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Everything posted by Thor

  1. My floorstanding JBL speakers from 1997 died during a massive water leak disaster in late May, one of a few reasons for why I disappeared from the board for several months (although few people noticed). I've yet to acquire new ones. Playing music now through a couple of ancient 90s PC speakers from Infinity. But I'm searching for new ones to a price I can afford. Have my eyes on Klipsch at the moment.
  2. But you have to remember one thing, Mr. Bellamy: Unless there are 300 minutes of music (regardless if it fits the film or not), and it's in Williams' exubrant style with plenty of cymbal crashes, fanfares, boom-tsh'es and jagged scherzos, it's not worth anything in JW Film Score Fandom. I'm jesting, of course, but also not. I really adore this little album, and can't wait to see the film when it finally premieres over here.
  3. STRAW DOGS is considerably represented on the disc I mentioned above.
  4. If you only need 3 Fieldings in your life, get the two "Film Music" compilations as well as the iconic WILD BUNCH (plus - as a Williams fan - maybe the non-film albums FIELDING'S FORMULA and HOLLYWOODWIND JAZZTET, since JW plays piano on them). It's often more cerebral than straight-up emotional, but it's always fascinating to get lost in Fielding's merging of contemporary classical, jazz and traditional idioms. Love the Bach-ian variations in THE NIGHTCOMERS, in particular.
  5. That's neat! I have the 1 hour 20 minute first volume, which was way down on my "whittle list". Didn't know when I was going to get around to it. That's about the amount of minutes I wanted to whittle the first volume down to. Guess I need to get volume 2 first, though.
  6. Another semi-recent favourite (from 2013) that I haven't played in a while, but that I dug back then. Americana with a lyrical, melancholic twist, this was Talmi's breakthrough score as far as I'm concerned. Still lovely.
  7. One of the best and most interesting Nordic scores of 2015 (to be precise, it's a Finnish film, but with a Dutch composer). Especially the few times Wilden taps into the religious-pastoral sound I love so much, and which bears a resemblance to Williams' excursions into the same ("Arresting Grandpa", for example).
  8. 89 is still 59 too many. I suppose I'll look into playlisting it at some point, but I don't feel very inspired at the moment. It's one of those things that would never have entered my collection if it weren't for Elfman's involvement. Would be interested in seeing who did what; would maybe make playlisting easier.
  9. If I'm being kind, there is maybe -- maybe -- some 30 minutes of mediocre music hidden away on this album. At most. But at 1 hour 49 minutes, it's an outrage and very irritating that I, as a completist, need this travesty to take up space in my iTunes. In other words, the score does nothing for me. However, as a longtime Burton/Elfman fan, I feel obligated to at least check out the show itself on Netflix.
  10. If you say 10 years, there have been some good things that I like far more than WHITE NOISE: THE CIRCLE (2017), THE UNKNOWN KNOWN (2014) and PROMISED LAND (2012). But I have issues with most of the other scores in that period.
  11. This was one of my favs in 2013, even though it carries its SCHINDLER'S LIST inspiration on its sleeve. Sometimes blatantly. And some of the strings sound sampled, I hear now. But a bit more Slavic at times than SL. Wonder what came of Beck?
  12. The combination of piano, glockenspiel, aching strings (and a saw!?) -- all in a stark, detached, satirical mode -- was always more reflective of Euro films of the 60s an 70s, IMO, so I wouldn't be surprised if Jae-il found some inspiration there. And then there are the "plucky" style elements which are more Desplat. Album is a bit too long at 54 minutes, but some good cues throughout. Hadn't really listened to this since it came out.
  13. My favourite comedy of all time (along with its sequel) -- although the quirky culture collision thing probably isn't PC these days. I don't care. Boshoff's score is part orchestral, part poppy, with some ethnic elements interweaved. Plenty of pan pipes, or some variation thereof. Opening track sounds more Balkan than anything South African.
  14. I would also love to hear what synths were used in Williams scores -- from cases where they're upfront and the main component, like "Training Montage" in SPACE CAMP or a lot of HEARTBEEPS, to the more common and discrete uses in cases such as JP, HOME ALONE, PRESUMED INNOCENT, NIXON, SLEEPERS, A.I. etc. Wish I could discern it by ear, but it's very difficult.
  15. While this 2000 score never reaches the ambitious and emotional heights of a certain other, earlier Joffe/Morricone collab, I dig the combo of baroque, choir and contemporary harmonies all meshed together in typical EM style.
  16. Since Elfman's WHITE NOISE wasn't the electronic fest I had expected and hoped for, I return to this 2015 Baumbach film instead, with a moody shoegaze/electro score by Warenham & Phillips (who also appear on WHITE NOISE with a song at the end). Nice stuff!
  17. Listening to this now as well. I'm not quite as enthused as you, but fairly so. I obsessed over Korzeniowski a bit in the late 2000s and first half of the 2010s. Even met him in Ghent during this period. Just adored his take on the post-minimalist romanticism that became fashionable at the time (alongside Marianelli, Richter etc.). However, he hasn't done anything that has wowed me since ROMEO & JULIET almost 10 years ago - whether that is because that particular style has become somewhat omnipresent since then or because he himself hasn't captured former glories. TILL didn't do it for me this year, but EMILY comes pretty close (I'm glad he added choir in certain tracks to add some extra flavour to what would otherwise have been stale ostinati). It's strong enough to enter my iTunes collection, so I'll have to see if it fares after a few more listens.
  18. Yeah, it's cool. It reminds me of Rammstein's SEHNSUCHT cover(s). But -- obviously -- I'm perfectly content with the old Varese CD of MIMIC.
  19. Yeah, the whole BIG MESS thing is a bit overkill for me. I like a couple of songs on the album, and I will no doubt get both that on CD, a well as the remix album BIGGIER MESSIER down the road, but I'm in no immediate hurry. And I certainly don't need the deluxe editions. There's a little too much fuzz and noise for my taste these days. I had hoped his return to pop/rock music was more in the sleak New Wave style of the early Oingo Boingo stuff, or at least some of the more exuberant songs on the 1995 Boingo album.
  20. Brand new release. It's not as good as Pt. 1 -- not enough dynamic range -- but certainly classic Hammer.
  21. And you're sure he says Fiori and not Fury? I aim to rewatch the film one of these days (I watch all films at least once a year). Either way, he misses a '1' in the planet's title.
  22. Nice to see some Scandinavian picks there, Once! Bjerre is great, I was fortunate to meet him in Cannes a few years ago, prior to his passing.
  23. Apparently "Life Viable", as stated above. I haven't even noticed that Gediman says Fiori 16 in RESSURECTION. Good catch! The planet is nicknamed "Fury", which kinda sounds like Fiori, but otherwise, I don't know.
  24. Listening to this now. What an anti-climax! I had built up all these expectations about a largely electronic score in the vein of Tangerine Dream, based on Baumbach's own words. Something a la Elfman's old WISDOM or the wonderful THE CIRCLE. There are certainly electronics here, but more as colouring, and most of it is rather non-descript and all-over-the-place. Maybe I'll appreciate it more once I get over the disappointment of idiom.
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