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  1. Quintus, no. While the general orchestral Jerry stuff is done fine, that's not the point here. Every orchestra (well, not EVERY) can pull that off. The genious of the DNS is that it deals with Jerry's synths in a similar way to Goldsmith - a bit like what Leigh Phillips does. They sound identical. I do not know how old you are but I have had to put up with endless variations on Jerry's Total Recall theme (Silva even with fucking Ford Thaxton could not get it right) and that's not even a complex electronic component - it was a running joke in the 1990s and 2000s that no one could get even the opening synths for Total Recall correct. The fact that DNS can do Gremlins 2 - a much more complex synth score than Total Recall - is astonishing. It means we can get lost Jerry scores re-recorded. Even Diago Navarro was unable to pull it off, and he is fucking great: And whatever the case with the action stuff the awesomeness of Total Recall is this - and there is no way anyone can ever replicate this masterpiece. This is the Mona Lisa of film music:
  2. Hi Marcus, There's some brilliant work here - love the stuff in Finale and End Credits. Some nice massive Goldenthalian flourishes there. The other material seems to be going for a Hildur Gudnasdottir type lament - but with more expansive orchestration. The final minute or so of Revelation is brilliant! Øvredal is a massively talented director and I await the day he gets his first DC/Marvel commission - I was actually expecting him to get the Dr Strange sequel (on the basis of Scary Stories.....) before Raimi came on board but he is one of those 'indie' (ie. very mainstream directors in their home markets) who will be snatched up by a major brand soon, unless he keeps working with Del Toro.....and thus doing awesome and interesting films. I guess for me, the recording quality is strange. I have listened to this on Spotify and Youtube and there's a distinct 'Robert Folk recording in Hungary in 1988' sound to a lot of the work. What happened? Or is it intentional, ie Giacchino style homage to the 1970s sound - the orchestra seems compressed and flat and while I can hear the flourishes in the composition it sounds a bit like this (one can hear how great it could be, but the recording quality makes it sound a bit like a dodgy bootleg from the late 90s - sorry to say): Still really impressive work. I hope you get many more chances - I am confident you will. That section from 1:45 - 2:45 is fucking awesome brass mayhem. McCreary's Godzilla comes to mind - orchestral fireworks. Still, I can barely hear all the levels of the orchestra - they seem to bleed into one another, especially when it transitions to that awesome Don Davis type flight music at 2:50, for 4 seconds - I mean, the flutes and the cymbals, the brass and the strings do not meld together here - it sounds like a youtube mobile phone capture of a symphonic concert........Dude with proper mastering this would be legendary!
  3. No one has ever been able to do a 1990s Jerry Goldsmith score live - the Danes figured it out:
  4. This is so clearly part of the whole Holkenborg/Pope partnership that started with Mortal Engines. The score is mostly orchestral and very good at times. But it does suffer from the same thing that everyone of these contemporary Debneyfied scores do - it's all over the place and it's difficult to get a sense of where the whole thing is going. Goldsmith used to hit these scores out of the park to compose cohesive works that would also work on CD, LP. Holkie's ideas are not too bad here and you can sense that he tries to maintain consistency but the whole thing is a bit too mickey-mousey to work that effectively. At the end of the day, though, it shows that we should not be castigating Der Junk into some Zimmerified, Balfed, category but consider him as a very viable composer with a very clear style. I mean, if anything comes from this, it's that there is a clear unique Junkie XL orchestral sound that links to Alita, for example.
  5. The greatest piece of Davis scoring was replaced by something called Rob Dougan in the final film: It's almost ironic that this scene reveals all of the times Davis composed for Kamen, Horner etc and did not receive a credit.....A Stormy Ride to the Library, Robin Hood final duel......
  6. Yes, this sounds fantastic though the acoustics are not great. Girard's films are massively hit and miss - I would very much suggest that The Red Violin won BECAUSE it was Corigliano, not because of anything to do with the film or the score, which frankly is not that great. It is okay and important in the film. The same as I would say about his Altered States, a fantastic score for its time. For Corigliano, a great composer, what matters to us is Elliot Goldenthal, who took up those difficult passages and contextualised them with Hollywood scenarios as well as Glass' work in the early 1990s. If you want to understand Goldenthal, a lot of the atonal madness is with Corigliano, but Elliot soon established a Goldenthal-esque sound that influenced generations: The Coriglinano win was back in the days when the Academy was hunting for respectability with silly awards for 'respectable' films and big names - the time when fragging Piovani's Life Is Beautiful won over Zimmer's The Thin Red Line..... As for the Song of Names, I don't see them nominating this for anything. The film looks terribly cliched - and if you have Clive Owen in the cast, why not show him? While Shore's score will be a marvel, it will be one in a long line of similar projects with critical prestige but total oblivion elsewhere.
  7. Not defending what looks like a relatively disturbing film, but the CGI's unlikely to be finished with a release four months from now, so little point arguing about that (though one could ask why would they release material with unfinished effects, hey-ho). Powell score is likely to be epic if he can stay away from some of those cutesy mickey-mousing flirtations he is too fond of.
  8. Let's play a game - what if First Man was replaced by a pointless quicky by Balfe.....We would not have The Landing. As I keep saying Balfe is a plasterer, not an artist and he should not be allowed anywhere near artworks like Ad Astra. Let Bruckheimer wear him out and discard as he does with everyone.....that's what's waiting for the dude. Trevor Rabin had his Yes career and Bruckie had his time with him and then it was the door, but where's Balfe going to go when the door opens to nowhere - he is kicked out in 3 years I reckon, where is the legacy? Additional music for this and that, Home 2: the Balfening??
  9. Thanks Thor. Koray - yeah, he's been a major composer for more than that, but Arrival was when he truly could attract studio capital - compare Last Days on Mars with Ad Astra.....
  10. Richter has a contract with DG - most of his works are released through them. It's a shame that even this has been balfed. One would expect Gray and Pitt to have some taste (and clout) to prevent this sort of Bruckheimerisation from happening. Though, in his favour, the track that Balfe posted on his youtube channel is not half bad. It's kind of what I would expect Richter to sound like......But he seems to have moved to a more large-scale Wagnerian phase, especially if one listens to Mary Queen of Scots or indeed Ad Astra. But this is probably going to be the breakout for Nils Frahm, as Arrival was for Richter.....listen to the dude's 'Says', which by all accounts is the key musical centrepiece:
  11. Totally agree with some of those comments. Uneven is the Pemberton brand - outside of The Dark Crystal, I don't think he's ever produced a cohesive score. Yes, Jobs has that awesome Glass-ripoff but it does not mix with the rest of the Atari soundscapes. But this works in his favour as he's able to sell this as diversity. Not sure about HTTYD3 - I love Powell, obviously, but this is yet again a case of too much mickey-mousing that is so prevalent in his animation work. If he could get to this level of consistency within the composition of a singular track, awesome:
  12. 'Experimental but safe' is the Pemberton brand, and it's working wonders. No dissing of the man, who by all accounts, including mine, is awesome (I saw him arriving late for the London fan film score convention, running out of the taxi etc, 'excuse' was that he'd got too hammered the night before - respect. The fact that he took what was effectively a fan convention so seriously to still bother turning up and doing talks is in his credit. But again, his The Dark Crystal score is better than any film score done this year - right?!
  13. Pemberton totally knocked it out of the park with this one. The score is gorgeous and massively succesful in using the general template of Jones' score (the recorder solos and atmosphere in particular) but it also pays homage to Last of the Mohicans (probably via Hurwitz' First Man) in using minimalist string figures to tie the whole together. This is especially powerful in Today We Fight.... What I find awesome is that he somehow captured the Trevor Jones essence here (or at least the late 90s variation of it). The sweeping melodies, quirky synth stuff, the use of gaelic instruments, and a general sense of melancholia that, to me, always was key Trevor.
  14. Yes, this one totally suffers from over-kill. There are moments of serious awesomeness all the way throughout - some highlights such as The Ritual of Chud are massive. But in most of the tracks, great melodies and tonal moments are suddenly overtaken by atonal effects and aggressive noise design. Yes, this is a FILM score and Wallfisch' stuff is impressive in the film itself and on a compositional level but as a listening experience, it's horrendous. But I was also not happy with the first IT score when it came out, but after watching the film, it clearly is one of the best and most melodic orchestral horror scores since Christopher Young's The Fly II, and that is really saying a frigging lot. I await to see the film here as there is so much great bombastic melodic, fully orchestral stuff going on here that any Williams fan should give it a try at least.
  15. And to keep harping on, - check out this rejected score clip from the Matrix: Reloaded (Davis might have used this for his Robin Hood supplement score though) - it is practically awesome on all fronts, swashbuckling is thy name: Gistech - do you mean Tokyo Ghoul or did he score another anime adaptation Attack on Titan - would fracking love that. And Davis' collaboration with Juno Reactor needs to be explored further. Mona Lisa Overdrive is still very likely the leading and certainly the most organic techno-orchestral fusion of all time and it's 17 years old. How did these people collaborate? I mean Juno was HUGE back in 2002 so to have them do this with Davis-----awesome. But what did they do, how did they come up with the rhythms, the crazy orchestrations etc. Cos this is not like Event Horizon where Orbital laid some beats under/over Kamen, this is an actual collaboration:
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