Knight of Ren

Out of those mentioned above, really curious about: -David Robert Mitchell's Flowervale Street -Coogler's Sinners -Mickey 17 -Chazelle's new film -PTA's new film Not really in a hurry to watch most of the blockbusters aside from a couple of them, like Avatar 3, Wicked 2 and Mission Impossible 8.

I've honestly lost all hope that this game is releasing any time soon, altough I would gladly be proven wrong. Really excited for the game and score for whenever it releases! Apart from that I would say: -HttyD Live Action - John Powell (love the trilogy and I hope he can expand his musical universe while doing something new) -Wicked: For Good (really looking forward to the conclusion of the story) -Avatar: Ashes and Fire - Simon Franglen (loved The Way of Water!) -A Knight of the Seven Kingdoms - Ramin Djawadi (not officially announced but I hope he is, because his work for these shows is fantastic imo!) -Fantastic Four: First Steps - Michael Giacchino (big Gia fan so really interested to hear this one) -The Wheel of Time S3 - Lorne Balfe (one of his best scores, so really excited for the continuation) Also, always interested in whatever new score people like Zimmer, McCreary, Newton Howard or Göransson have to offer, because I usually really like their work!

More music either in the form of a second volume, or a new release with that DLC would be awesome, as I have been enjoying this score more and more with each listen. And yeah, it's a bit weird the mention of a time limit, when Fallen Order was a bit more than 3 hours and Survivor was close to being a 4 hour release!

John Paesano is a great composer! I liked parts of Daredevil,and most of The Maze Runner scores, but where I finally realized how great he is, was with his scores for the Spider-Man videogames. Definitely recommend checking them out!

My bad. Did not double check before posting, haha!

Finally managed to do my own list of favorite scores from the year. There are some films I didn't watch yet and scores I didn't listen, that might have been included in the list like The Brutalist, The Wild Robot, Anora or Conclave. Also, I have a separate list for film/TV scores, another one for anime and then a shorter one for videogames: Best Film & TV Scores 01 The Rings of Power (Season 2) - Bear McCreary 02 House of the Dragon (Season 2) - Ramin Djawadi 03 Dune: Part Two - Hans Zimmer 04 Nosferatu - Robin Carolan 05 Here - Alan Silvestri 06 Wicked: Part One - Stephen Schwartz & John Powell 07 ARK: The Animated Series (Season 1) - Gareth Coker 08 Skeleton Crew - Mick Giacchino 09 Inside Out 2 - Andrea Datzman 10 That Christmas - John Powell Runner-Ups Three Body Problem - Ramin Djawadi Avatar: The Last Airbender (Season 1) - Takeshi Furukawa We Live in Time - Bryce Dessner Gladiator II - Harry Gregson-Williams Dragonkeeper - Arturo Cardelús Challengers - Trent Reznor & Aticuss Ross Cristóbal Balenciaga - Alberto Iglesias Mufasa - Dave Metzger Best Anime Scores 01 Frieren, Beyond Journey's End - Evan Call 02 Look Back - haruka nakamura 03 The Apothecary Diaries - VA 04 Kimetsu no Yaiba: Hashira Training Arc - Go Shiina & Yuki Kajiura 05 Kaiju No.8 - Yuta Bandoh Best Videogame Scores 01 Prince of Persia: The Lost Crown - Gareth Coker 02 Indiana Jones and the Great Circle - Gordy Haab 03 Star Wars: Outlaws - Wilbert Roget, II Favorite Tracks -Kiss the Ring from Dune: Part Two -All Must Choose from House of the Dragon (Season 2) -The Sun Yet Shines from The Rings of Power (Season 2) -Daybreak from Nosferatu -Zuko's Return from Avatar: The Last Airbender -I Love It Here from Here -Elodie's Maze from Damsel -Memories of Home from Kingdom of the Planet of the Apes -Glide and Joy from Inside Out 2 -Origami Boats from Three Body Problem I did a spotify playlist with one of my favorite tracks from 50 different scores this year, in case anyone wants to check it out! My Favorite Films of 2024 01 Dune Part Two 02 Furiosa 03 Nosferatu 04 We Live In Time 05 Wicked My Favorite TV Seasons (including anime, and in no particular order) -House of the Dragon S2 -Dan Da Dan -The Rings of Power S2 -Fallout S1 -Three Body Problem S1 -Solo Leveling -Doctor Who -Twilight of the Gods -The Legend of Vox Machina S3 -Skeleton Crew I would say my specific highlight this year was watching Dune 2 on cinemas. Such an awesome experience! And I don't have any big disappointments, other than how some scores I was looking forward to turned out, like Holkenborg's Furiosa, or Wallfisch's Alien Romulus. I've also done a best of list in my blog, with a small write-up on each score. The list there is a bit different because I tried to not repeat any composer on the list, so feel free to check it out as well! https://onenoteatatime815.wordpress.com/2025/01/07/best-scores-of-2024/

Yeah, I found it to be a solid score. Nothing too groundbreaking but it does a nice job of continuing Zimmer's themes and overall style! I finally watched Here and Nosferatu and I can understand and appreciate both scores more with the context. I did two articles in my blog talking about each of the scores in more depth (Here and Nosferatu), but they went into my top scores of the year for very different reasons! Classic Silvestri score, with a great memorable main theme and lots of nice little passages that are full of his mannerisms from some of his best scores from the 80's / 90's. The movie is scored very sparsely, so when the score does come in, it feels much more effective. Worth noting is the fact that a couple of tracks don't appear in the film at all, perhaps due to some final trims in the editing room, so it's really nice to hear them here, as they offer a very solid listening experience on album. And that final cue works wonders in the film in the way the music blends with the images, making me quite emotional by the end! And this one's tonally the complete opposite, and doesn't really offer a very listening experience outside of a few more romantic cues, but it's perfect for what the film was going for. It's dark and ominous all the way through, and Carolan really takes the most out of the orchestra for these scary passages, instead of relying on synths. There are a couple of themes running through, and although they might be a bit hard to pick up on, they offer a solid narrative, and it all comes together in the climatic Daybreak track, where Carolan finally goes full on gothic melodrama alongside the shocking images on screen, and it's just brilliant, and one of my favorite tracks of the year for sure!

Finally got to watch this! I think I liked last year's special a bit more, but this was solid. I think its biggest drawback is the fact that it tries to tell two different stories at the same time. I really liked the Doctor and Anita's plot, and I hope she gets to return in some episodes in the new season. Their relationship was cute and I loved the concept of the Doctor living a whole year day by day, living a casual routine. But this takes up around 20 minutes of the episode, and then there's the star plot, and because it doesn't have as much time as it needed it feels a bit rushed and not as effective in its emotional resolution. Even so, it was solid entertainment, Gatwa's as charming as ever, and I loved Gold's music! Some nice quotes of 15's theme and Ruby's theme when he talks about her and again when we see her at the end. I guess we won't be getting any new music from Gold neither from Series 10 nor from this new run, which is a shame since there's some really great stuff. Anyway, fun episode, and really looking forward to what the new season has in store for us!

Been working on a comparison between FYC and OST myself. It's still a work in progress, but the overall matches are there. The FYC has the film version of most of the cues, although a track like Ostia in the FYC omits the second half which does appear in the OST. I would say there are around 15 minutes of entirely new material, and the rest is either an extended presentation of tracks we already had in the OST, or an alternate version, like with Defiance / Resistance.

Finally caught up with this show, and I have to say I'm really liking it so far! It has that sense of innocence and adventure that I feel was kind of missing in Star Wars, and while it's not perfect, it has a lot of heart and charm! The cast is solid, with Jude Law being the standout, but with the child actors also doing a solid job for the most part. The best one without a doubt is Neel! And I love how they're developing the plot and the mystery, revealing a little bit of information each episode, but without making it feel like it's been dragged out. The latest episode has been called filler by some, and it kind of feels like that, but I feel we got some pretty important plot developments. I really like the overall feel and tone of the show, and I feel Giacchino's music contributes to that. His main theme is quite memorable, as well as the Pirates theme, and I've also caught a couple of secondary motifs here and there. Really looking forward to hear it on album soon!

Came upon this interview and Haab talks about some interesting details of his themes, like how his original ideas for Gina's theme ended up being elsewhere in the score (perhaps the love theme?), or the fact that there's a theme for Locus, supposedly heard the most in the Vatican sequences! https://www.forbes.com/sites/joshweiss/2024/12/16/composer-gordy-haab-decodes-the-soundtrack-secrets-of-indiana-jones-and-the-great-circle/

Yeah, not a dig at Gallagher at all! I know their budget was obviously not the same, and Gallagher probably did the best he could with the possibilities they had, and we have to commend him for that. The music does sound great in the film, and really enhances the emotion of some scenes, particularly in the third act.

I watched the film a few days ago, and I hadn't listened to the score in full until now, because I preferred to hear it first in context. For me, it's kind of a mixed bag. I really appreciate Gallagher's effort of incorporating Shore's themes as well as his overall style/sound, and honestly, hearing the Rohan theme again on the big screen was enough to make me smile. His new themes are solid too, at least two of them. Hera's theme is literally everywhere and is really hard to miss, but I really like all the variations it goes through, and it has been stuck in my head since watching the film. Helm's theme has a huge impact while watching the film, and its use during Helm Hammerhand Still Stands is awesome! Both of these themes feel like they belong to the catalogue of Rohan material, in the way their built and presented in the film, and I really liked them. Wulf's motif on the other hand, just like the character, was much less interesting. I did kind of notice it while watching, but it's not really noteworthy and kind of disappears in the latter half of the film. I did notice the other theme mentioned above, as a sort of emotional theme for Hera and Helm, but its appearances are not a lot so it doesn't make as much of an impact. The thing that drags it down for me is the sound. It's trying to emulate Shore and it succeeds in the composition, but the sound (whether it's the recording or the orchestration) make it sound a lot more thin and flat than it should, sometimes looking almost synthetic. Then on album, it doesn't help that the album is too long, and half of the tracks are loud action pieces that become a bit too much for me. What I liked about Shore's scores is the balance between roaring action and softer, intimate character moments, and this score is lacking much of the latter. Not Gallagher's fault, as that comes with the story the movie is telling, but makes for a less compelling listening, and in the end I very much prefer McCreary's scores over this. Even so, I'm glad Gallagher got to show his skills on such a big budget score, and perhaps he'll be able to land a gig that allows him to develop his own style, without the restraints of being tied to Shore's musical universe.

I'm a huge fan of Eggers! I've really liked all of his films, including the Northman which received somewhat lackluster reception from critics and the general audience, so I'm really looking forward to watch this one when I can. The music on his films usually works better within them than as a standalone listening experience. It gives the films an appropriately eerie and ominous mood (The VVitch or The Lighthouse), while also being epic and emotional when needed (The Northman). That's why I haven't listened to the score yet, as I prefer to listen to it first in context, but I've heard it works brilliantly within the film, and that it has some great standouts near the end. Really liked Carolan's The Northamn, so I hope this one's as good!

That's an awesome breakdown @WampaRat! I had identified several of these motifs but since I haven't been able to play the game, I didn't know their meaning. I particularly love the Cataclysm theme and Gina's theme! The latter in its title track reminded me a lot of Giacchino's Medal of Honor scores, which were influenced themselves by Williams' Indy score, so I guess that's quite fitting!