Miz

Oh dear. Poor show in that album production. I've realised the theme we heard in the end of last week's Lost was used delicately throughout the episode and really built for the finale. To suggest its an 'Oceanic Six' theme is premature, but it'll be interesting to hear if it resurfaces. Giacchino did employ a unique theme for the double-bill finale of season 3 that hasn't been heard since (I don't think).

Just a few new ideas on Lost themes. # Hatch/mystery motif (five-note percussive motif, found in The Eyeland but no longer really used) # 'Beach' theme (the classic three-note rising/falling theme, referred to before as 'tidal', found in Credit Where Credits Due; the secondary component to this theme, very similar in structure, is counterpointed in the opening of Booneral) # Trek theme (Hollywood and Vines; used extensively in Through the Looking Glass) # 'Jack's' theme (no longer really Jack's theme; used in generally bittersweet moments, like Life and Death, and sometimes counterpointed well with other themes) # Locke's 'crocodile theme' (Locke's tension theme, found in Crocodile Locke and Final Countdown) # Locke's 'tragedy theme' (two components; basis found in Shannonigans, developed fully in Locked Out Again) # Monster motif (four-note motif; thrown in your face in Run Away Run Away) # Kate's theme (decscending theme found in Kate's Motel) # Claire's theme (possibly better termed her's and Charlie's; all over the first season, and in We're Friends) # Charlie's theme (popular since the start, heard best in Charlie's Temptation - is this the Moth theme people speak of, or is that different?) # Michael/Walt's theme (simple two-note motif not found on score albums, but definately theirs) # Raft theme (used for hope/rescue sometimes; best heard as Parting Words) # Sayid's theme (relatively complex melody, heard in Shannon's Funeral) # Hurley's 'main theme' (developed very well in 'Dave' and heard in World's Worst Landscaping - the doubled couplet structure is evident in more relaxed cues like Hurley's Handouts) # Hurley's 'sadness theme' (I think this in Mess It All Up and developed for guitar/piano in Hurley's Handouts, juxtaposed with a version of...) # Rose and Bernard's theme (heard in the track of the same name) # Eko's theme (heard in All's Forgiven, Except Charlie) # Jin and Sun's theme (heard as The Last To Know; generally used regarding their unborn child) # Desmond/Penny's theme (used elsewhere at first, as in Bon Voyage Traitor, but now definately theirs alone) # The Others' 'first' theme (a kind of rising/descending theme of couplets, used in McGale's Navy and the opening of In With A Kaboom; no longer really used) # The Others/Ben's theme (used repeatedly as a tension motif, but then developed into Ben's theme as used delicately in Dharmacide) # Sawyer/Kate's theme (hopeful theme used for romantic exchanges between the pair; as in Romancing the Cage and Ain't Talkin' Bout Nothin') # Juliet's theme (developed best in Ocean's Apart) # Exposé theme (for just this episode, given differing treatments) # Jack's 'Looking Glass theme' (this a theme that seems to have only been used in this episode - standing on the bridge; meeting Sarah; and his unique conversation at the end of the episode).

There are none. This was not an 'official' release, and nobody has yet correlated these tracks with those of the album.

It's a unique play on Juliet's theme, which is a basic rising structure I think.

Dark and frequently moody, deep orchestrations that reward 'listening in', thematic cohesion and development, and a rather well balanced album. 4.5! Certainly his most mature Medal of Honor score, and very much 'his own' style. Nocturnal adrenaline-fuelled cycling music at its best! One day I might hear it in the game (and probably be disappointed at the contrast of complex score and generic subject matter).

I'll be seeing it anyway for the visuals and the probably-outstanding sound design. And to listen intently to the music in context, since it's a wall-to-wall score. The Wachowskis' only real decent film was The Matrix.

I prefer to catch all my Giacchino news in here. Let them rate a new score every day as if our collective opinions are somehow meaningfully indicative of some objective quality

I was wondering about that track. I just couldn't think of other incidences of that theme - perhaps it's Claire's theme alone, as such (though we all ought to be wary of tying themes so closely to narrative elements; composers aren't always so strict about it, and rightly so). It's occured to me also that Claire/Charlie's theme is very similar to the Castaway theme by Silvestri. I think.

There's a torrent out there of a fan-made compilation album of songs from season 3. I've seen the track titles and I think one of them is Jack's piano song.

Indeed, perhaps it's mostly that - I neglected to mention its influence. I'd have to try playing the melody on the keyboard and comparing it to the sadness theme, as I only noticed a potential similarity while listening up for this analysis. Giacchino's overlapping of themes in Lost is quite remarkable. Kate's theme is very similar to the action motif used in season 3's Paddle Jumper - and the track Monsters Are Such Interesting People can be read as including that motif, the monster motif and the 'secondary' beach theme, all layered within a minute!

A summary of the themes of Lost, as I recall them, in a vague chronological order of presentation/introduction: # Hatch/mystery motif (five-note percussive motif, found in The Eyeland but no longer really used) # 'Beach' theme (the classic three-note rising/falling theme, referred to before as 'tidal', found in Credit Where Credits Due; the secondary component to this theme, very similar in structure, is counterpointed in the opening of Booneral) # Trek theme (Hollywood and Vines; used extensively in Through the Looking Glass) # 'Jack's' theme (no longer really Jack's theme; used in generally bittersweet moments, like Life and Death) # Locke's 'crocodile theme' (Locke's tension theme, found in Crocodile Locke and Final Countdown) # Locke's 'tragedy theme' (two components; basis found in Shannonigans, developed fully in Locked Out Again) # Monster motif (four-note motif; thrown in your face in Run Away Run Away) # Kate's theme (decscending theme found in Kate's Motel) # Claire's theme (possibly better termed her's and Charlies; all over the first season, and in We're Friends) # Charlie's theme (popular since the start, heard best in Charlie's Temptation - is this the Moth theme people speak of, or is that different?) # Michael/Walt's theme (simple two-note motif not found on score albums, but definately theirs) # Raft theme (used for hope/rescue sometimes; best heard as Parting Words) # Sayid's theme (relatively complex melody, heard in Shannon's Funeral) # Hurley's 'quirky theme' (developed very well in 'Dave' and heard in World's Worst Landscaping) # Hurley's 'sadness theme' (I think this in Mess It All Up and developed for guitar/piano in Hurley's Handouts, juxtaposed with a version of...) # Rose and Bernard's theme (heard in the track of the same name) # Eko's theme (heard in All's Forgiven, Except Charlie) # Jin and Sun's theme (heard as The Last To Know; generally used regarding their unborn child) # Desmond/Penny's theme (used elsewhere at first, as in Bon Voyage Traitor, but now definately theirs alone) # The Others' 'first' theme (a kind of rising/descending theme of couplets, used in McGale's Navy and the opening of In With A Kaboom; no longer really used) # The Others/Ben's theme (used repeatedly as a tension motif, but then developed into Ben's theme as used delicately in Dharmacide) # Sawyer/Kate's theme (hopeful theme used for romantic exchanges between the pair; as in Romancing the Cage) # Juliet's theme (developed best in Ocean's Apart) I acknowledge that there are many other mystery and tension motifs and techniques Giacchino uses, but they are so widespread and diffuse that I cannot really label them (or identify many of them). These are the character themes as I understand them.

Who the hell are you? Newbies should get in line before they're allowed to talk! Heh, I've been posting here two years longer than you have and browsing longer than that. Not that makes an iota of difference to anything we're saying. I'll reiterate what others have said, and ignore speculation on an hour-long album based on poorly-chosen low-quality clips. And reiterate what I've said; keep your mind and ears open - not all of us are anticipating the joys of Williams in a familiar mode. I could be perfectly happy with more abstract 'prequel-style' scores incorporating the Indy theme(s). Infact I suspect a score in the very same vein as Raiders will not push any of our buttons like that particular score does.

Get over yourself, and drop your ridiculously high expectations of John Williams in "80s adventure bombastic leitmotif" mode.

This is wrong on so many levels. Trailer music is nothing to go by, as has been said. It's a competent score that works well in the film, even if it's not a great album listen. The orchestrations and moods are top-notch - you may not like them, but they're accomplished and more than just functional. Finally, "last non-Williams score I buy"? What a stupid notion! You can be a Williams fanboy all you like, but to seriously think no other composers work will entertain you is utterly childish. You're missing out. But then you don't seem to understand film scoring that much anyway, considering you bought an album for the music you heard in a film's trailer.

Part of the appeal of his scores to me is that they're awesome to cycle about to. Medal of Honor Frontline and Airbourne are great nocturnal cycling experiences. Call of Duty is quite a moody one for the night-tme too; the opening track is morale-boosting and intense for steep uphill slogs. Parts of MI:3 make for pretty good kinetic cycling music ('Hunting for Jules' remaining my favourite). Secret Weapons Over Normandy is a bright and bold blast - it was my soundtrack to getting around in summer 2005. And now, of course, Speed Racer, with it's groovy pace, changing moods and tight percussion. Keep 'em coming!

Christopher O'Riley is an amazing pianist - his interpretations of Radiohead are consistently brilliant and highly creative.

Considering the man owns every score to the original Speed Racer series and has been an avid listener to scores since the original Star Wars, I'd say he has a pretty good idea of the old and the new. I think The Incredibles demonstrated a decent synthesis of the two. Anyway, the proof is in the pudding. There's two hours of music from Speed Racer out there, and it's marvellously broad in its style. Some of the action music has some real funky basslines. Ow!

At least feature some on your next show Erik. And this is a cheeky request for anyone who now has the full version of ROAR and doesn't mind uploading it, to send me a link via PM. Thankyee!

Personally I can't get enough of this Speed Racer score at the moment. I've always found Giacchino's action music fantastic to cycle about to - it's adrenaline-pumping, morale-boosting and bold, but never at the expense of rhythm or detail - and Speed Racer is clearly no exception! Tracks 31 and 41 are currently my favourites. I never would have guessed he'd create such a rich score of so many almost-contradictory elements. There's 60s pizzazz, precise and powerful percussion, full choir, captivating vocal solo moments, tasteful guitars (especially some funky basslines!), trademark string-work, relentless brass - it's all there. You can hear elements of James Bond, the odd grand Zimmer flavour but everything retains his own style. The middle of track 41 just showcases the kind of Bond score Giacchino would create - I can't wait to hear if he'll ever get the chance. Awesome.

Mr Breathmask, I have to disagree with your analysis. 'The Last To Know' is entirely Sun and Jin's theme. I don't think it's used in the first series, which is why I think it's more to do with their unborn child - it was used in their latest episode, superbly cut with Jack's theme at the end. And the opening theme of Bon Voyage Traitor was a new theme for then, yes it poignantly and interestingly scored Michael's reuinion with Walkt. I was glad to hear startling new material for a such a scene. But it was used for Desmond's love of Penny in that episode. It has since been used in Desmond's latest episode for that same narrative theme, but not for Michael and Walt - it definately is Desmond and Penny's theme.

If anybody managed to take a recording of that stream before it was taken down, (and is willing to upload it) would they be able to PM me?

Better safe than sorry, I know, as we do want those kind of previews in future. But to think that anybody who might influence current or future prospects of hearing online material is searching for or reading this backwater of the internet is mildly absurd.

I'll try to record it soon. Anybody who has might cut up the distinct tracks and compare their lengths to the album list on the Varese website. That'll give you some track names, but it's unlikely we'll ever have Giacchino's names for all two hours of this music.

We'll be able to compare to the album cues soon enough. I don't think Speed Racer represents Giacchino's best; it certainly has his style (I like the percussion and use of bass guitar) but it's not him pushing his abilities as much as some of his more recent work. The cartoony nature of the film probably didn't call for the complex orchestrations of, say MI:3, so the music doesn't stand too far from the bright and colourful imagery. I look forward to hearing it all in context though, I bet it carries the moods well.

This Lost album is going to be awesome. To think I went from thinking there'd be nothing at all, to two discs with comprehensive cues from the final two episodes! And I'll get to hear Dharmacide (brilliant title!) and probably that introduction to Juliet's theme (in Oceans Apart, I think) - the best part of a poor episode, when they return from Hydra to the mainland. And I expect Speed Racer to be a slightly brighter take on his MI:3 style, but I'll probably be treated to something suprising and pretty original. Ahh, Giacchino, you don-daddy!