that and ROTJ wraps things up pretty quickly...both of the Ewok celebration cues are novelties and the score itself is emotionally very "efficient", you have your big moments like A Jedi's Fury and Luke & Leia is a big emotional theme but doesn't really serve the same purpose. So for the title track alone, this is a winner and it seems like these new themes have a presence in the score that'll set it apart as the longest of goodbyes, along with all the OT fan service which I'm mostly cool with. Meanwhile Ep 3 gives us Star Wars at its most operatic, and ROTJ is classic Golden Age Williams. All three finales feel like they complement each other and bring something to the table.
  46. 8 points
    I will say that I prefer the big statement of the Rise of Skywalker theme from the end of "Farewell" to the one in the concert arrangement. The choir adds SO much.
  47. 8 points
    It really hits the OT feels for me—some of the broad romanticism of the ESB Finale, but mated perfectly to Williams' recent string writing since War Horse and Lincoln. A beautiful continuation of the direction he started on with his reworked Han Solo and the Princess.
  48. 8 points
    My first listen through = a great OST! I can't believe how fresh and vibrant Williams sounds here. "The Rise of Skywalker" is an instant classic, both the themes and the concert arrangement itself. "Speeder Chase" is another amazing entry in the canon of Williams action cues. But "The Jedi Steps and Finale" remains my favorite final track for *any* Star Wars score across all three trilogies.
  49. 8 points
    I'm so glad to be here with y'all during this. 'The Rise of Skywalker' is so beautiful.
  50. 8 points
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