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Dude, really like the Debney track. It is what he does so frigging well. My version is this:

If the Holst reference is not intentional, I will eat my shorts.

Talking all things JG, the 'sustained tension in cues like End of a Dream' made neo-acolytes of Rand like Dan Hobgood claim that JG was 'objectively' better than JW - those were the days! How innocent we were back in the late 1990s and early 2000s. Anyways, love the Eckhart Seeber score - sad that he did not break out..... For Tom - yeah, I guess, but JG, at least to me, had more of a sustained sense to his action set pieces than JW. JW's action music may be balletic but it's much more 'incidental' than JG's, I would argue. Again, periods matter etc. But : [EDIT: Oh, totally made Tom's point here! Apologies. At the same time, what is more 'film music' like Duel of the Fates or End of the Dream? ]

Echoing Jay's comments on Starship Troopers - it is such a fantastic Verhoeven score, both fascistic and anti-fascist in its very humanitarian language. In any case, love the weird balletic dance-like qualities Basil brought to for example this piece of action malarkey:

Porra :

@Marian SchedenigJones started using the LSO for his stuff with GI Jane as far as I know (could be wrong).... Elliot Goldenthal in 1989 was a weird dude who did Pet Sematary and ripped off a lot of Lalo. In 1992, the guy reinvented orchestral film music with some very bizarre orhestrational malfunctions with this (ignore all the AI bots): It's scary - I am trying to find Elliot Goldenthal awesomeness and all I get is this - a horrible AI mangling of the real thing: I guess for a lot of creatives even that dumb bot will be bad.....but then, it's about increasing your creativity. BUT i am Goodwin -

Yeah, if you know your film music (and don't blame you) - Joseph Bishara and Charlie Clouser.

It's fantastic to see Young get this recognition. I listen to the Piper score as part of my daily cycling routine - it is endlessly innovative exercise music, I would say! The point is that even at this age, Young innovates beyond any of the Bisharas or Clousers that keep popping up. And because he holds that wonderful Youngian idiosyncratic approach to composition, he stands up and out amongst his peers. Reverential Young - he should have won all the awards for this: And this:

Likewise, 13 when Dead Again came out. Saw it in the cinema with no idea about Doyle or Branagh. Was literally jolted out of my seat when this came on: I was at the screening with my brother, and us being 13 and 11, had to rustle out pennies and old debts to rush to buy the CD from a shop that would close at 7 that evening. It being a matinee, we managed that. The scope of later Doyle scores like Frankensten is something that can be said about a lot of mid-1990s scores like Arnold's Independence Day - but I absolutely love them for that! They are not delicate scores like weirdly a lot of Doyle can be, but they are masterpieces of orchestral composition and just good old fashioned STORMING entertainment! I like my intellectual and political challenges and am thinking about some of the work Abels has done with Peel and The Acolyte to see if there is a political dimension to the work, but that is for another venue - Doyle's work is very cerebral but unpolitical? Or is it?

Yeah, did the singles when they dropped and listened to the album and was weirdly underwhelmed. Not sure why as I love the Bear The hard/slashing stuff was a bit off, the epic rock/orchestra mayhem did not cause.....mayhem? Just lukewarm all around. Very sad to say. I mean, the dude did do Rings of Power and all the other amazing work at the same time so......

Congratulations Yavar on the new release - I hope to get to that sooner than later! Out of the JG projects listed, my interests are firmly in the 80s and 90s. I just listened to Medicine Man today but have not seen the film since 1992. Would love to hear even any tiny bits of music from that one. Back in the day, it was a weirdly maligned effort, perhaps for the Rae's Arrival cue (not the section that gets repeated in The Fire). The score is just brilliant, with just the right balance between silly faux-exoticism and great JG melodic work. And what on earth is that amazing thumping percussion that structures the action parts of the work, including The Fire? Is it a synth percussion or live? Did JG record the synths live with the NPO? If so, how did the orchestra react to the amazing thump? 13th Warrior - got the bootleg. Very little there to add, but it is an amazing late work and really encapsulates the post-Crimson Tide approach JG took with some of his work, really playing up those dark brass melodies that must have inspired HZ in his work. Malice is a weird one - a very ordinary score for a film with Tobin Bell as a serial killer who is co-existing in a yuppie angst film with Bill Pullman, Fatal Attraction with Nicole Kidman, and Silence of the Lambs with Alec Baldwin, but all mixed in a self-reflexive package of total nonsense). JG's Clues is great, the rest are a bit of a Harold Becker mixed bag. Angie is the only one left - it's a grating score already and the best cue is on it. Not sure what could be done here.

Sure, a lack of urgency and a general aimlessness, but the next season will be the last, so there is a lot of setting up the (set)pieces. But I would also suggest this season of the show is particularly important as it focuses on capturing in particular how media manipulation normalises fascism with the explicit focus on Firecracker etc. It's setting up the stakes beyond showing a nutty leader as an existential threat into a much more ambitious attempt to reveal how fascist ideology embeds itself into the public (see Homeland Jr) I guess the other parts are a bit lacking, I mean, the dodgy CGI flying lambs are not impressive, but how good is Simon Pegg's acting in that short bit? Reminded me of Shaun of the Dead. Still one of the most impressive shows on TV, perhaps creaking at the edges, but for a very fucking good reason, as Butcher would say.

Yes, was confused by the need to hire someone like JD Morgan to stand about and act all official - it does make sense that he is Butcher's Tyler Durden (or is it the other way around?) Making Urban the Brad Pitt to JDM's Norton blurs the boundaries in an interesting way. The Homelander stuff is all very appropriate and reflective of the moment - all existential crisis, and the best type of media comments on that in a way that engages audiences. I think the show has got noticably angrier which is why the flippant comedy is often missing. But there is an urgency to what it is chronicling and something like Tek Knight and Vaughn Camps are not far from Project 2025 at this point.

Catching up with the show - it is good and am happy to see it embrace 'woke' (ie anti-racist, anti-fascist) culture in such an explicit way. Abels' score continues to be very good - it could use a bit more thematic resonance but I guess this is the contemporary compositional environment and his team, including Moody are doing a great job. Still it's wonderful to hear such full orchestrations and dynamic composition in the barren streaming landscape full of thuds and empty repetitive nonsense.