BLUMENKOHL

Guess he couldn't afford Blume.

That's one's for the old ladies.

Just remembered the last CD soundtrack I threw in the bin was Brad Fiedel's T2 in the shiny sleeve.

The McCrearys.

Really? Which part? 
 
Wait I think I know...the part right before the Imperial March? 

Day 2 – Bladezimmer
In the second day JWFan begins with a traditional touch that recalls Giacchino, before sensual whistles take us into the realm that can only be called Bladezimmer. Today, we made 2.75 minutes of music together. Still ahead of the maestro, John Towner Williams. 
 
 
 

I know EXACTLY what you're talking about, and I agree with the first sentence, but I don't think darkness is the missing ingredient. On the contrary, I think darkness might be the overused ingredient.
I think the best illustration I can think of, and this going to be a round-about example, so stay with me, is "The Prime Directive" in Insurrection (aka "The Lost Ship/Prepare The Ship"). There's a part of the track I think Goldsmith gives us one of the most John Williams' approaches to drama and suspense he ever has: just as the oboe kicks in and we get the melancholy heavy strings. But throughout the whole track Jerry walks an intricate tight rope of conspiracy, bureaucratic detachment, defeat, sadness, fear and youthful rebellion. That's what suspense is all about, per the definition:
" a state or feeling of excited or anxious uncertainty about what may happen:"
You're never quite certain what the track is really getting at, it's an infuriating and deeply satisfying dance of both positive (energizing) and negative (dark/melancholy).
John's approach to these types of scenes tends to be drenched more strongly in the dark/melancholy. I would guess that if he scored that scene, the oboe/heavy strings section would provide the predominant framework for the whole of the track (much of RotS is evidence of that, where everything in the movie is largely supplanted by the tragedy). And while he'd include other elements as well (the man writes complicated music, there's no question about that), by selecting a dominant emotion (melacholy/darkness) you by definition eliminate suspense. There's no longer any uncertainty about what the emotional core of the scene is, it's dark melancholy with other emotional elements mixed in.
Goldsmith doesn't select the dominant emotion of the scene for you, he choreographs a war between the emotions, and that creates suspense. That's why his music so often captured that sense of mental turmoil.
Hence you get the feeling that Williams writes with broader emotional strokes (though he of course employs the finer strokes). If he were a painter, if you zoomed out far enough you could pick a dominant color from his paintings. With Goldsmith's suspense writing, zooming out just makes things look black or white (mix of colors).
A sad track with happy or scary or rebellious bits sprinkled throughout is a sad track. But a track that weaves emotional cores more ambiguously is a suspenseful track.
You mentioned sex. Same principle applies with sex. Sex can be a romantic, passionate, primitive, and savage affair. It's all about how the music brings attention to those things.

[EDIT]

And just to add, I think their approaches inform their overall thematic styles as well. Goldsmith's more "suspenseful" approach means he tackled fewer but bigger ideas, otherwise his music would sound like a mess.
Williams' approach lets him use way more ideas, because he can anchor them to a unifying emotional core but at the cost of being unable to have more than one dominant emotional framework for a piece.
I would even argue the two composer's styles are driven by functional necessity. If you hold the core emotional architecture constant, it's easier to pepper and mix in more smaller different ideas: you have to meld all those ideas against one backdrop. But if you have several core emotional frameworks, every time the core architecture of the piece changes you have to re-adapt smaller different ideas against that new backdrop, and that doesn't just happen by itself.
John Williams can use complex and rich sets of leitmotivs because he anchors his pieces to a central emotional core. Jerry on the other hand needs the broader thematic ideas because his music has a less obvious emotional core.

Day 3 - Nothing happened. 

The timing of the show is all over the place, and that goes hand in hand with the score spotting. Those alone are enough to give it an unbalanced, unfocused and (not positively) enigmatic atmosphere. It doesn't seem to be deliberate either, yet it also seems too obvious to be a complete accident. Or consequent enough to be artistic, in whatever sense of the word.

Day 1 – THE STORY SO FAR!
 
John Williams writes 2.5 minutes per day, John Williams Fan Network writes 3.5 minutes! There are haunting moments, beautiful moments, weird ass ADHD shit, and funny moments!  
 
 

This thread's companion is one of the most interesting threads in years!

Day 1 – THE STORY SO FAR!
 
John Williams writes 2.5 minutes per day, John Williams Fan Network writes 3.5 minutes! There are haunting moments, beautiful moments, weird ass ADHD shit, and funny moments!  
 
 

Day 1 – THE STORY SO FAR!
 
John Williams writes 2.5 minutes per day, John Williams Fan Network writes 3.5 minutes! There are haunting moments, beautiful moments, weird ass ADHD shit, and funny moments!  
 
 

http://picosong.com/w3Uaf/

http://picosong.com/w3Ua8/

http://picosong.com/w3U69/

http://picosong.com/w3HA3/

http://picosong.com/w3Hb8/

http://picosong.com/w3HXY/