Cerebral Cortex

Was hoping someone had posted this one. This has been my go-to for the last few years whenever I'm driving to work and feel a little off and need a bit of a shot in the arm. By the time I get to that little flourish of a variation at 3:05, the track has almost always done the trick and I feel ready to take on the day. Simply marvelous.

Yes, exactly! Thank you. Worded it much better than I myself could.

In a way, yes, but by calling it Finale music I fear we get stuck in thinking of music that specifically closes out the film, whereas I primarily want to focus on music that appears at any point in the last act and nowhere else.

You're in the final act of the movie. You feel as if the composer has played all their cards. You think you know what all the big new thematic material for the film is, all they have to say has been more or less exhausted. And then out of nowhere they drop something new and unexpected on you, a piece they'd had waiting in the wings but were intentionally holding back until the absolute opportune moment towards the end of the film to unload it on you. I'm referring to what I'm calling the third act musical surprise. Some examples would be Battle of the Heroes not playing until the fina

I have an unconfirmed (but very reliable and trusted) source who is telling me that the levels of emboss we can expect for this will be "off the charts." I don't want to get anyone too excited but the number he gave was in the double-digits.

Absolutely. To me it almost sounds like I'm hearing an audio recording someone took with their phone of the performance. There is a richness to the sound that I feel like I should be hearing but it's not coming through like it's been compressed or mastered in some weird way.

I apologize for the lapse in rules/judgement. Please let the thread discussion continue as it existed pre-meme.

I think Lincoln is my favorite of the last decade in addition to being what I would consider to be one of his best scores in general. It feels very much like a work that is the product of someone who has spent their life dedicated to and understanding the nature of music with decades upon decades of knowledge being drawn upon. Not a note out of place. It's a surprisingly tough call though. On another day, I might choose War Horse or his ST scores. So much great stuff to choose from.

In addition to the reasons mentioned, I want to see a full release of TROS because of what it stands for in relation to Williams and its placement within his career. It's quite possible he'll do other film scores. Who is to say? But as far as a huge blockbuster score that sees Williams giving it his all in the only way he can, this truly could be the last time we get to hear that. If the film is truly to be his 9th symphony, I want to be able to listen in full to the work as it stands at the end of his career so as to be able to appreciate his journey as an artist from beginning to end that mu

Bold of you to assume you'll be able to actually hear it while watching the film.

Like Ludwig said, there is a decided freshness to this film's score and how Williams is able to create so many new inspired renditions of a 36-year old theme that I thought was more than played out speaks to that quality. So much of what was old feels new again. One thing that I really like is how much it gets peppered in throughout the score in service of his (supposedly) looming presence throughout the film, especially when the character himself isn't really in the actual film all that much. On a random note, the statement from Fanfare and Prologue (and ROTJ) with those screechy

In the interest of providing some tracks outside the usual, Two Steps, while not film music composers, make a habit of usually having one pirate pun track per album and they're all usually bangers. You also have McCreary's theme to Black Sails. And since you mentioned Cutthroat Island, Debney recently brought back his pirate sensibilities for the latest SpongeBob movie to fun effect: And then I'll end by throwing in a little David Wise for good measure.

In continuing off desires on how to have done the end credits for TROS differently, it kills me that Williams didn't cease the opportunity to give us a Rey's Theme 2.0 of sorts to tie up the entirety of her theme in a nice bow as well as to comment on how much she as a character has changed. The theme itself gets such a workout throughout the film, what with all the numerous new variations and exciting new areas the theme is taken, that it is a big headscratcher on my end that what we get instead for the end credits is more or less what we got in the TFA end credits. I heard the first few bars

A very happy birthday to @Disco Stu and a belated happy birthday to the J-Man. Hope you both are doing well.