Holko

Yeah, it jumps right into material that we're hearing for the first time as if it was known material he's free to vary, very different from the almost formal introductions in the other two. Y'all are mad, Powell's action is pretty much all awesome and fun. Also... Haha no, I can't even think of any that really affect me outside of the epilogue.

Well yeah the multiple cue track for one alternate thing is stupid but I can only really remember that happening in Sleepy Hollow.

And somebody else will find another one interesting. And somebody else will want to keep them all. And somebody will prefer a version and want to put it in the main program and it's easier when it's already joined in as intended, no editing needed, just a track rename. So where's the problem?

5!

Yep, the Jónsi song! I think now was the first time I listened to the entire thing, and I'm pretty damn sure it's the last. I like Sticks and Stones and really like Where No One Gkes but this is just... no. Yeah unfortunately I just went by ear tweaking it for half an hour to go well enough with the preset of my earphones.

If this takes you hours for free for a score you don't even necessarily care about... then why can the paid professional only throw together something so bland and low effort? Though at least there are no mistakes in it except for the bad font choice, as far as we can tell for now.

First impression is that this score's fantastic. Fun new themes, some real interesting variations on the old ones, some amazing highlight cues, you really can hear the maturation of Powell's writing, there's even a surprise source cue! On the second listen though, I wasn't 100% satisfied with the structure. It's going along nicely and then oh no, we're at the end already without that much buildup, when many of the themes barely got space for nice renditions? And we're already doing the big epic sad ending when the score itself didn't much suggest that this was all leading to a big sad ending? Though the film absolutely does not build up to it either so that makes sense. Also it has the messiest battle cue of the three. I just thought that 2 does a better job with its structure, having an arc, feeling like a full journey, having enough space for all the themes to be explored, having more emotionally charged key moments etc., largely helped by the movie being much better and allowing for all that of course. Ironically this is the longest of the 3 scores (if only by a few minutes and helped by the credits) but somehow on this listen I felt like it should have definitely been longer, which I never really thought with the really well-rounded first two. But Busy Busy Berk is still amazing. And holy shit Forbidden Courtship. And Romance in the Clouds! And The Hidden World! And Grimmel's Surprise! And Viking Wedding / Boat Epilogue! And Setting Up Camp! And Stronger Together! And Into the Hole! And With Love Comes Loss! Oh, and all the Powell quotes in the booklet are lovely! And I didn't know he was so involved in even the script/ideas phase! My first pass at an edit looks like this: I did a little blanket EQing across the whole thing to boost the mids. I took many of the OST titles where I liked them better but it's all the DE tracks. Joined Mysterious Creature with Toothless in Love. Joined Valka's Warning with Setting Up Camp, in reverse order (heavier cue first, playful second) because I felt it makes for a better transition between the darker ending of Exodus and the playful Forbidden Courtship that way. Moved New Berk Feast forward to replace Near Miss Valka (makes this block more light, no short dark interruption), also lowered its volume a bit, what is it with loud medieval source cues in the middle of the program, first the Nelwynses then this Joined Near Miss Valka and Ambush / Cage Fight Joined Stronger Together, New Island and Into the Hole, the latter two especially work better joined when the tension is kept up instead of them just being short disconnected cues. Also the first 12 seconds of New Island were moved to the start of this track, before Stronger Together. Joined With Love Comes Loss and Grimmel's Surprise

I was just randomly scrolling through MBR's stock categorised by labels I know when I saw that Cinevox had already expanded Giú La Testa and it was reissued and still in stock. I don't know how I never knew about that or never tried looking for it, I've loved it since I first heard the OST on the first big Morricone box, and loved it even more after I finally watched the movie (which easily became my favourite of the "Once Upon trilogy" - the score might be too, I really like America now but it's not varied enough, and I don't really want to bother with West until somebody does a proper sounding release). So I just did a quick sample check to see if it's a worthy release, not still a mess like that West reissue, and ordered it immediately with HTTYD3 in maybe 5 minutes. And I still friggin' love it, just a perfect blend of beauty and melancholy slightly tinged with spaghetti western textures and sprinkled with some fun additions, I especially adore the aching theme for the flashbacks that's often played by lush romantic strings or the female vocalist. Most of the alternates aren't huge revelations but it's a nice alternate program and I found all the differences interesting enough.

First half of the order is in!

So I was listening to my usual Tidal playlist of weekly new release recommendations and I came across some weird albums by known but not huge film composers (Broughton, Debney, McNeely, Badelt), all with nondescript titles, 3 tracks not recorded with a real orchestra, with obviously AI generated covers. I couldn't find anything about any of them except for the streaming/youtube uploads, nothing on the composers' sites, no news about them. The Youtube uploads are not on the composers' own Topic channels, but on "Release - Topic", and all attributed to the Vietnamese "OnlyStar Music" production company. What can be done about this if it's some larger scale scam?

Well it's not what we now know as Hedwig's Theme but the piece that's on the LLL as "Teaser". It's half as long and lacks the Nimbus section for example.

Classic great-grandpa humor!

And Order 66

Same here, I liked it in the cinema but loved it this second time now that I knew what it was doing/"where it was going", the intercutting works beautifully, all the pieces strengthening each other.

I finally started preparing for making an edit from the episode albums plus the OST... and then stopped a couple episodes in. There would definitely be fat to trim, but there's also just way too much good and great stuff to keep, the edit would be at least 4-6 hours long, which I'd never listen to in one sitting. Also, the score is written to be very episodic, would get repetitive mushed together and wouldn't have that much of a satisfying arc for all the threads, and I came to the conclusion that it just works perfectly if I instead dedicate a week to listen to an episode a day, check in daily to get a big threatening Sauron ostinato and planted Galadriels, some mystery, some tension, some action material, get to see how the Khazad-Dum/Númenor/Harfoot (pick 2) -related themes are doing this episode, be reminded of the blandest theme (Bronwin/Arondir), then wrap up nicely at the end. Or the other solution would be to edit it down very severely to the highest of highlights... which has also already been done with the OST. It's really really nice to have the option for both officially and immediately. Thank fuck for Bear!

Also he's the radio guy calling the Orca.

ah

*37

Those two guys and the background are just a big mess.

Then wouldn't it be more professional to say that? And I will never believe that anything can't sound any better until Mike and/or Chris say so.

And so now for a reissue, they... still didn't use them, or at least don't indicate it.

Yeah I looked into it and this seems to be just a straight reissue of a 2018 release I didn't know about where most of it still sounds like ass. I can't believe these people have the audacity to say they fixed stereo field issues when the voice and orchestra are all wandering around the middle left right in the first goddamn track. Those "expectations" must be pretty low. Would 3 hours have been enough to record the entire score? What was the methodology in those days? Maybe those are just the harmonica sessions. But I guess I'm thinking of the scores we know where every final take assembly has an hour of rehearsals/takes behind it, whereas here many of these "cues" are just those different takes/variations of the same music?

http://www.beatrecords.it/shop.asp?lingua=i&idprodotto=CDX1033&uscita=prox 55 years ago, the fourth Western movie directed by Sergio Leone, C’ERA UNA VOLTA IL WEST, was screened for the first time, and in the plans of the director, should have closed the circle of his engagement with this cinematic genre. Compared to the Dollars Trilogy, the movie marks an important stylistic change; it’s an epic full of allegories, with an immensely powerful script. Considered by many to be Ennio Morricone’s masterpiece, it marks an evolution in his music, which often takes over for the images. Exceptional collaborators such as Edda Dell’Orso, Alessandro Alessandroni and Franco De Gemini are the main actors of this score, the director of which is the Maestro. It is to one of them, Franco De Gemini, whom Beat Records in collaboration with Universal Music Publishing wish to dedicate this 50th anniversary edition, in a guise you’ve never experienced before. An accurate remastering by Claudio Fuiano and Daniel Winkler corrected a few formal imprecisions of the wonderful previous editions as well as some minor stereophonic flaws, and now we can finally say we have an album that meets our expectations for such a milestone edition of this score, even correcting some small flaws of the previous edition. But the surprises don’t stop there. Five years after the death of the popular Ferraran harmonica player, the entire recording sessions of the score were discovered, over three hours long, including studio chatter from which we extracted a small recording of Franco’s voice while he is conducting sound tests to find the best sound for his harmonica in a particular scene. We present this gift to you at the end of the album as a memorial to this great harmonica artisan, a sonic cameo as a little witness to his industriousness. The CD comes in a jewel case with a richly-illustrated, 24-page booklet featuring liner notes by Daniele De Gemini, along with 4 collector’s plasticized cards, all gathered in a hard box external case. Limited to only 500 copies, it’s a meeting with cinema and music history that can’t be missed. AAAAAAAAAAAAAAHHHHHHHHHHHHHHHHHH EDIT: nevermind, not interesting, just annoying

That's why you tell them to go to hell and order from EU stores like MusicBox and Intermezzomedia. It would be on its way from them too.

Oh I don't have any real problem with seeking composer approval, only with the composer interfering with a proper release IF that is what happened