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  1. Jesus, this is hard:
  2. Does John Powell kick arse? Er.....yeah? Powell...... Payback
  3. Yes, Debney is a bit of a hack at times, a jack of all trades etc. But he did this - which ought to qualify him in the ranks of the greatest, meaning Goldsmith, Williams, Horner, Shore. When I was a teenager, I rated this as the greatest invention of all mankind - it is so, so good in its exuberance:
  4. Ah dude. I exchanged some CDs with the man in the 90s. So sorry for his family.
  5. Goodwin's Spree de Corpse - how do you make a 55 year old film sound like today? Good composition. And this does. Young could have composed this in 2020.
  6. Sorry. Meh. I love Elfman. Have seen him live 3 times now. But only for the Batman/Nightmare stuff. This percussion concerto is the same old problem, unfocused rambling stuff. It also gets very wanky arty at times - not impressive. I am sure from a technical performance side, it is wunderbar, but this definitely is a wunderfurz.
  7. Not totally convinced by that clip - a bit synthesised perhaps? Could also still be temptracking or AI. Whatever, but Abels is able to do anything. He is like one of those great 90s composers that people like Schumacher would hire (Goldenthal!) and they were let loose to do idiosyncratic stuff and fans would have to wait to hear what it all sounds like - fucking miss those days. Abels with Peele has been a bit like that - love all the work they do together, and can't wait for Abels to do his magic with Star Wars (let's hope he gets to do it!!). Oh, and Nope has probably the best Morricone homage of all time - the melody is amazing
  8. Can't wait for this. Not been impressed by Golijov's work so far but the last time Coppola brought in a known-unknown (ie. Kilar), it caused a seismic fracture in Hollywood action music, of all fracking things with everyone from Joel Silver (Demolition Man) to Jerry Bruckheimer (Pirates of the Caribbean) temping their pictures with 'obscure' Polish classical composer wonders:
  9. Oh dear, oh dear me. Yes, Movements 1 and 2 are full of Young-isms but that is because these are like a career-best encapsulation of the mannerisms that make him great. Everything is still completely original and new, despite patterns and instrument choices that do remind everyone about his greatest hits. You lot are making it sound like a Horner situation (Flying in Airplanes with Monsters....) which this is not. And yes, there is an element of the fact that no one does this type of sophisticated grandiose music anymore, but it does not make it any less impressive. I mean, Young's Priest is brilliant, sounds a lot like The Piper, in fact, or The Fly II, or whatever, but also, obviously, the arse-busting Hans 2000s ostinato. It does not make it any less as a massively impressive piece of music:
  10. Very unimpressive score - perhaps it works in the film, but it is more elaborate sound design than anything else. Sad to see it go this way but perhaps it works best for the picture......
  11. Yes we were, and Kamen on Lethal Weapon 2 and Licence to Kill: Yes, Kamen is 1987 but they used Hollywood Bvrd Chase on everything, so it qualifies.
  12. Netflix are very difficult - why has there not been a release of Neely's The Killers, arguably one of the greatest thriller scores of the past two decades? And why were his excerpts pulled from his website? Is it because the score has become standard temp track for most true crime shows (expressive violin solos; forlorn piano etc)?
  13. BATMAN - no contest. Love Motorcycle and Orchestra, but Elfman impacted on the very foundations of film music itself with this score. It deserves a Pulitzer, Oscar is not sufficient, as Knox would say!
  14. Thor - what made Junk's approach to Fury Road no-nonsense? It is very excessive and overflowing. Perhaps the main riff, which I agree is perfect for Mad Max. And very Brian May. I mean, I like the Junk - still think Battle Angel Alita is massive underrated - but nothing he does is no-nonsense. It's over-sense if anything:
  15. Continues to be the most listened score of the year. And glad to note that Spotify has finally updated it to Christopher Young, not Bulgarian Symphony Orchestra, so at least the pennies are finally flowing in the right direction. But what a score - perhaps the best of the decade?
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