KK

I recently obtained Marco Frisina's score for the 2007 Italian mini-series, Pompei. I don't think the majority of us have even heard of the composer (I know I didn't), let alone the score. But it is a beautiful score! Here was a review I wrote for it (post comments if you want to): http://musicmusekk.w...-marco-frisina/ The main theme is the big selling point with its gorgeous Rozsa vibe. Anyone else had the pleasure of listening to the score. I was lucky to have just taken the interest to have stumbled upon this score while surfing SAE. Anyways, for those who don't have it, I suggest you get it soon. - KK

It sounds awesome. I was a huge fan of the Conan re-recording so Tadlow can definitely count my purchase. Seriously, Tadlow never fails to impress these days. - KK

This film looks so darn corny, but visually it seems impressive. Personally I'm not a big fan of corny films. I'll obviously gives this a shot for it being a Spielberg film and for the JW score, but my hopes aren't that high. I still haven't received my copy of War Horse yet....I know everyone's already played it, but I personally can't wait for the score. - KK

Loved that quote! Spielberg is awesome.

When I first obtained the score, I found it despicable because a concept of this depth could have spawned a musical universe with the intelligent thematic integrity of LOTR. But thats not what we got....then having listened to the score a couple of times, I got a better idea of what Djawadi was trying to do. Its still a terribly weak score mind you (most of it being synethetic droning and percussion loops), but if I've got to say its Djawadi's best. I sum up my thoughts here: http://musicmusekk.wordpress.com/2011/11/19/game-of-thrones-ramin-djawadi/ Wrote it a long time ago, only set up the site recently. Anyways, I still think the show deserves a better musical voice, but I'd like to see where Djawadi takes the music in terms of development. And hopefully he improves on it. The whole "its a talking show" excuse isn't that useful considering there were moments in the show that were screaming out for epic music moments, instead we got a bit of the main ostinato and some percussion. But like you said, most of us are enjoying the show too much to pay any mind to the music. - KK

1) Empire Strikes Back 2) Superman 3) Raiders of the Ark 4) Jurassic Park 5) Hook

I recently watched Agora. I was just listening to the score a while ago (which is awesome) and was curious as to how this epic score would work in film, so a week later I watched the film. I love it! Its not your typical toga movie. It explores rather intellectual ideas while inducing a sense of awe with brilliant cinematography, sets and costumes. There is a huge deal of effective symbolism throughout the film. The only issue would be that due to many ideas of the film aren't tied together as well as they could have been. The lack of cohesiveness is what prevents this film from reaching greatness. But its an excellent film nonetheless. And the ending! It was so emotional and the way Marianelli scored it (aka The Skies Do Not Fall) just made such a powerful impact.... Great film!

It's Korah Ratamah I'd say Duel of the Fates. The ferocity, the ominous temple like setting and the epic power that hits you in the face is something I could never forget. Battle of the Heroes is epic too and the choral rendition of the Force theme is awesome, but that cue never hits you with the kind power that Duel of the Fates clearly has. Duel of the Fates can be repetitive, but its awe-inducing nature is just too good. Battle of the Heroes goes more for the tragic nature of the fall of Obi-Wan and Anakin, and while its executed excellently, its not as good as Duel of the Fates. And personally, I love the false ending - KK

While I enjoyed the first teaser a bit, I must say the recent trailer was pretty bad. It seems like Pixar is trying to rip off the success of Dreamwork's How To Train Your Dragon (which I've always thought was a bit overrated). Seriously, if the film is what the trailer dictates it is....then this will be a huge disappointment. When I first saw the teaser, I was pretty impressed, but watching the trailer, I can't help but engage in the act of facepalming. Odd considering how its always been Dreamworks taking after Pixar (Antz from A Bug's Life and Shark Tale from Finding Nemo). It seems the tables have turned. A film that looks like it just came out of the Dreamworks factory. The trailer also really tried to force the Braveheart vibe into the trailer. I don't see the maturity of Finding Nemo, Wall-E or Up that is usually prevalent in Pixar films (with the exception of the ridiculous Cars 2). And being one of the biggest Pixar fans you'll find, it pains to me say that they aren't doing quite so well after Cars 2. I seriously hope I'm wrong and that this film is way better than I make it to be though. On the other hand, the music in the trailer is original music from Patrick Doyle...and boy is it awesome! I hear a bit of Thor, but definitely in a more epic fashion (with such a great choral force) that will be a lot more appealing than Thor. I can't wait for this score! - KK

1:42 - 2:07 Escape from the Karaboudjan: Massive music for the approaching ship. Its just so awesome! 1:35 - 1:57 Sir Francis and the Unicorn: Arguably the best statement of the Unicorn theme in the entire score and one of the scores most epic moments. The glorious timpani pounding in the background with the mighty brass, just so epic! When I first heard this excerpt on Erik's show, I broke down....I then realized this score was going to be awesome. 2:14 onwards Sir Francis and the Unicorn: When I first this theme in the samples, I was blown away. The pirate music was a big selling point for me (although its a Williams score...thats a big enough selling point anyways). I just love this cue so much for this music! Classic Korngold 5:35 - 5:54 Red Rackham's Curse and the Treasure: This massive, explosive statement of the Bagghar theme is so powerful. Brings you back to moments in the Last Crusade or Temple of Doom, but for its might alone its one of the best moments in the score. 1:50 - 2:10 The Flight to Bagghar I just love the ballet like statement of Haddock's theme a lot 0:13 - 0:30 - The Pursuit of the Falcon I'm clearly not the first person to have mentioned this, but the flute work for the falcon in this cue is astounding. Its at moments like these that you realize why the maestro can't be beat. 4:13 - 4:35 The Pursuit of the Falcon This is the definitive statement of Tintin's theme. So glorious with the underlying rhythmic brass and the soaring trumpet carrying the melody. A very score-gasmic moment 2:11 - 2:28 and 2:29 - 2:51 The Adventure Continues: I LOVE the first false ending and adore the second false ending too. They're just so awesome and I've been listening to this cue many times just to listen to those endings. Great stuff! Yup, there are a lot of "freaking brilliant moments on the Tintin album worth special mentions!" - KK

Well said! The casting for this series is truly fantastic. I was really impressed by all the actors in the first season, especially the children actors. And one most marvel at Emilia Clarke for her portrayal of Daenerys. I can't wait for the second season! - KK

My JW collection is too big to put into my iPod. Well I have a 16GB iPod Touch, and on that I have all my LOTR CRs (which take about 3GB), and then I have various other scores I adore and I have my major JW scores. I also set out a certain amount of memory for new scores I need to listen to. So really, I can't manage to squeeze in all my JW stuff in there (just too much JW ). - KK

It's never too late to vote in the other two polls. You can be the one who will decide which Gondor theme statement will take the advantage! The White Tree Vs The Lighting Of The Beacons Master Meriadoc, Swordthain Vs The Muster Of Rohan (5:00-End) Alright, I voted on the other polls. It took little time to really vote on the Gondor Theme poll. While both statements are excellent, I've always listened to the Lighting of the Beacons version (largely because I rarely ever listen to the OSTs anymore, usually only CRs). The Lighting of the Beacons is what plays in film, and I'm very fond of the film version considering that was actually one of the big moments I really recognized film music. That awe-inspiring moment in which the Gondor theme takes flight has got to be one of the most powerful moments in film music. Simply adore it! Also I've always felt the Lighting of the Beacons version is a bit more dynamic. Just my personal opinion though, but I guess I settled the tie As for the second poll, that was easy, the alternate was better - KK

Breach! While they're both pretty darn similar, who doesn't love the faster and more action packed version? This is the first LOTR-related thread I've posted in on this forum...serious LOTR fan coming your way... - KK

The thing with SCHINDLER is this: i consider it a minor disappointment, because it's very obvious - sad music for sad times, it's oscar bait and, conceptually, not even helping Spielberg's film all that much but Hollywood-izes it (it should have remained without a score). For me as (at least half-part) german, this may be more visible, because i saw (and had to see) lots of films and documentaries and even first-hand reports from survivors. The one thing you take away from it is how abstract the total failure of humanity actually is. Williams at some point of the "Auschwitz" cue and maybe "Jewish Town" at least gets his jewish idiom harmonized in a halfway interesting way which doesn't feel like neo-romantic molasses. Most of the time, it sadly does. I consider Schindler's List a work of art when considering the emotional gravity and power behind the score. You say its so obvious to compose sad music for a sad film....but what else could you expect Williams to compose for the film? Do you want him to compose some score full of dissonant plucking or ambient atmospheres? The score is a work of art in my eyes because of the powerful effect the piece has. Very few scores have ever really established the same effect on listeners. Not only do you have the heart breaking themes but then you have the bone-chilling Auschwitz-Birkeneau cue. Schindler's List is the powerful piece it is because of the perfect combination of excellent instrumentation, powerful interweaving themes and the gravity that hits the listeners with a powerful force. Its no wonder Williams never really could achieve the same effect with his future scores (although he came close with Munich). To add on, its also interesting to note how no re-recordings or concert performances of the score have never really achieved that same emotional gravity either. In addition, on should note how Schindler's List really went to define the nature of most Holocaust scores that followed after it. Its use of the violin is quite iconic (although there are other Holocaust works before SL to use the violin) and it sort of introduced it as the new "cliche" for Holocaust films. SL became a huge influence on future Holocaust scores and stands as model for tragedy and melodrama in film scores. The power behind this feat probably can't be caught again. I still consider this a work of art for such. - KK

The Pursuit of the Falcon theme statement is a lot more epic. Love its grand fashion and it'll probably be a lot more satisfying for those looking for great thematic moments from Williams. That being said, I love the harpsichord statements of the theme in The Adventures of Tintin. - KK

100th score? Wow, thats great! And like many others, I agree completely that John Williams is definitely one of the composers who is consistently great with quality. In fact few composers have ever achieved the same consistency that John Williams has become so well known for. This is why whenever one hears about a new Williams score coming out, you can be 90% sure that you'll be hearing a great score. And saying that Williams' highs aren't as great as other legends such as Goldsmith is ridiculous and absolute rubbish. And I'm not even talking about his mainstream scores. My favourite JW score (2nd favourite score of all time, behind LOTR), Schindler's List has got to be one of the most powerful works of art out there. Hook, Memoirs of a Geisha, Amistad, Angela's Ashes, Far and Away, etc. aren't among his financially successful projects yet they're fantastic examples of his strength. And JW's highs are astounding. Star Wars, Raiders of the Ark, ET and Schindler's List are about as high or higher than the highs of the other 'greats'. I've always believed that the 'average' Williams score still excels much of today's output in the film music industry. One can't help but marvel at Williams' talent in producing memorable themes, brilliant dynamic music and intelligent scores that always succeed in musically presenting the film's story. That being said, the status upon which we rank scores are all bias and based on opinions. Its all personal taste when you think about it Can't wait for War Horse! An eager Williams fan! - KK

I don't know what you guys have against the Christian, but I honestly think he is one of the best reviewers out there. The extraordinary amount of detail in the review makes great stuff. His reviews are witty, informative and definitely entertaining. Its hard to find reviewers like that nowadays. Definitely one of the best out there! - KK

BloodBoal took his chance to shock and awe people. And indeed Clemmensen's white text on black background is truly tiring to the eyes. You do all realize that on the top right corner below "Editorial Review" theres a printer-friendly option right? I personally enjoy the white on black format, but if you can't read it on that format, just reader the inverted option: http://www.filmtracks.com/titles/tintin.html?page=print - KK Thanks Incanus! Indeed, we do agree on many things, but I wouldn't have noticed some little things if it wasn't from your own review and the discussions here

The comment I would make to this (which again many people may not agree which are so enthusiastic about Tintin): Tintin score might be mediocre comparing to the Williams standards. But comparing to scores of other composers it certainly is much much superior.. Tintin stands a pretty good chance with Williams standards when you consider the enormous thematic integrity and the general spirit of the score. Its been one of his best scores in a while. HTTYD is an awesome score mind you, for its melodic power and its entertainment value. But Tintin does the entertaining while remaining acting as a highly intellectual composition. Its kind of like how someone else compared them to food. When compared to Tintin, HTTYD would be like fast food, highly enjoyable but low on quality while Tintin would be lie something served by Gordon Ramsay. - KK

http://www.ujam.com/campaigns/darkknightrises/introduction Anyone know what to make of this? - KK

I'm really excited for the I am extremely excited for this score and I've already guessed long ago that this would surpass even Tintin. I loved the 3 tracks on WQXR. Based on those tracks, I'm hearing a lot Ralph Vaughan Williams' sound. Not that that's bad or anything, I love his style and I believe this score will pay great homage to the composer. I honestly can't wait for this score! - KK

Just thought I'd say that Christian just posted his review of the Tintin score on Filmtracks: http://www.filmtracks.com/titles/tintin.html And here was a little analysis of my own (its nothing new really, but just thought I'd share): http://www.filmtracks.com/scoreboard/index.cgi?read=96056 Christian's review really is fantastic! I suggest you all read it. - KK

I think Tintin's theme is pretty well developed in the score. Zimmeresque? I see what you mean. I still stand by the fact that the theme is great but the great highlights of the score lie elsewhere. - KK

5 stars!!! Nothing short of absolute brilliance!!! I haven't watched the film yet....still have to wait for Dec. 21..whooppee - KK