Holko

It's out of stock there too, not even orderable.

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.

Those goddamn demasters.

I don’t think there is anything but his music that people should learn about John Williams, by simply listening to it. This level of obsession about another person - any person for that matter - is nothing short of toxic and borderline neurotic. Just listen to the man’s music and stop analyzing every single thing he said and did, like he was Jesus. The guy even dresses like JW, he looks like an obsessed person. And he is supported in this obsession by some people like it was a normal thing. The amount of time and money he must be putting into worshiping another man is crazy. I really feel sorry for this guy for not finding something truly meaningful in his life other than worshiping a 92-year-old American composer.
Pathetic and revolting.

Hush now, Bespin, Bespin, don't you cry
Mama's gonna check out all of your books for you
Mama won't let any Tolkien get through
Mama's gonna keep you right under her wing
She might let you read, but not Lord of the Rings
Mamma's gonna keep Bespin, Middle-Earth Free

Got my copy today, I am so happy that I now can listen to the entire trilogy in complete form. And the fact that it has only been  five years since this came out and we already have the complete score is so great!

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?
 
 

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.

That's where I turn the volume up and bang my head 

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.

Oppenheimer deserved all of these Oscars sooo much! The only thing that bothers me is the fact that it didn't win for the sublime script too.

Sorry. I don't want anymore franchise blockbuster scores by Williams.
The only franchise sequel, that I would love to be scored by him is Tintin 2.

Nice find! Just found the full speech in better quality HERE.
He looks great. I too was worried when he didn't appear in tonight's broadcast.

 

At this point JW's only gonna die from a heart attack when he wins his 6th oscar.

Probably just the side effect of Dial of Destiny looking underwhelming with four Best Picture nominees 

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?

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.

That last part is certainly true, from a certain point of view

5!

Taking my stab at DUNE
 

 

 

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.

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.

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

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.

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.