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ChrisAfonso
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Posts posted by ChrisAfonso
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On 1/29/2021 at 3:27 PM, mstrox said:
Has anyone heard Kraemer's Doctor Who/Big Finish scores? Worth picking up? I love the Who TV scores from Gold and Akinola, and wouldn't mind having more in either of those styles. I like Kraemer's Mission: Impossible score welll enough and haven't heard anything else, and sci-fi/adventure is much more my scene than action or spy music.
I have a few of the box sets he scored, though mostly non-Doctor stories about other characters from the universe - "Missy", "The Paternoster Gang", etc. I'd recommend them - apart from the music being very enjoyable (and very Kraemer in style, not a copy of Gold, or Akinola - mostly a mix of adventure/whimsical/mystery idioms), the stories are fun to listen to, the voice acting is great, and most of the sets contain a lengthy suite of Joe's score at the end, which alleviates the fact that there only has been one standalone soundtrack release so far.
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I'm fairly sure "Nimbus 2000" is identical to the version on disc 3 of the LaLaLand Harry Potter collection, and "The Sorcerer's Stone" may be the track "The Stone" on disc 2?
- bollemanneke and tmarps
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I'm about 3/4 through The Pathless, and the music works really well in the game, often becoming part of the landscape, but stepping into the spotlight every once in a while with spectacular effect.
The already mentioned behind-the-scenes videos on his youtube channel are highly recommended, great look into the process (and who doesn't love to watch raw session footage?)
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On 11/9/2020 at 11:35 PM, Falstaft said:
One of the most inexplicably excised sections of a cue on a Williams OST. Up there with two other notorious cuts, from ROTS "Lament" and "It Can't Be." Can't think of any others quite as egregious.
The "It Can't Be"/Anakin's Dark Deeds one has always puzzled me, such an awesome moment (though already simplified on the way from orchestrated score to recording - there's an additional trumpet flourish he apparently cut on the stage?). Trying to rationalize it, I'd guess it's JW's inner Thor? The track indeed flows better in reduced form, at the cost of an incredible moment, taken in isolation - it does seem like two consecutive climaxes in the complete cue.
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Maybe he's working on a grand final concert suite and wants to hold it back for that... just an optimistic dream
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On 10/5/2020 at 4:08 PM, Jay said:
I had an idle thought this morning about how massively different the reaction to Intrada's War of the Worlds expansion would have been if there had been no recording session leak and no sheet music leak.
To only learn now that the ending was revised 4 times, that there are 2 different prologues and epilogues, that the Entrance to Boston had 2 different inserts, that 3 OST track had music written especially for it in them, etc....
As cool as it's been to have all this knowledge and have all this music clean already for the past decade, it does make these specialty label expansions less special in a way.
As the leaks completely passed me by and I didn't dive into this score much before now, all of that, and the older discussion in this thread, is very fascinating to read and discover
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For many years, The Ghost and the Darkness - had the OST in my hands in the mid-90s, held off on buying it because my cd budget for that shopping trip was already exhausted, then never found it again until the recent expansion.
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Regarding Voyeur, Schyman has a suite (with sheet music!) on youtube:
The description sheds some light on the circumstances of its creation, so I guess the questions are "do interactive movies count as a games?" (whole other can of worms) and whether the ensemble size matters...
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On 7/29/2020 at 7:14 AM, HunterTech said:
So unless there's some forgotten game that has it, Gia could very well claim that particular title.
That would be Garry Schyman's Voyeur for the CD-i from 1993, which according to the composer was recorded with a small orchestra.
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1 hour ago, Richard Penna said:
But, as mentioned in one of the YT comments, those Mario effects and theme are way OTT. Maybe they're trying to show what's going on inside Aaron Paul's head, but it feels wrong for the scene.
This might be comparison bias with the episode as aired, but I thought the concept stated at its beginning - that the drug would totally flash the user - was played much too subtle, so this was actually much more in keeping with the supposed premise.
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I like it - it brilliantly plays with the concept of genre perception distortion and IMHO takes the weakness of the scene (as elaborated above: too little genuine tension for a supposedly dramatic chase) and full-on acknowledges it by turning it into "it's like a game". The mix between the chiptune/rock/orchestra hybrid elements sounds very well done, too.
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I've only really dug into The Towering Inferno yet, but that alone already made the set worthwhile for me - the main title is an all-time classic (which I previously only knew from that old RealAudio sample page...), comparing the vastly different score/OST mixes is really ear-opening, and although my attention tends to wander off a bit during some of the more low-key cues of the score, there are a lot of outstanding highlights.
Earthquake seems a good candidate for listening when in a mood for fun, quirky music. Poseidon seems to be the most challenging score of these to really get into. But I'm glad to have them all at my disposal for when curiosity strikes
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Yared's can be pretty swashbuckling, too:
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That was an interesting conversation to watch, thanks for doing it! Sadly there were a few audio dropouts in the recording...
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What Jay is probably thinking of is the moment in Ark Trek, where the second half of the medallion theme does appear as the b section of the Ark theme, creating a single moment of unity of the two themes. Following your interpretation, this could be seen as the point in the story where the raw power of the Ark and the corrupt ambition to use it finally come together?
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On 5/15/2020 at 9:29 AM, Laserschwert said:
I wish they wouldn't waste their time with Mario music though. "Sam & Max Hit the Road" would make for a great live-recorded jazz soundtrack.
Why not both? I'd hope they make more if this sells well.
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Here's also a small look behind the scenes:
This album is a great listen! Materia Collective is putting out awesome VGM arrangements time and again (like the fully orchestral "Hero of Time" OoT concept album a few years back).
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They have a high bar to match for sure, but with Druckmann being involved and after seeing what Mazin achieved with Chernobyl, they might just be able to.
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Unexpected! This used to be one of my favorite Williams scores back in the day, but I never felt that anything essential was missing from the OST... looking forward to the samples!
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1 hour ago, DrTenma said:
Isn't it similar of what Lucas did in the prequels? There's a lot of micro-editing, tracked music (with weird decisions: I still can't understand why Lucas thought reprising the area music during Anakin's march to the Jedi temple was a good idea, or even an ok idea), etc.
That is actually a rare case that I don't mind so much, because the cue was dialled out of the original arena scene and so was used for the first time in the temple scene.
What's bad about it is the fact it's repeated twice in a very noticeable way...
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I'd guess even though he will not get paid a share of the nonexistent sheet music rental or purchase, he gets performance royalties from the usual performance rights organizations?
John Powell's Perfect Time For A Spring Cleaning (2021)
in General Discussion
Posted
I think this is a bit reductive. Listen to the arc of the piece: Starting just with a busy, preoccupied ostinato, sounding very tense; then adding color via the light pizz harmony patterns in the background, leading to a joyous theme in chords in typical Powell-fashion, finally calming down again.
Referring to the title, to me this evokes starting a cumbersome task with push-through-determination, then slowly getting into the flow of things, time flies by, and before you know, you're done.
/edit: Just bought the album. This is exactly what I need to counterbalance all the big orchestra music I've listened to lately. Thanks Jay for posting!