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DemonStar

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  1. Like
    DemonStar reacted to Jay in Hans Zimmer's RAIN MAN (1988) - NEW! 2025 La-La Land Records   
    @Stéphane Humez your expansions of THE ROCK and BACKDRAFT are awesome and I look forward to more 90s Zimmer expansions coming out!  (Crimson Tide is most most wanted as well!)
     
    Thanks for joining JWFan and answering so many questions, too!
     
    Now, maybe think about selecting an avatar image
  2. Like
    DemonStar reacted to Trope in Hans Zimmer's RAIN MAN (1988) - NEW! 2025 La-La Land Records   
    I just want to say thank you Stéphane for all your work with Hans and helping to facilitate these expanded releases! It’s wonderful to see someone involved who is such a fan of Hans and has a wealth of knowledge about RCP.
  3. Like
    DemonStar reacted to Stéphane Humez in Hans Zimmer's RAIN MAN (1988) - NEW! 2025 La-La Land Records   
    Nothing special really. The labels wanted to do it by the book and involve Hans every step of the way. Which project to pursue, album assembly, packaging approval etc. But Hans has, as you can imagine, MANY other things happening all the time, so getting answers, feedback etc. could be complicated. So it would stall things, there was a certain fear that by not answering he was not approving, it could make studios a tad nervous. I've known Hans for a long time, I just convinced him and his team to let me handle things for him in full trust. I consult him when needed but it's much easier that way.
  4. Like
    DemonStar reacted to Stéphane Humez in Hans Zimmer's RAIN MAN (1988) - NEW! 2025 La-La Land Records   
    Hello guys !
     
    As the album producer I believe I can answer a few interrogations...
     
    The master comes from HZ's archives, final stereo mixes we remastered and cleaned completely (no ticks and clicks left). I do believe it sounds great, and if you liked our Backdraft album I think you have nothing to worry about. If the Perseverance was a terrible release, I don't have much to complain about with the NoteForNote one, except they didn't bother to licence the 1989 album score tracks and rather recreated them. We did licence them this time (they have a very specific album remix). But enough with content spoiler ! There's a couple of added bonuses though compared to NFN. About the Smoke Alarm film version, it's not there. Why ? Simply because it wasn't "written", you have to realize it's just a sound FX used by music editor James Flamberg to replace a segment in Hans' cue. Just typical last minute music editing.
     
    PS : I've been reading this forum for many many years but since this is the first of many HZ albums coming in 2025 I figured why not sign up because questions will come. After The Rock in 2023 and Backdraft last year, many are coming to fruition these days !
     
  5. Like
    DemonStar reacted to Corellian2019 in Hans Zimmer's RAIN MAN (1988) - NEW! 2025 La-La Land Records   
    That's actually my least favorite cue in the score  but it's also my favorite Zimmer score. I'm tempted to try to sell my Notefornote release again, but I'll wait until the track listing for this one comes out. Here's hoping that the film version of "Smoke Alarm" is included, but most importantly, I hope that this release undoes those crossfades between cues that Ford Thaxton created.
     
    Also, for those who follow La-La Land on Facebook, here is what MV had to say regarding the expansion of another Zimmer score:
     
     
  6. Like
    DemonStar reacted to Bilbo in Hans Zimmer's RAIN MAN (1988) - NEW! 2025 La-La Land Records   
    It would be great if we could get a 25th anniversary Gladiator this year! 
     
    But I suspect that would be a Black Friday release. 
  7. Like
    DemonStar reacted to Smaug The Iron in The Official La-La Land Records Thread   
    https://www.facebook.com/share/p/1A7Nf7ppP8/
  8. Like
    DemonStar reacted to Richard P in Hans Zimmer’s Expanded Score for MISSION: IMPOSSIBLE 2   
    Well, that sucks. Of course, you can record vinyl to digital with the right equipment, but what a completely pointless exercise that would be when the label has the digital masters.
     
    A vinyl-only reissue is sort of acceptable - there would be ways to find a CD version. But an expansion only on vinyl - that's another level of obtuseness to pretend that no one needs it on digital.
     
    I bought a CD of stock samples once, which the accompanying liner notes kept referencing as a cassette - they'd evidently switched to issuing CDs at some point in the early 00s. I kept imagining receiving a cassette tape with imporant stuff on it and how I'd lament about the needless analog step they'd put in the way of the original untouched sound.
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  11. Like
    DemonStar reacted to Holko in Restored Isolated Score: Spider-Man 2   
    For Spider-Man 2, Elfman matured the material from 1 and gave them lovely new developments, needing virtually no new themes besides the obvious ones for the new villain - Doc Ock for more general use and the jagged rhythm of The Arms for various loud action usage.
    Since it takes a much more prominent role here, I'm renaming the theme I previously called Family/Uncle Ben to Peter since it generally has to do with his state of mind and especially relationships, familial or friendly. It still works as the root of Responsibility.
     
    I was shocked to see how much this score has been meddled with. Raimi really loved the love theme becausehe plastered it all over relevant or not that relevant scenes, destroying Elfman's intentions of slowly bringing it back in a subdued way for the will they/won't they/reject/not reject/reject back nature of the story. Lots of things dialed out, lots of things tracked over, lots of things copypasted back from 1.
    Fully expecting the need to use the alternate cut and leave black screens as usual, I was very surprised that I barely needed to do any picture edits, and all of them except for a single one were slight shortenings.
     
    Thanks to @HunterTech, @Manakin Skywalker and @Chewy for the help and consultation!
     
     

    1m1 Main Titles - Elfman mostly reprises his Main Titles piece from 1 (slightly reorchestrated with added synth for example), fittingly since the fim also literally uses the same shots (regraded from blue to red) until the title shows up. However, to replace the dark action section, he takes the opportunity to introduce his Doc Ock theme ahead of time - we won't hear it for a while yet. The wind figure coda is also left out.
     
     
     

    1m2 Pizza Man - Elfman calls back to 2m7R Costume Montage in a more playful way, without actually reprising Spiderman A yet, then once Peter changes personas we're right back into heroic action with slight fun Mickey Mousing. The final film only uses the second half for Spider-Man, see Replacements.
     
     
     

    1m3 Book Troubles - After a small A hint, Peter's clumsiness continues to be comically supported by light grooves.
     
     
     

    1m4 Riding to May's - Another light groove accompanies him home.
     
     
     

    1m5 Peter's Birthday - The Love theme gets a gentle reintroduction, then the mood turns dark for a bit. The film replaces most of the Love theme with 4m1 Moondance from 1.
     
     
     

    1m6A Harry Remembers - We get a hint of the Green Goblin's theme, then the Peter theme.
     
     
     

    1m6B Responsible One - Completely unused, replaced by part of 3m4 Alone from 1, therefore this exact placement is a guess.
     
     
     

    1m7 Backyard Revisited (Part 1) - The cue quietly but hopefully anticipates a Love theme appearance, but as Peter refuses to say what they both know it turns disappointed and plays off as the conversation seems to end.
    1m7b Backyard Revisited (Part 2) - After MJ drove in the dagger, Peter does find one thing he can say and do for her and the score returns for a hopeful little coda. I kept these two together to show off the (possible) spotting, because in the final film both of these are unused, replaced by the alternate 2m6 Backyard Connection slapped over the whole thing, without leaving the gap for the boyfriend conversation and without actually supporting the dynamics.
     
     
     

    2m2 Apartment Transition - The film places this weirdly, the climax scoring seemingly nothing, so I moved this a bit earlier to fit the transition itself.
     
     
     

    2m4 Theatre Montage - A lovely fun cue that gives the scene a playful momentum and accents transitions and comic beats really well. Spiderman A and B make lowkey appearances at the start, but the rest is dominated by a new cue-specific theme. The film abandons it completely, leaving the laundry scene and the ending silent and using Hold On by Jet for the rest, giving the scene a much slower rhythm.
    2m5 Cops and Robbers - A plays softly under the interaction with the kids, but the action kicks back in. As the web is revealed, B comes in over what I swear is a reference to 2m4's ostinato, tying these two cues together. B and A then join the action. I especially love the weird way Elfman scores him taking out the crooks near the end. The film dials out the quiet opening, and replaces the music for the web and Spidey's first swings with a section of 3m2A/B Revenge from 1, removing the possible reference to the removed previous cue.
     
     
     

    2m7 M.J.'s New Life - A gentle reading of the Love theme. Mostly replaced by 5m10-11 Hard Nipples in the film with its much stronger statement.
    2m8 Spidus Interruptus - An angry buildup into a glorious Spidey A and B, which then falls away suddenly as the web cuts out. An uneasy A follows for the further attempts. The film dials out the portion for the fall and hit.
     
     
     

    2m10 Draggin' - An uneasy little cue featuring a Spidey A for Peter's walk of shame.
     
     
     

    3m1 A Phone Call - Interesting settings of Spidey A and B for Peter practicing being vulnerable.
     
     
     

    3m2 The Reveal - Elfman uses threatening textures for the reveal and setup of the arms, also hinting at Doc Ock's theme, but plays it off gently once we see he's in control of them and continues the explanation. Completely unused, see Replacements.
     
     
     

    3m3 Blue Light - Elfman scores this part of the preparation in a very understated but still definitely threatening way. Completely unused, see Replacements.
     
     
     

    3m4 Fusion - Elfman's cue starts hinting at Dock Ock again on the brass, but over the threatening strings it starts going out of control. So does the experiment, and so does the orchestra, accenting the ensuing chaos where it can. A noble Spidey A briefly calms the sound. Completely unused, see Replacements.
    3m5 Mayhem - The chaos continues with slight Doc Ock hints, but finally climaxes as Spidey pulls the plug. Completely unused, see Replacements.
    3m6 Aftermath - Cold textures score the aftermath, then the Peter/Responsibility theme's opening comes in as the camera lands on Peter. The final film shortens it significantly, starting it on Rosie's corpse then cutting to the transition section for the transition.
     
     
     

    3m7 Doc Ock Is Born - After complete chaos, the Doc Ock theme finally plays in full as Otto wakes up, then a few more times as he walks through the street and finds his new home. The film removes the entire first half, dialing the cue back in as the arms withdraw over the chainsaw, emphasising the sound design and Raimi's horror background, IMO a good choice.
     
     
     

    3m8 Angry Arms - Dreamy horror textures score the arms' AI "talking" to Otto, with his theme coming in and growing more and more unhinged - except for a short noble bit as his humanity still gets through.
     
     
     

    3m9 The Bank - Aside from brief heavy Spidey A-s, this action cue is dominated heavily by the Arms' motif. The film tracks Young's 6m5 Runaway Train, Part I over the second half (Ock grabbing Spidey's head onwards).
    4m1 Saving May - The Arms still dominate the action, along with some Mickey Mousing for May's actions, but once she's rescued, Spidey A and B return in full force, Doc Ock retreats to his own theme, and Spidey's interaction with May also gets a new variation of the Peter theme. The film removes the opening for tension until the arms burst in, and also dials the music out as Spidey and Otto are falling, cutting it back in very awkwardly as we cut back to May.
     
     
     

    4m5 Spider-Fall - The dazed slow motion singing is scored with a dreamy Spidey A+B, which falls away gracefully as his abilities disappear again. A small A comes back again for Peter's confusion. The final film replaces the opening with 1m1 Main Titles' introduction, and the bit for the fall with a segment of 3m2A/B Revenge from 1.
    4m6 Rebuilding - Doc Ock's theme plays over a persistent rhythm for this quick cutaway scene looking in on his progress. The film plays the scene up by replacing this entire cue with an edit of 3m8 Angry Arms.
     
     
     

    4m7 Uncle Ben - The Peter theme plays over a warm base, which falls away as he rejects uncle Ben. The theme tries to play in full again but can't complete. The Responsibility setting does play out in full shortly after, as a final farewell as Peter fully turns away from his life as a hero.
    4m8 Happy Montage - Completely unused, the fim plays Raindrops Keep Fallin' on my Head by B.J. Thomas - in my opinion rightfully, this scene wouldn't have ben nearly as iconic with this cue.
     
     
     

    5m1 Peter Appeals To M.J. - Hints at the Love theme that never quite complete, this time MJ's the end not willing to receive it. The first 2/3rds of the cue are replaced with 4m1 Moondance from 1, plastering the love theme over it again.
     
     

    5m2 Newspaper - After a quick incomplete Responsibility, we finally get callbacks to the newspaper montages and stingers from 1. The opening is unused until the newspapers start rolling.
    5m4 A Mugging - Peter's better nature is creeping in, Responsibility starts playing but once again can't complete yet.
    5m4 Spider-Gone - Between warm and gentle underscoring, the cue accents the transition with the Peter theme, and his decision to get his guilt off his chest and try to take May's away with strings coming in.
     
     
     

    5m5 Dock Ock's Machine - Doc Ock and the Arms' motif score the completion of the machine. Peter's theme is suggested for Harry's obsession, then horror scoring takes over. The film removes the Arms motif for the transition by looping the previous section, and dials out all of the second haf (horror scoring after Harry is left alone).
    5m6 Rooftop Rendezvous - Doc Ock starts and ends the cue, but we also get some Goblin suggestions on tremolo strings for Harry. The film replaces most of the cue with a mess of tracking, including copying the end of the cue to the opening, only returning to the intented scoring when Ock sets off.
    5m7 The Fire - Elfman interestingly scores the action cue here without using any of the heroic themes. The film throws it all out and uses 5m5R The Fire from 1 for some of it.
    5m8 Peter's Turmoil - The Peter setting plays in full as guilt starts tearing into him. Gentle scoring for Ursula's entrance turns slightly comedic. Completely unused, see Replacements.
     
     
     

    5m9 Aunt May Packs - The cue introduces a brand new texture with the guitar for a simple but warm sound. Completely unused, the film instead tracks the cold 3m4 Alone from 1 over it.
     
     
     

    5m10 Aunt May Sells Spidey - The Peter theme is used as a pivot to move from gentle scoring into noble horns for the hero discussion. Completely unused, the film instead tracks 5m10-11 Hard Nipples from 1 over it (yes that's right, using the love theme here), including the loud ending to transition into the next cue.
    5m11 Not Back Yet - The music runs with the visual cues and slightly calls back to the early "new powers" cues from 1. Spidey A is initially only alluded to, then plays with B on brass in a restricted way while Peter runs, then they finally soar together again as he jumps... and crashes. Completely unused, the film tracks 1m1 Main Titles and a segment of 6m3 To the Rescue from 1 over it.
     
     
     

    6m1 The Wrong Kiss - The Love theme is soured as MJ attempts and fails to replicate her magic moment from the previous movie, growing into the Peter theme.
     
     
     

    6m2 Almost A Kiss - The Love theme once again tries to come out but turns this time properly tragic as Peter seems to close this door forever.
     
     
     

    6m3 A Hostage - The Arms herald Doc Ock's arrival, and he continues dominating the cue until he leaves with MJ - which finally sets Peter off and turns him back into Spider-Man, marked by a transition at the end of the cue from a full Peter theme to Responsibility's ending. This latter subtlety is dialed out in the film, the ending replaced with part of 3m2A/B Revenge from 1.
     
     
     

    6m4 He's Back! - Responsibility is here to stay, under JJJ's uncharacteristic affection for Spidey, but the main themes soon take over - electronics recalling 6m6 End Credits from 1 lead to a grand choral A reminiscent of the Main Title, then we get a ridiculously fluid transition to Doc Ock for one of the most satisfyingly dynamic transitions. The hero and villain's themes face off, then suddenly crash as they land on the train. The film cuts this ending a little short.
    6m5 The Train (Part 1) - Elfman keeps the cue and tension levels dynamic, closely following the action onscreen, using Spidey A and B, Arms and Doc Ock wherever they fit. Electronics and percussion also return from 1. Completely unused, see Replacements.
    6m6 The Train (Part 2) - With the ticking clock element introduced and only a single goal in mind, Elfman keeps this cue more rhythmically consistent and focused, but still dynamic in volume and orchestration. Spidey A and B struggle to keep up with the acceleration until the cue reaches its semi-triumphant apex and chugs to a full stop along with the train. Completely unused, see Replacements.
    6m7 Appreciation - Semi-religious scoring leads into the Peter theme for the citizens' appreciation of their saviour. A accompanies Peter's realisation but Responsibility reaffirms that his secret is safe. Completely unused, the film replaces it with a mess of tracking including the ending of 6m4 The Final Confrontation (big Responsibility) over the opening to immediately hammer the point home and ruin its impact for the latter statement, 6m5 Farewell and other bits.
    6m8 Out For The Count - Ock and the Arms ruin the party quickly, even though the citizens try to protect Spidey with A. The following section highlights the similarity of Doc Ock and The Goblin's openings, then finally we get a proper Goblin reading, however lowkey, as Harry attacks with the knife.
     
     
     

    6m9 The Trouble With Harry - This placement is purely a guess based on Jeff Bond's note in the booklet. The film tracks 5m7 The Clues from 1 over it, subtlety be damned.
    7m1 On The Case - For this final faceoff, the hero and villain themes are once more confronted, along with a quick Peter for MJ and some surprisingly triumphant sections. The film removes the choir from the opening, dials out the section for starting up the fusion reaction, and tracks over part of the fight (Peter swinging back in, hand to hand with Ock) with a section of 3m2A/B Revenge from 1.
     
     
     

    7m2 Armageddon - The climax might be epic in scale on paper, with all the themes coming together, but since it mostly comes down to two people talking and internal decisions being made, the score is refreshingly understated for a lot of it. The film uses a combination of this version and the alternate.
    7m3 A Really Big Web - The score is once again reaching towards but never quite fulfilling the Love theme for this final climactic rejection.
    7m4 The Goblin Returns - Finally the score proper (without the film tracking) plays the Goblin theme in full, mysteriously then seductively then in proper snarling hammy mode.
    7m6 Bridal Chorus + 7m6 Wedding Orchestra Sweetener - It's included, might as well. The film shortens it by quite a bit, I just let it play out here because it happens to fit between the two proper cues.
    7m7 At Long Last, Love - The cue for once final time keeps edging towards the Love theme, and finally manages to fulfill it... but only in a rushed statement before Responsibility calls and A and B are reprised from 1's finale.
    Bonus: End credits - Since we apparently have no indication that a proper Credits piece was ever written, let alone recorded, I thought I'd mock something up, just like how I mocked something up for the non-main credits of 1 - but then I heard Spidey Suite with its opening calling back to 1's credits piece, and a perfect ending, and looked no further. So this here is a recreation to remove the brickwalling of the master used on the songtrack and Disc 1 of the LLL, and with 7m7 At Long Last, Love joined in differently to fill in the entire credits runtime (and work better musically haha).
     
     
    Alternates
     
     
     

    I thought I'd put all these together to show the evolution (of course the order is only a guess technically):
    1m6A Harry Remembers Alternate 1 - This version underplays the tension with a Spidey A suggestion, proceeds onto Peter and gentle oboe for May.
    1m6A Harry Remembers Alternate 2 - This version plays up the Goblin suggestion very darkly, and drops the May ending.
    1m6A Harry Remembers - This version dials the darkness back a bit and cuts the ending even shorter.
     
     
     

    3m1 A Phone Call Alternate - This version starts off less warm until the "confession", from there it's the same take.
     
     
     

    3m2 The Reveal Alternate - Stepping closer to the Young temptrack, this version has the same base composition but with additional grand choir and some grander gestures.
     
     
     

    5m8 Peter's Turmoil Alternate - This version is much more toned down, close to 3m1 A Phone Call, and not a bad choice IMO, the main program version is definitely a bit too much for the scene.
     
     
     

    6m4 He's Back! Alternate Ending - Slightly shorter and less thematic.
     
     
     

    7m2 Armageddon Alternate - Basically the same base composition, but with additional stakes-raising elements (percussion, string ostinatos, brass flousishes, choir) all over. The film uses some of these but not all.
     
     
     

    7m7 At Long Last, Love Alternate Ending - Instead of the two brass capping notes, this version has a Spidey A.
     
     
     
    Replacements
     
     
     

    1m2 Special Delivery (Debney) + 1m2 Pizza Man (second half) - This cue was written to replace the Peter section of this setpiece, changing it from a genuine kind of comedic fun to a comedically contrasting epic action. So epic that the final film tones down the percussion and guitar elements.
     
     
     

    3m1 Open Heart (Debney) - A strangely cold approach for the scene, thankfully wasn't used, placement is a complete guess.
     
     
     

    3m2A The Demonstration, Part I (Young) - Doc Ock's theme is set to grand choir, and the climax and playoff are not nearly as reassuring as with Elfman.
     
     
     

    3m2B The Demonstration, Part II (Young) - Radically different approach, instead of restrained tension the over the top choir and orchestra continues, with a Doc Ock sneaking in near the end as Otto looks at Rosie.
     
     
     

    3m2C The Demonstration, Part III (Young) + 3m6 Aftermath (second half) - More of the same, then we get some very Youngian action, then some more of the same for Rosie's death (which was not scored by Elfman if my restoration guess is correct). I added Aftermath just to see how it could have connected if it wasn't cut down so much.
     
     
     

    5m8 Cake Girl (Debney) - More of the cold approach for 3m1 Open Heart, with only some strings slightly warming it up at the end. Doesn't cover the entire scene unlike Elfman's cues.
     
     
     

    6m4 He's Back! (partial) - Included just to show how they could've connected if it wasn't shortened at the end to give impact to the, well, impact.
    6m5 Runaway Train, Part I (Young) - Fascinating to see how differently two composers can score the same scene. Elfman keeps the tempo dynamic, the writing very thematic and reacts to as many things onscreen as possible, Young keeps the tempo consistently breakneck from the start and emphasises far fewer things onscreen, which of course end up feeling much more emphasised because of this. The highlight to me is the Youngified Spidey A+B for the swinging in the middle, but Doc Ock also makes a brief appearance on screaming choir for his exit.
    6m6 Runaway Train, Part II (Young) - The breakneck tempo from the previous cue is carried over, but changes in orchestration help give the cue an overall escalation to the crazy finale and sudden stop.
    6m7 Appreciation - Again included to show how they could've connected if it wasn't replaced by tracking.
  12. Like
    DemonStar reacted to Holko in Danny Elfman, John Debney, and Christopher Young - SPIDER-MAN 2 (2004) - 2024 La La Land Records edition produced by Neil S. Bulk and Dan Goldwasser   
    Well this score is awesome. I kind of did a deep dive speedrun, listened to the OST once, the full score and alternates twice, did a spreadsheet, watched the movie, did the iso score, I've only yet to finish this latter one and do an edit.
     
    I love the approach Elfman took here, slightly moving away from the big bold brash comic book gestures of the first towards a more mature sound. The first one built up the love theme gradually, this one mostly suggests it and skirts around it for the will they/won't they/will she reject/will he reject plot of this one, and emphasises the "family theme" instead. Same with how gradually Harry's darkness is built up to the sudden proper Goblin appearance at the end. Also love the restrained light grooves for Peter's everyday life going too well or not nearly well enough at all.
    But next to all this restraint we do still have the new villain themes, as snarly and delicious as ever - I especially love the "Arms' motif", how versatile its weird rhythm is in applying to the arms' "steps" (sometimes they step to the odd beats, sometimes to the even beats, sometimes a weird combo that still works), and how groovy he makes it in some spots.
     
    And what the movie does with it all is... a disgrace. Here's a summary of usage:
    18/53 cues used as intended
    17/53 cues partly used (replaced or tracked over)
    18/53 cues completely unused (replaced or tracked over)
     
    If you've only seen the movie and heard the OST, there's a ton of brand new stuff here you've never heard before! If you think the movie repeated a lot of stuff from 1, that's all tracked and has different original versions!
     
    The alternates are slightly disappointing,  barely anything significantly different, but I guess Elfman left before it could really come to that. The replacements are... what they are, not really much to write home about but nice to at least have. Strange that Young shares credit with Elfman on all his cues even though only Runaway Train part 1 uses any of his themes - must be a contract thing Debney somehow weaseled his way out of?
     
    The set also looks nice, won't have to make a custom cover this time! The booklet is a little disappointing when compared to 1 - that one had a full proper essay breaking down the themes and tracking their evolution, using composer quotes, notes by Neil on the alternates, but this one only has a short introduction and a main program track by track by Bond mostly focusing on what happens in the movie, and the alternates, replacements, BTS drama are complerely ignored except for the replacements' slates in the (welcome) cue list. I guess it could have been "necessary" to get Elfman to more easily agree to it but still.
     
    Here's the spreadsheet breaking down the LLL, OST, alternates, replacements, usage, even the assembly of the songtrack suites (god those were annoying in a few spots):
    https://docs.google.com/spreadsheets/d/1JtGyZh36yDTbJWFn2ODBQVQVh0fd5BnshQuT7VovBio/edit?gid=0#gid=0
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  14. Like
    DemonStar reacted to PrayodiBA in John Powell - THAT CHRISTMAS (2024)   
    Just listened to the whole score and I'm happy to report:
     
    That Christmas is a superb 5-star score!
    Personally, I think this easily gets into my Top 15 Powell's score (and that says a lot)
    The main themes, although not the most memorable or the best from Powell, are very well pronounced. They are truly taking the center stage and can be heard in all tracks.
     
    And another wonderful thing about this:
    this score is one of Powell's better mixed scores. The strings are vivid, the brass is powerful, and the timpani & percussions is clear, and how I love Powell's timpani sound! I also love how the mix is more bass-y and less treble/dry.
     
    Now, I have already set a comparison way back before, that this score must be competed with Harry Gregson Williams's Arthur Christmas, which I think is among the best christmas animation scores. And because both movies have similar animation style and design. Overall, this score is better, but it's truly a close race. In some places, Arthur Christmas takes the cake. But overall, because of the cohesiveness of the score and the themes, That Christmas is the champion here. What do you think?
     
    I haven't seen the movie, which I will in the coming hours; but I can already easily distinguish there are 2 main themes, one theme represents the Christmas itself, and another theme represents the human activities. There are also 2 main motifs; one represent the chaotic-ness of christmas, and one represents the magic. There is also one more motif which I guess represents something dark.
     
    I can't wait to dig deep into the score again (and also to watch the movie),
    but like I predicted, this score is indeed the best and the centerpiece of the 3 Powell scores released this year.
    And it's quite unfortunate that this gem will have to share the spotlight, or even undoubtedly overshadowed, by Wicked score this week.

    What do you guys think of this score?
     
     
     
  15. Like
    DemonStar reacted to PrayodiBA in John Powell - Wicked Part One (2024)   
    As @Knight of Ren first found out,
     
    the WICKED FULL FYC SCORE IS NOW AVAILABLE!
    https://awards.universalpictures.com/wicked/score
     
     
  16. Like
    DemonStar reacted to ThePenitentMan1 in Highlights of OST, DE and OST   
    C&C all the way, for me.  Sometimes I may want to listen to a shorter representation of the score, but I don't let the OST dictate what that shorter program will look like.
     
    I decide that on my own terms.
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    DemonStar reacted to DangerMotif in John Powell - Wicked Part One (2024)   
    This is going to be a wild stretch
  19. Love
    DemonStar reacted to PrayodiBA in John Powell - Wicked Part One (2024)   
    Total runtime revealed: 78 minutes 45 seconds!
     
    1. Arrival at Shiz University (2:08)
    2. Our Heroes Meet (1:54)
    3. Nessarose (1:10)
    4. Meet the Faculty (3:34)
    5. Elphaba’s Power (3:35)
    6. How to Loathe Your Roommate (3:43)
    7. History Lesson (3:46)
    8. Levitate the Coin (2:17)
    9. All Around Something Bad (2:17)
    10. Prince Fiyero of Winkie Country (3:16)
    11. The Book Place (2:00)
    12. Elphaba at Ozdust (3:02)
    13. Sharing Secrets (2:00)
    14. Look at You (1:19)
    15. Replacement Teacher (3:49)
    16. Cub Rescue (1:45)
    17. Forest Feelings (2:02)
    18. Ozian Invitation (2:30)
    19. Galinda Becomes Glinda (3:36)
    20. Train to Emerald City (2:18)
    21. Hall of Grandiosity (2:40)
    22. A Wizard’s Plan (4:23)
    23. The Grimmerie (2:06)
    24. Transformations (8:10)
    25. Monkey Mayhem (3:40)
    26. All Around Defying Gravity (5:45)
     
    https://filmmusicreporter.com/2024/11/26/wicked-movie-score-album-details/
  20. Like
  21. Love
    DemonStar reacted to tomsmoviemadness in John Powell - Wicked Part One (2024)   
    Folks!!! The score is showing on itunes New Zealand with one track releasing officially tomorrow, "Arrival At Shiz University", samples available.
     
    Full album is 26 tracks, no runtime yet.
     
    https://music.apple.com/nz/album/wicked-the-original-motion-picture-score/1780442290
     
    And it does seem like a John Powell & Stephen Schwartz credit on every track.
     
    But wooow! That 30 seconds I could here of this are bloody fantastic!!! The way the "Unlimited" theme is used and the brass is brilliant. Now I really can't wait for the full album.
  22. Like
    DemonStar reacted to ddddeeee in Danny Elfman, John Debney, and Christopher Young - SPIDER-MAN 2 (2004) - 2024 La La Land Records edition produced by Neil S. Bulk and Dan Goldwasser   
    Elfman's Spider-Man is what made me fall in love with film music.
     
    The music is so in sync with the images that Elfman's strings somehow sound like a web being spun (!). The electronics and percussion make New York sound like a jungle. The Peter Parker theme is synonymous with the words 'With Great Power, Comes Great Responsibility.' There's a ton of thought put into when the Spider-Man themes will play or when the Peter Parker theme will play instead, and that interplay really sets it apart for me. I enjoy all the Spider-Man scores to some degree, but Elfman's choices really capture the conflict perfectly. I can fully, 100% appreciate people finding the Young/Horner entries more pleasing to the ear, but Elfman captures the heart of the character in a way the others don't.
     
    Plus, there's just a real sense of fun to some of the choices. People like to talk about the brass syncing with Peter when he first crawls up the wall in Spider-Man, or the Doc Ock theme being eight notes, which are super fun, but my personal favourite is when Elfman makes that odd sound on the harp which perfectly mimics the sound Dafoe makes when Spidey webs Goblin's face. 2:21 here:
     
     
    I've always been fascinated by how all the main themes (bar the Goblin theme) derive from the same idea (like Batman Returns or Doctor Strange 2), which makes the music really feel like a living, breathing thing. The love theme feels like it's budding in the first movie and then blooms in the second. I also love how the Doc Ock theme links to the Spider-Man theme(s), showing how much Peter and Octavius have in common.
     
    Elfman always calls his approach to Spider-Man 'traditional', and in many ways it is, but I feel like his fragmented thematic approach to the character is quite off kilter, and he just nails it. Sometimes when Spidey is making the right choice, the Peter theme plays; other times, when an out-of-costume Peter is doing something heroic, the Spidey theme plays. It's a web of interconnected ideas.
  23. Like
    DemonStar reacted to PrayodiBA in John Powell - Wicked Part One (2024)   
    Confirmation from Powell about the score release:

     
     
    https://www.instagram.com/p/DCrbhr0vygD/?igsh=aDRwcHpmbTF0ajYw
  24. Love
    DemonStar reacted to PrayodiBA in John Powell - Wicked Part One (2024)   
    Some more sneak peeks of the score (gosh, I truly can't wait for the score album!)
     
    This score uses choir prominently, which is one of the best thing about this score,
    these are some of the highlights:
    This one is pure Powell choral arrangement, beautiful:
    choir 4.mp3
     
    And some more of the choir, in suspense sequence:
    choir 3.mp3
     
    This one is Elfman-like, lovely:
    choir 2.mp3
     
     
    Like I mentioned before, there are handful of instances where the score does shine through, here are some examples:
    This particular segment with its waltz-like music:
    prominent 1.mp3
     
    And of course, the train sequence:
    prominent 2.mp3
     
     
     
  25. Thanks
    DemonStar reacted to PrayodiBA in John Powell - Wicked Part One (2024)   
    So, here are some sneak peeks of the score.
    I recorded them and I took out all the dialogue/voice, so it won't be a spoiler
     
    Action cues:
    action 3 vo out-instrumental.mp3
    action 2 vo out [music].mp3
    action 4 vo out [music].mp3
    action 1 vo out [music].mp3
     
    Can you hear the music underneath all of these sfx?😄
    action buried.mp3
     
     
    And this is truly a classic Powell triumphant music, but curse those sfx!! 😄
    classic powell.mp3
     
    Suspense cue:
    suspense musuc.mp3
     
     
    And this is that Bulgarian choir music representing a spellbook:
    spellook short.mp3  
     
     
    And purely based on my assumption, this is proably Powell's own theme, this theme representing Madam Morrible, with its variation:
    morrible 1.mp3
    morrible 2 vo out-instrumental.mp3
    morrible 3.mp3
     
     
     
     
     
     
     
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