Perrinzki

All three of the original trilogy soundtrack albums are now available in Spatial Audio on Apple Music. I have not seen this posted anywhere else on the forums so I thought you might want to give them a listen.

Incredible news! Just about the best film composer available for the job. I do have to say though that sometimes I wished Powell didn't rely too much on the pentatonic scale for his thematic constructs; nevertheless he is indeed a master at working in that particular idiom and it is very much a staple to his style. Either way, we all know that the music for this project is in safe hands, and I eagerly look forward to hear what Powell can deliver to the saga.

The opening melody seems like an evolution of the 'Humans' theme from "Dawn". Same key, similar movement.

Yeah, I definitely noticed it too. It is heartbreaking, and extremely effective. Maybe that's why it upsets me a little when some folks say that the Giacchino technique of stripping it down to the simplest in those moments is a cheap trick or similar dismissive talk. In Lost, Ratatouille, Inside Out and others works immensely in my opinion.

Justin Hurwitz, Austin Wintory would be excellent choices indeed. We need composers like those to start getting the major jobs and truly bring a fresh approach to the blockbuster sound.

From 0:35 to 1:15, a masterclass of buildup, balance, tension, and anticipation. Folks, this is how you Gloriously Resolve. Composed and conducted by Christopher Tin.

For me it's Rey's Theme, and I agree with the sentiment that "Across the Stars" is a bit too one-dimensional (it is still gorgeous music, nonetheless). Wherever John Williams takes Rey's theme next I cannot wait to experience; just with the end credits arrangement its enormous potential was made very clear for when JW decides to fully unleash it.

That photo was uploaded to Facebook since November 9th. How did it escape us?

Yeah, I think we can pretty much confirm this.

I have wished for Giacchino to fully come back to that pre-2010 style that got me truly engaged to his music. It is a strange feeling, because in some areas he has actually improved, yet I still yearn he writes something with so much personality, energy and heart as, for example, "The Incredibles", "Speed Racer", or the magnificent "Ratatouille" (still his best film score, in my opinion),. I have a nagging feeling he would have killed "Zootopia" had he done it before 2010; but somehow, that turned out just average. On the contrary, this isn't to say he has lost that part of him, because I still hear bits and pieces of those traits in his more recent works, while also developing a grander dimension, exhibited in works such as "Super 8", "John Carter", "Dawn of the Planet of the Apes" "Jupiter Ascending", "Jurassic World", etc. that I'm sure will in the future round his music out to be a truly complete package. This is why I, along with many others, are waiting to hear what he conjures for, particularly, "The Incredibles 2".

To those that really like Giacchino's new major theme (a vast majority, it seems), I urge to either listen to or revisit his score for the video game "Medal of Honor: Underground", as the main theme he wrote for that one will most likely be reminiscent of the '5 year mission' theme in its lyrical quality and elegant melody.

Hello all! First post in the forums; have been lurking from some time now. One of my favourite short musical moments comes from Austin Wintory's magnificent score to the video game "Assassin's Creed: Syndicate", in the cue "I Would Have Created a Paradise". The passage, starting from 3:07 until 3:42, first presents a variation on the cue's main action motif (which is also the villain's theme) on solo cello, which then veers off into a vicious melodic dance. At 3:23, the cello reaches a brilliant rendition of the score's main theme, a memorable melody which starts on a distinctive octave-down two-note line. Here, though, only the primary phrase is stated, before the cello unleashes in some incredibles arpeggios, counterpointed by dense, falling harmonies on the brass with string accents, resisting easy harmonic resolution or conventional progressions. Overall, this score is an incredible excercise in compositional intricacy and artistry.