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Under-Terrestrial

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Everything posted by Under-Terrestrial

  1. Certainly not bereft of thought, but definitely rather muted in richness of feeling.
  2. Yup, Jóhann Jóhannsson scored ARRIVAL, and Villeneuve used the existing recording of On The Nature Of Daylight to bookend the film (and I think Johannsson *may* have subtly referenced Daylight in his input, though I'm not sure).
  3. SPACEMAN - Max Richter https://music.apple.com/nz/album/spaceman-original-motion-picture-soundtrack/1729872386 Based on the trailer for SPACEMAN (which seems like my kind of sci-fi), muted minimalism might suit this film just fine. But every time Hollywood employs Max Richter, I hope they'll seize on his gift for more outwardly expressive minimalism present in pieces like "On The Nature Of Daylight" and "November" that brought him so much attention. "Memory Is A Voyager" sticks out a bit in this album. I haven't seen a lot of Ricther-scored films (SHUTTER ISLAND and ARRIVAL don't count to me), so as of now AD ASTRA is still the closest I've come to loving a Richter score written exclusively for the given movie (and, as a lot of JWFan knows, even that isn't all Richter).
  4. SPACEMAN - Max Richter https://music.apple.com/nz/album/spaceman-original-motion-picture-soundtrack/1729872386 Based on the trailer for SPACEMAN (which seems like my kind of sci-fi), muted minimalism might suit this film just fine. But every time Hollywood employs Max Richter, I hope they'll seize on his gift for more outwardly expressive minimalism present in pieces like "On The Nature Of Daylight" and "November" that brought him so much attention. "Memory Is A Voyager" sticks out a bit in this album. I haven't seen a lot of Ricther-scored films (SHUTTER ISLAND and ARRIVAL don't count to me), so as of now AD ASTRA is still the closest I've come to loving a Richter score written exclusively for the given movie (and, as a lot of JWFan knows, even that isn't all Richter).
  5. DRIVE-AWAY DOLLS - Carter Burwell https://music.apple.com/nz/album/drive-away-dolls-music-from-the-motion-picture/1731277127 Theremin! A fun selection of comically-exaggerated caper material! Heartening to know that decades later, Burwell's voices is still fresh and very much his own.
  6. This is the end credits music, which I'm guessing this YouTuber recorded off their phone in the theater. Levi + Glazer = Time To Get Your Freak On.
  7. This is the end credits music, which I'm guessing this YouTuber recorded off their phone in the theater. First impression was and still is: Levi + Glazer = Time To Get Your Freak On.
  8. And IF / Inside Out 2! (assuming he returned for that sequel).
  9. It hasn't been given an official release date, but based on its 2022 announcement and 2023 production, Andrew Stanton's live-action IN THE BLINK OF AN EYE for Searchlight Pictures ought to release this year. I worship Stanton even when he misses, and this film reportedly draws inspiration from things like INTERSTELLAR and MAGNOLIA, which is nothing but good news to me. Hoping for a Thomas Newman reunion!!! (Also, this is from an original script from Colby Day, whose first produced screenplay, SPACEMAN, is releasing on Netflix on March 1st and seems to have potential!)
  10. ORIGIN - Kris Bowers https://music.apple.com/nz/album/origin-original-motion-picture-soundtrack/1725771115 If only because there's still a deficit of high profile composers of color in the industry, I keep hoping I'll love a Kris Bowers score. The closest I've come is Bad Hair, which is a strong horror score, and the Origin samples have some lovely solo string bits here and there, but the harmonic direction of this music is just kind of okay to me (but maybe this is me being just another white guy holding a double standard for white vs. POC composers).
  11. Because this album is taking its sweet time releasing/getting a proper preview, here's a sample of Mica Levi's Zone Of Interest score 👀
  12. I feel this with half of Desplat's scores. His actual writing is always aces to me, this cue included, but I wish the beat overlays were lower in the mix (which is difficult to ask of ever-rhythm-forward Desplat), and the sense of space in the recording stage was fuller.
  13. BEST [PRIMARILY ORIGINAL] SCORES OF 2023 Winners: AMERICAN FICTION - Laura Karpman (biased because she co-taught a poetry+music class during my last semester of undergrad) ASTEROID CITY - Alexandre Desplat THE BOY AND THE HERON - Joe Hisaishi (***my fave of the group***) THE CREATOR - Hans Zimmer DREAM SCENARIO - Owen Pallett (no one talks about this one!!) ELEMENTAL - Thomas Newman THE INVENTOR - Alex Mandel (no one talks about this one either!!) OPPENHEIMER - Ludwig Goransson PETER PAN AND WENDY - Daniel Hart POOR THINGS - Jerskin Fendrix Pending Viewing: ORIGIN - Kris Bowers THE ZONE OF INTEREST - Mica Levi THE PEASANTS - Lukasz Rostkowski TOP 10 BEST TRACKS OF 2023 "Sail Away" - BEAU IS AFRAID - Bobby Krlic "The Last Smile" - THE BOY AND THE HERON - Joe Hisaishi "Presentation Music" - CHICKEN RUN: DAWN OF THE NUGGET - Harry Gregson-Williams "A Place In The Sky" - THE CREATOR - Hans Zimmer "I Wish This Was Real" - DREAM SCENARIO - Owen Pallett "You Were The Dream" - ELEMENTAL - Thomas Newman "Pipes" - A HAUNTING IN VENICE - Hildur Guonadottir "Tuk Tuk Chase" (***unreleased second half***) - INDIANA JONES AND THE DIAL OF DESTINY - John Williams "The Women Ascend" - THE INVENTOR - Alex Mandel "Can You Hear The Music?" - OPPENHEIMER - Ludwig Goransson (sorry, I know this piece is ubiquitous at this point) "Neverland" - PETER PAN AND WENDY - Daniel Hart "Paris" - POOR THINGS - Jerskin Fendrix "Sacrifice And Departure" - KNOCK AT THE CABIN - Herdis Stefansdottir BEST FILMS OF 2023 Winners: AIR POOR THINGS OPPENHEIMER ROBOT DREAMS THE HOLDOVERS MISSION: IMPOSSIBLE DEAD RECKONING PART ONE Runners-Up: NIMONA SUZUME NO ONE WILL SAVE YOU THE BOY AND THE HERON KILLERS OF THE FLOWER MOON
  14. Impatiently waiting for this movie's belated release so I can listen to the entire score guiltlessly
  15. Oppenheimer seems like it has already won, and Killers Of The Flower Moon seems like the only other nominee lock. After that it could be anyone (I'd like to see American Fiction and Society Of The Snow in there).
  16. Took a peek at some early IMDB music credits, the common demonimator appears to be John Powell!
  17. https://music.apple.com/nz/album/wish-original-motion-picture-soundtrack-deluxe-edition/1717192908 First impression:
  18. Big new score weekend! https://music.apple.com/nz/album/next-goal-wins-original-motion-picture-soundtrack/1715022766 I remember reading there might've been two cues tops in this movie, but it sounds like there's more! I'm not sold on this movie on account of its meh buzz. It sounds like Giacchino's taking a breezy "vaguely ethnic" percussion route... https://music.apple.com/nz/album/saltburn-original-motion-picture-score/1716467942 Anthony Willis got my attention with "Promising Young Woman", and this score seems sonically diverse! A more parodic tone here than the film's trailer led me to believe, at least up front. https://music.apple.com/nz/album/dream-scenario-original-motion-picture-score/1713748399 I'm most curious about this score. There are shades of Jon Brion's Charlie Kaufman soundscape here (doesn't seem surprising given the movie's Kaufman-esque premise and Pallett's contributions to Spike Jonze's directorial work) with a dash of Randy Newman!
  19. First two tracks from Jerskin Fendrix's first score for Poor Things! The trailer music is indeed a sample of the score. Appears to be as strange as the movie. I like that we appear to really be Mickey-Mousing here
  20. Occasionally I puruse IMDB music credits before composers are announced for hints, and some of the Inside Out 2 music team are frequent Mark Mothersbaugh collaborators 👀
  21. THE PEASANTS - Lukasz Rostkowski Haven't seen the film [yet], but this is an immediate winner to me. The film is the hand-painted followup to LOVING VINCENT (same team), and THE PEASANTS score feels like an extension of Clint Mansell's sumptuous rural atmosphere VINCENT, except now it's party time. It's got one foot in Irish folk music, one in Yann Tiersen's Amelie soundtrack (not just the accordian, but similar rhythm/harmony), and a hand in Bulgarian choral music. This is the first feature score by Polish composer/producer/rapper Lukasz L.U.C. Rostkowski, and I bet he'll be in demand after this. Opening track is my favorite so far
  22. Correct, I was making a few different, semi-unrelated points that broadly fit under the "A.I. is bad news" umbrella. The idea that A.I. should be used when producers don't feel like trying hard for something fresh and inspired...man, that is one slippery slope. My baseline belief is that it is fundamentally wrong to give anything other than human beings an inch. Composing, conducting, performing, whatever the creative job is. If we don't have A.I. severely regulated in the media industry, then producers/executives will OK its use left and right. And frankly, I'd rather take a mediocre score from a human composer than an A.I.-generated score that puts up the illusion of being fresh and inspired. Quality is a high cause. Human artists looking out for one another is the higher cause.
  23. This score was such a nice surprise! Other folks on here would be better equipped to describe its influences beyond the broad adjective of "medieval". I saw this film last night, and not only is it stop-motion, but it's rare to see any new feature aimed at children that is both wholesome and gentle. It's all about Leonardo Da Vinci's spirit of innovation, directed by one of the initial writers on Ratatouille. The score lets strings and winds stand out like nobody's business, my kind of score
  24. ^^^I second all of this^^^. I'm happy that a lot of people on here are speaking out against the use of A.I. In many artistic circles (composing, writing, illustration, etc.) the prevailing argument I see is "It's not as good." By and large this is true. In fact, it will always be true. But we have every reason to believe that the tech will improve to the point where the facsimile of a Williams/Zimmer/Elfman score will fool even trained ears. The argument should be on moral grounds. Even if a human and A.I. were capable of producing identical music, it's just...plain wrong. We're all we've got to fight for. The motive for A.I. producing art/music/etc. is half-"we can so we should" and half-monetary (well, probably mostly monetary). One would think that the human rights violation here would get through to even the coldest studio executive, but evidently not. The other thing is, A.I. is trained on existing data. Which means that anything it produces will, in some way, sound like what's come before. But the spirit of human art is that artists' creativity and sense of craft morphs and grows. Zimmer's work nowadays has changed so much from what it was in the '90s. If people aren't allowed to produce art full-time, the message being communicated is not only "We just want to go cheap," but also, "You don't deserve to grow as an artist. You don't deserve to use your own mind." That is the cruelest thing of all.
  25. ***Copied from the "First 2023 Score Impressions" thread*** Given that this album's release date was purportedly August 9th - which it is in Japan - I thought the entire album would be available to preview on Japanese sites by now. Aw well, this little snippet will have to suffice My first impression will be even more out of context than usual given that no one knows what this movie is except A) people who have read the book, and B) Japanese audiences (btw, Japanese audiences must regulate in-cinema pirating like crazy, one thinks there would've been a footage leak by now!). I wonder if I'll feel about this score the way I feel about John Williams' score for The Fabelmans: both feature stripped down melodies with simple harmonies that are hella bittersweet, as if a farewell to a life-long creative partnership between director-and-composer has imbued into the music. I like it so far, look forward to samples with more symphonic ingredients (also, that poster is entrancing. Does the heron have two sets of eyes?!)
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