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  1. Murphy is obviously getting a lot of heat due to his role in the Suicide Squad, but the dude has a great influential history of music that has, by now, changed the course of film history, at least twice. Sunshine, and 28 Days Later. The man is a chameleon Yes. John Murphy composed this massively game changing track. Not Hans-baby:
  2. Never discount Murphy especially since he is the man behind the most influential piece of score music this millenia (and that includes Hans' Batman wankboxes): And before any dickhead tries to talk about how similar this is to this and that - well, fuck you - this is where it started.
  3. This score is good. That's all. The choir stuff is okay. The action stuff is actually very interesting with full use of woodwinds and intriguing rhythms and the much-vaunted 118 player orchestra. No silly digital compression here with the brass. Tracks like Whirwind are fascinating. As someone already pointed out, it does sound a lot like Desplat's Valerian, and I have to echo that call - if this is what they wanted and if this is the range they work with, why not just stick with Desplat especially as a lot of the synth backing is very very similar to his stuff. Anyways, a good effort by Balfe but one has to ask why not go with Desplat who would have brought a much more refined approach to the choir stuff at the very least.
  4. This is clearly a mix of different tracks to appease the fans. The Edelman score is surprisingly orhestral (considering how much his 'conducted by' monicker eventually meant nothing as he would normally be conducting a very small sample of players). There actually does seem to be an orchestra here. Doesn't say much about the music as such, which is to say the music does not account to much. Some Stravinski rip-offs and semi-heroic fanfares - which again are surprisingly orchestral for Edelman as by the mid-1990s you'd think he'd never stood in front of an orchestra but just blasted out crap on his old-time synthesisers.
  5. Not only is this a place name in the greatest spoof ever on fascism, but it's an actual Tango by Poledouris The great Klendathu Drop and Destruction of Rodger Young get all the limelight - the delights of this score are in these weird balletic, dance-like action scenes A Starship ballet would be something, dancing fascism, not unlike The Producers, a thousand Ricos dancing to Basil's obscene rhythms......
  6. The Scarlet Letter fun and games is so awesome....Barry at he's dingdongy best. https://www.youtube.com/watch?v=GYhB5J4a3y4 Yo, Poldeouris rocks, love the dance rhythms - is that flamenco or bossa nova, - it's BASIL : Basil is a compositional genius - the rhythms and influeces here - fuck - https://www.youtube.com/watch?v=a1KNug5V55Y Man, Poledouris is the king of awesome hard-core orchestral synth mayhem Dude https://www.youtube.com/watch?v=H8tmcxn99EE Fuck you - one of the greatest pieces of music ever: https://www.youtube.com/watch?v=H8tmcxn99EE Fuck you - one of the greatest pieces of music ever: That Richter piece, in the context of the film, with Wes Studi's performance .....art is art is this is fucking amazing
  7. Howard, you get this and you enjoy the horror, I would.
  8. The awesomeness of Mark Mancina's Speed 2 cannot be underappreciated > Man, Mancina should have been the king of hollywood by late 1990s....
  9. Mancina's mega HZ orchestral stuff> Mancina was Zimmer's protege. He broke out obviously with Speed. But all of Mancina's stuff has been heavily orchestral, and fundamentally JG or JW like. This track is only one of those beatiful showcases. Dudes, this is so awesome - fully orchestral, thematic, and a bit wild. Mancina is a king> The woodwnds joke does not work here - Mancina loves the woodwinds. The darkest of the dark - Shore specialises in this nut-fuck darkness but this is where it escalates and gains a rythmic beat. This is what Reznor and co aspire to. Shore is more harrowing than they will ever be Goddamn go listen to the complete Seven score - what the fuck. and what a masterpiece.
  10. Dudes, Folk's Toy Soldiers especially End of Cali is astonishing - can't wait for this score to get more attention when/if it's rereleased - if you like late 80s, early 90s Goldsmith, this is essential On the theme of composer's being inspired by Goldsmith's era-defining work on Total Recall, Joel Goldsmith rips off dad but does so in a very amianable way. Moon 44 is a legend of a score - and the Graunke performance shows why Total Recall had to be moved elsewhere:
  11. I do find it unusual that a lot of these major works with a lot of ghostwriting - especially Kamen stuff - don't tend to acknowledge the work done by the additional composers we now know did the work. Is this a contractual thing? I know the labels would not want to discuss this as it must be total hot water, but I guess we can here? Clearly Badelt had a role in this score, and maybe it was only as a synth programmer, but I doubt that. By 2000 he was co-composing Gladiator so he was not a Hans coffee boy but a major composer who would go on to take on Dreamworks' Time Machine a year later. In 2000, he was not someone who would come on to program a few Kamen synthesisers. The same problems persist: Bruce Babcock did Hollywood Boulevard; Don Davis did the final swordfight in Robin Hood - are these just rumours or facts? Why don't the complete releases address this?
  12. Britell's Succession is fantastic - a massive mixture of melodies played to diverse classical styles and standards. A real showmanship in musicology. This version of the end theme is a massive beauty (each episode has the theme in a different orchestral style): (yes, he won the fucking Emmy):
  13. Mossari is a real upcomer. His Homecoming score is great, a fusion of Herrmann and Glass with awesome synth textures and quirky extrapolations, and this track has some great plays with a 1980s Glass sound and thematic resonance with Goldenthal's unfinished melodies: And this is a total homage play on the old Herrmann-Glass-Adams line, but very beautiful: the melodic lines are very Goldentalesque ......
  14. I guess those sound clips confirm my concerns - this is just the Kamen score as heard in the film. There is no legendary 'bombastic' or 'melodic' rejected score out there (as someone posted, that sounds like Superman). It's a gritty synth-y score that if composed by Badelt would have been even more bastarted than it originally was by fans. Simply put, Kamen's not a great theme or action composer.
  15. Rumours about a new release of Folk's seminal Toy Soldiers. When I was 13, I literally burnt out a VHS tape listening to this track:
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