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  1. Haha
    Locrius reacted to Kasey Kockroach in John Williams officially confirmed for Star Wars, Episode IX!   
    There is. If he did it, then I'd have to buy the CD! 
  2. Like
    Locrius got a reaction from Not Mr. Big in John Williams officially confirmed for Star Wars, Episode IX!   
    Would there be something wrong with Powell doing it?
  3. Like
  4. Haha
    Locrius reacted to Kasey Kockroach in MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score   
    If I was a girl, I wouldn't date a guy who does Mission: Impossible music like that. 
  5. Like
    Locrius reacted to PuhgreÞiviÞm in Turning of the tide (or just the same old crap)?   
    I don't know about Koray, but supporting Trump is the best thing we have to maintaining free market capitalism and protecting the First and Second Amendments for the foreseeable future, and Brexit was an excellent move by the British people to free themselves from the tyranny of senseless, bloated Eurocracy.
  6. Like
    Locrius reacted to CelMech in John Powell's SOLO: A STAR WARS STORY (2018)   
    Isn't that the love theme?
  7. Like
    Locrius reacted to artguy360 in John Powell's SOLO: A STAR WARS STORY (2018)   
    One thing I've come to really appreciate about this score is how Powell was able to take JW's Han theme(s) and really make them his own. In fact I prefer any statement of either the hero theme or searching theme as they appear in the score proper over any version in the Adventures of Han track. Right from the beginning with Meeting Han and how the searching theme is given so many different permutations, you can hear how comfortable Powell is masterfully manipulating JW's music. 
  8. Confused
    Locrius reacted to Richard Penna in MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score   
    Kaya is Koray's brother and they regularly interview composers and review albums on their site. I'd imagine that giving bad reviews is probably not great for business.
    I also notice they gave 2/5 for Fallen Kingdom and rated Solo lower than Fallout. Wow.
  9. Haha
    Locrius reacted to Jurassic Shark in MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score   
    I guess they bribed the reviewer with a ... free CD? 
  10. Thanks
    Locrius reacted to Loert in Justin Hurwitz's FIRST MAN (2018)   
    Since you asked for it.
    I could write an entire dissertation on the problems I have with the music in "Another Day of Sun", let alone the soundtrack as a whole (though to be fair, "Another Day of Sun" is one of the more problematic tracks). But I'll just stick to what I mean by the flat 7...
    The very first riff you hear is this (0:54 in this video):

    You then hear a variation of this later on at 3:04, with a different bass:

    Now, my entire gripe with this idea lies in the second bar, and especially in the second (i.e. bottom) variation we hear.
    I'll start with the second variation, because I think it'll be easiest. Look at the bottom (i.e. "thumb") note of the right hand in measure one and measure two. In measure one, it's the Ab, which is the same as the bass note. Now what about measure two? It starts with Ab in the right hand...and then moves to Bb, to match what the bass is playing TO BEGIN WITH, but what's more, the Bb falls on an extremely weak beat. So, what is happening, is that you are SUPPOSED to hear the bass clearly shift from Ab to Bb between the bars, and you are supposed to CLEARLY hear the harmony shift from Ab major to Bb major. But what we get is actually: Ab -> Bb with a flat 7, but then seemingly at random, the bottom note of the right hand shifts to a Bb, the TONIC, so that by the end of the measure you're thinking "Wait a minute, was what I just heard a Bb chord, a Bb7, or what?" Because the RH is completely indecisive. It's as if the pianist thought to himself: "I can't decide whether I want the bottom note to be Ab or Bb, so I'll do play an Ab then a Bb and see what happens". This isn't how composing works, people!
    What SHOULD have taken place in that excerpt is that the first note of measure two in the RH should have been a Bb, in order to achieve more symmetry. "But, Loert," I hear you say, "that would just be boring". Well, I agree it is more conventional than what ended up there, but if it is too boring then the idea should be scrapped!
    Now, the first variation is better, because in the second variation, a glaring mistake was that the bottom note of the RH lagged behind the bass by changing to a Bb from an Ab in the middle of the bar. In the first variation, the harmony is actually different (F in the bass in measure one implies Fm7 instead of Ab), and we really shouldn't have the first note of measure 2 in the RH to be a Bb, because that would not work contrapuntally (parallel octaves). But, as with the second excerpt, the RH in measure two is indecisive, not being able to decide whether to play an Ab or a Bb as a bottom note. Actually, it wouldn't be so much of a problem if the Bb weren't syncopated, and I think this is key to understanding the problem here. If the Bb were on a strong beat, then you would be more able to get away with a change from Ab to Bb in the same measure in the RH. But since the Bb is syncopated (a 16th before a strong beat), we subconsciously don't attach great significance to it. However, it IS an important note, because it is the first instance of the tonic in the RH!!! So we have a flat 7 which comes in on the strongest beat of the bar (first beat), and we have a tonic which comes in...on the 7th 16th note. Because of this I can't help but feel this is exceptionally messy.
    In summary, what I would do is change the first Ab in the RH of measure two, to a Bb, in both cases. For variation #2, there is no excuse IMO. For variation #1, the excuse is that you end up with parallel octaves. But I think, all things considered, it would sound better, because then you don't have the tonic coming in on the...7th 16th note of the bar. Besides, this is jazz/pop so who cares about parallel octaves.
    Of course, another thing one could do is to alter the LH (bass) to support the given RH better. But I do not have the time to go into that, nor have I thought deeply enough to write about it. Enough is enough!
  11. Thanks
    Locrius reacted to martybmusic in The STAR WARS Main Title   
    On the latest episode of UnderScore, we sat down with Alan Snelling, assistant engineer to Eric Tomlinson on Star Wars (as well as Raiders, Superman and the rest of the original trilogy), who shared some wonderful recollections of the historic first recording of the Main Title. The remainder of the episode is a near hour-long musical exploration into the composition, orchestration and storytelling power of that infamous minute and a half of music. Enjoy! [This is the second episode in a six-part series on the score]
  12. Like
    Locrius got a reaction from rpvee in Remasters of the First 6 Star Wars Soundtracks now available (Shawn Murphy / Disney Records 2018)   
    Have now listened through all 6 of these. Quite a mixed bag. I guess calling them "remastered" is a bit of a misnomer; more like "reconstructed".
    One of my biggest issues with this set is not so much the sound quality (of the PT at least), but the takes that were used to assemble it all. I don't know if Shawn Murphy and co. just don't have as sharp of hearing as Williams when it comes to orchestral performance quality,  or what—if they do, then they willfully overlooked several noticeable flubs in the takes they chose to use, for some reason unbeknownst to me. For example, the trumpet blip at 4:17 in "Passage Through the Planet Core". Or how about the French horn at 2:18 in "The Sith Spacecraft and the Droid Battle".
    These are errors that weren't even present on the original 1999 TPM OST album. So it just seems like a one-step-forward-two-steps-back situation to me—sure, the sound quality is better, but the performance quality is worse. I guess it all depends on if the listener cares more about minor improvements on sound quality than they do about missed notes, but for me it can be hard to ignore audible mistakes. After listening to these takes, it feels like Williams chose his original 1999 takes with good reason—those takes should have been the ones used again.
    Also, 3:14 in "Star Wars and the Revenge of the Sith" is quite possibly one of the worst crossfade editing jobs I've ever heard. Far inferior to the original 2005 album; what were they thinking?!
    OT is about as I expected; they're older recordings so only so much can be done with them. I would rather if Disney had a pro orchestra (like the New York Philharmonic with David Newman, from this past year—phenomenal and way better than even the OST performances) rerecord the complete scores, and release those as the new "definitive" recordings. But really, we're about to the end of the line with what can actually be done to improve those original OT recordings, I'm thinking. I'd be more keen at this stage to hear a completely new, state-of-the-art recording of the scores with a top notch orchestra.
  13. Like
    Locrius reacted to Loert in John Powell's SOLO: A STAR WARS STORY (2018)   
    You're wrong.
  14. Like
    Locrius reacted to Jurassic Shark in Lorne Balfe: "The M:I theme is probably more recognisable than Star Wars."   
    Check out this:
    Do you ride elevators a lot then?
  15. Haha
    Locrius reacted to SteveMc in Lorne Balfe: "The M:I theme is probably more recognisable than Star Wars."   
    Thank you for your patience, but John Williams is currently assisting other callers.  Please stay on the line.  Press 5 if you'd like to speak to William Ross instead. 
  16. Like
    Locrius got a reaction from aviazn in The Best John Williams Score of the 2010s   
    THE LAST JEDI, hands down. Basically everything I liked from THE FORCE AWAKENS, but more. TFA was great for defining the sound of the ST; TLJ honed it and perfected it. And "The Fathiers" is one of the most exciting chase cues from Williams in years.
  17. Like
    Locrius got a reaction from Will in MISSION IMPOSSIBLE: FALLOUT (2018) - Film & Score   
  18. Sad
    Locrius reacted to JTWfan77 in What happened to "Music Composed and Conducted by" on soundtrack covers??   
    Is it because Millennials won't buy anything that contains the words "composed and conducted by" because that's "old people's music", and it's associated with classical music?
    That's my theory anyway.
  19. Like
    Locrius got a reaction from Will in Favourite short instances of hidden themes/motifs   
    Great idea for a thread. Here's mine:
    Han & Leia love theme at 2:14:
  20. Like
    Locrius reacted to publicist in John Powell's Solo vs Michael Giacchino's Rogue One (post Solo release poll)   
    It's rather horrible. I dig some Giacchino's but that big Wagnerian posturing is so really not his forte.
  21. Like
    Locrius reacted to Kasey Kockroach in John Powell's Solo vs Michael Giacchino's Rogue One (post Solo release poll)   
    Giacchino's failure has been of greater intrigue to me than Williams phoning it in with the sequel scores. 
  22. Like
    Locrius reacted to Mitth'raw'nuorodo in Have John Powell and Harry Gregson-Williams ever surpassed Chicken Run?   
    Solo is my favorite Star Wars score, and I doubt Powell could top it with any of his other scores, so . . . no, Chicken Run isn't his best.
  23. Thanks
    Locrius reacted to Loert in John Powell's SOLO: A STAR WARS STORY (2018)   
    And he delivers:

  24. Like
    Locrius reacted to Gruesome Son of a Bitch in John Powell's Solo vs Michael Giacchino's Rogue One (post Solo release poll)   
    Solo actually had some effort put into it. Anyone who voted otherwise should be banned.
  25. Like
    Locrius reacted to SteveMc in What's your favorite non-franchise Williams score?   
    Have you heard the Symphonic suite Williams crafted from Hook themes?  High class stuff, all the way.
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