KK

Oh ok. Thanks. I'll revise my review for the album's release.

Thats some very inspiring "children's fantasy" writing

Yes, it is. I'm not sure if an official album release will come out soon, so I basically reviewed it off the FYC promo. That promo is one hell of a mess though...

Hehe...Dr. Watson got so pissed at Sherlock, he killed him with a tiny little dagger In all seriousness though, that looks epic...

Its possible, but like Stefan said. Spielberg usually tends to refrain from getting really involved with the films he produces.

Exactly. So why is Spielberg producing Jurassic Park 4, something to be excited about?

And what annoys me is that people such as yourself limit the definition of music to orchestral music. That's just insane in the literal sense of the word. I didn't mate, scoring refers to the craft of multiple instruments composed and orchestrated for various ensamples. Songs have a melody and a couple of chords and electronic music is put together with an electronic sequencer. Scoring refers to music composed specifically for a film or production, whether by a full blown orchestra, a pianoman or some guy on a kazoo. Scoring is reflecting the emotional crescendos of the film and its narrative's complexities through music (which will in turn act as the tool to elevate the film experience). Both the scores for The Social Network and The Girl with the Dragon Tattoo failed to do that. Chicken Run anyone

THAT is depressing

I knew that. I just wasn't sure if the score wasn't going to receive an album release at all (which would be odd) considering the film did already premier. So I decided to go ahead and write up a review. I'll probably revise it for the album release. The FYC promo is a mess... I really felt Madonna messed with the potential of this score. I mention the problems she imposed upon the composer in my review. Thanks!

Cool, we agree to disagree then I understand what you mean. I mean hey, look at where guys like Danny Elfman and Michael Kamen came from! New artists should be welcomed. Its just, if new artists bring something interesting and effective to the table, great. But Reznor failed to do that with me. I mean I personally cannot find anything very dramatic about droning. Also, I feel their film scores don't reflect the films, so I don't really see any merit to their scores at all (either as a stand alone listen or a score in context with the film). But pop artists trying something new = overblown critical praise from film critics.

Spielberg also produced all the Transformers films and Cowboys vs. Aliens. I'm not sure Spielberg does the best job as a producer Personally, I'm a bit tired with Jurassic Park. I'd like to see if they'd branch out from the typical formula for the 4th film. It'll be interesting to see what they do.

Hey guys, I hope some of you have all took the opportunity to listen to this beautiful score. It was a pretty tricky review to write (and its not just because of the name!). Here goes: http://musicmusekk.w...l-korzeniowski/ Criticism and feedback is much appreciated! Anyone else heard the score? - KK

Orchestral music is definitely not the only way to compose a great film score. Many composers have proven that electronics are equally valid methods of scoring. Prominent legends like Goldsmith and even Williams himself have proven this. But Trent Reznor and Ross' method does not tread along the line of greatness. I posted this rant on the 'Williams 6th Oscar' thread, and I'll post it here again. Hopefully that made sense... Seriously, I cannot understand the hype behind these works. Definitely not good scores, let alone great. Electronic scores can be great when done properly, this is not one of those cases...well at least in my opinion. - KK

Hey Alan, Considering I have never really communicated with many professional composers before, you'll have to forgive my enthusiasm. However, I'm curious, are there any future projects coming up for you? I love Legend of Silkboy and I'd love to hear more stuff from you. Listening to the work I can access, I love the enthusiasm and the energy you infuse into the orchestra. Just hearing all the players bursting with such great energy in its tiny details in cues like Fantastic Highway Chase is fascinating. Also found the textures of Comforting Skin very interesting. And are you Canadian? That's the icing on the cake!

o___o You both do realize that all you needed to show me was this clip to have me hooked onto this music, right?!? THIS is fantastic!!!! Along with great statements of some of the heroic themes you showed me, it has some epic dark material which I was looking for!!! A refreshing change from the tone that was dangerously treading close to the "happy go lucky" territory. And the choral work is epic (unlike the other choral moment Bloodboal showed me)! My only problem would be that the brass sometimes lacks the 'oomph' factor. NOW you've officially gotten me addicted. BloodBoal, you didn't need to chide me if you showed me this one awesome. I am now looking through the PM in hope to be enlightened even further... - KK

Hey guys, I hope some of you have all took the opportunity to listen to this beautiful score. It was a pretty tricky review to write (and its not just because of the name!). Here goes: http://musicmusekk.wordpress.com/2012/01/13/w-e-abel-korzeniowski/ Criticism and feedback is much appreciated! Anyone else heard the score? - KK

Oh wow...I just realized who you are! Alain Mayrand!!! I knew that name sounded familiar! Big fan of your score for the Legend of Silkboy. One of the best scores of that year! Love your work! - KK (a dude who is quite happy to meet a really talented composer...alright, not really meet per se )

Thanks indy4. Its somewhat gratifying to know that some people actually enjoyed this piece. Finally getting to finish a rough copy of this was itself a nightmare (it came to such a point that I just wanted the damn thing to be over). I was worried it was pointless though as I'm not privileged with the great samples and compositional skills others here have. Its just good to know it wasn't all a waste Thanks again for all the feedback guys!

And I was starting to like you... I guess you're saying that based on music from the old Snes games, with midi sound. I can forgive you that. It's never too late to learn, Merciful One! So, let me introduce you to some orchestral Zelda music, and, hopefully, you'll change your mind. And if you doesn't, well, we might have to ban you. Lol! Well, you got me, I've always judged the Zelda music by the midi stuff in the old games (shudders). But hearing the orchestral epicness that you've sampled, I think its successfully made quite an impression on me. I am ready to redeem myself. That is some epic stuff! Alright, I'll admit I was wrong, there is obviously material for me to enjoy, analyze and obsess over here I'm really starting to like the themes in these scores (Ballad of the Goddess, the main theme, and some other stuff). When the orchestra grows in volume, the music can be quite stunning. I also love all the lovely woodwind accents and ornamentation. Here is my only issue though. There are moments when the music sounds underwhelming. There are great themes, great instrumentation...but at moments I felt the need for soaring, it never occured. Don't get me wrong, there are tons of moments where the orchestra blasts in full symphonic force with impressive power and I love that. But it must be something to do with the arrangement from all the midi stuff.. (I think). Especially at moments where the snare is at the forefront, or if there is a pulsating rhythm on the low brass, I just felt the ensemble was lacking in power when the writing seemed to demand it. Maybe its just me. Let me point out some examples, a small one was at the 2:00 min mark in the medley where the snare really diminishes the impact of the music. Or take for instance 5:55 in the Skyward Sword end credits, the snare rhythm at the forefront kind of takes a little bit of that big epic sound away. Also, I don't like how the choir is used (along with that string passage that makes this sound like some charming anime reel). Its not a big deal, I think I'm just being unnecessarily picky Its just that sometimes the writing seems to lack power (whereas other moments, it shines with brilliance) which then runs dangerously along lower class anime stuff (stuff that I don't listen to but judging from what I've heard from the genre, I don't appreciate that sound very much). I think its your turn to be merciful now BloodBoal, -Eek! Please don't hurt me.... - What ultimately sold me to the music was the End Credits piece and that last clip of yours. Thats some awesome music! Alright, now that you've got my interest into these scores, now what do I do? What do I try first?... - KK

Bingo! Thats what I felt. Joker-style doesn't suit Moriarty well. He is far more intimidating as a more composed figure and makes a more interesting character really.

Thanks Incanus! Really appreciate the feedback! I've spotted some of the Horner sensibilities now Now, if only I could afford a full orchestral recording session Nope. Informed criticism is overrated anyways Thanks Ethan! Yes, I accidentally stumbled into LOTR territory in terms of sound (I didn't mean to though, odd... ). And tell me where I can find this "Flight" piece of yours!? I'm going through BloodBoal's many initiation clips into the Zelda's music. I have quite a response coming up for you Zelda fans Thanks for the feedback Georg. Dynamic change is probably something I should work on, as you said. As for your question, I think David answers it pretty well, more directors are suppressing great talents, its a shame really.

To be honest, the score was barely audible in The Social Network. I could only really hear it during the rowing montage with Greig's music on synthesizer and pop music for the parties. So really, I don't think the score was effective to such an extent. Is it appropriate for the film? Yes. But the film would have worked equally fine without a score at all (thats how inaudible it was). In that regard, TSN is not really a great score that meets the Oscar "criteria" (although that changes every now and then to their comforts and need). TSN needs a cold, more ambient kind of score. There are many atmospheric scores that would have worked better than Ross and Reznor's score. Clemmenson and Broxton bring up really good points in their reviews of The Girl with the Dragon Tattoo. They compose a mass of music ambient music that really pays no regard to the film. In other words, the composers compose music (more like soundscapes) that go on for minutes without much change (a.k.a. droning) so that Fincher can easily paste those snippets on to screen. A single droning note is quite apt for the cold style of Fincher's films, but that doesn't make it an effective film score. Take for instance, TWGDT. Its a cold-hearted movie, we get it. And thats why there's droning. But what about addressing the complexities and the sense being lost in Salander's character. The humane side to the characters are lost in the music. Where is the narrative in the music? Its like they composed stock music to Fincher's description of what he envisioned is the film and slapped it on the picture. It works, yes, but thats all it does. That in no way elevates the score to "best of the year", even in accordance with the Academy's criteria. A truly great film score (in this case for a Fincher film) would perfectly address the visuals while synching up with the emotional climaxes of the narrative and the characters. Both Howard Shore and David Shire did this quite effectively with Fincher's past films (even though some of those scores may not make the best stand alone listens). The music can be cold, ambient and atmospheric while simultaneously showing purpose, definition and signifying the narrative of the film. Even Cliff Martinez does a better job with his experimental soundscapes for films like Drive (although I've never been able to enjoy scores like that). The thing about Reznor and Ross is that they fail to really address the film. A little tinkering there for mystery, and some faster loops for "action" are not what I'm talking about. With any of Fincher's recent films, a single droning note would suffice for the entire film...but that doesn't make it a great score, it only makes it appropriate at best. Reznor and Ross have only gotten so much attention recently because they're popular artists who are trying something new in a different genre they haven't explored. Since they don't follow traditional film music, critics are manipulated into thinking they're bringing something revolutionary to the table (although droning has been around for a while now). In this regard, if any popular artist was to venture into film music with an unconventional technique, they will inevitably be showered with praise and awards (regardless of the quality of the work in its role). So no, even when judging to the degree of how well the music worked in film, The Social Network was most definitely not the best score of last year and nor is TWGDT. War Horse may have been a bit overscored in the beginning, but other than that it was perfect. But if we were to be really picky then, I'd put Tintin up instead (considered how it was brilliantly scored). The Artist also fits the criteria very well, and we all know that score is going to win anyways (even Reznor won't be able to change the game of Academy politics). I hope some of that made sense...

I thought the mix in Tintin is great, with the music really receiving some great showtime in that movie. Its sad, I started the year thinking there was no way Williams was going to miss his 6th Oscar this year. But the more I think about it, there really is no way I see how the Academy (along with other award groups) will fail to give The Artist the big award. I think this Hermann issue will blow over quite soon. Its a good score mind you, and I'd definitely prefer it winning to the horrid TGWTDT (I'm not sure I'll truly ever understand how the Social Network won last year), but this is Williams' year! Alas, the idea of a good score for a silent picture is too good an opportunity for the voters to miss. Essentially everyone who will vote will pick the Artist when music comes to mind because the movie is in such a way. I want War Horse to get the Oscar (if not, Tintin, but I doubt that will get it) but there is no way I see that happening now (unless The Artist somehow gets disqualified, though I highly doubt it). - KK

I noticed that that too. When he said "his music skips the brain and goes straight to heart", I was wondering what exactly he meant by that. Yes Williams' music is emotional, but obviously he's composed very intellectual scores too. He's done combinations of both in various scores, like Tintin

Both Star Wars and Lord of the Rings are amazing musical trilogies. And "having too many notes" doesn't seem like a very valid argument to dismiss Star Wars. Although I get that Williams music for that trilogy is more hyperacive in a sense that LOTR is not (Because the former trilogy demands that kind of music). The Star Wars trilogy as a whole (if it were one score) is my third favourite score of all time (I usually put all three together as one score when I list my top 10), preceded by Williams' heartbreaking Schindler's List and Lord of the Rings. I personally enjoy LOTR more, but thats me. Both scores are fascinating thematic works that have never failed to entertain me. I just personally enjoy the more archaic fantasy sound of LOTR. And it since Shore had more time with this trilogy, the thematic maturation is more planned out (and thematic development has always been something I've loved). Again, both trilogies are fantastic.