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  1. Unfortunately, it's hard to tell without a real concrete explanation for its lack of release, may it be for Elfman interference, too much (then) unused material being on the "album" promo assembly (plus how to handle the additional material from others), an alleged lack of interest/low sales, and whatever else I've seen be mentioned elsewhere.
  2. Wow, didn't think I'd see this high a praise for Spidey 3 from some, given I would've expected some other score to be considered more technically proficient. The mid/late 2000s were definite formative years in terms of my tastes in film music, with 07 having 3 that has always stuck with me (TMNT, Bayformers, SM3). Given how much I've raved about it, I suppose Chris Young was always gonna be my pick of the year for what arguably is his biggest movie. Based on what's actually here though, I have to go with Ratatouille on the basis it's the only one that I've heard of this
  3. Man, asking to choose between HTTYD and TRON are like trying to choose a favorite between two children. While I always will thank the latter for essentially being my second gateway into film scores after Spidey 3, the former really is a superb effort in film scoring Ultimately though, T:L is too important to me to not award it my personal top spot of the year.
  4. As exciting as these clips have been, I'm getting worried over how fragmented it's seeming from the bits that have been posted. Too many starts and stops for the sake of comedic moments. I'm really hoping there's enough long form sequences that can let the score breathe, since it otherwise might end up just being a substance-less pastiche.
  5. Will I get crucified for saying Beyond is my only real ST exposure (besides a scant few episodes of TOS when I was younger)?
  6. Beltrami's batting average with capeshit is fairly solid, as The Wolverine is the only one I'm generally iffy on despite still having its qualities. Logan in particular I feel is greatly underrated, so I'd be curious in what this project offers. I haven't fully heard Goransson's Venom, and the opening tracks weren't compelling, but I still stand by this track as being an absolute banger:
  7. Huh, they weren't kidding when they said people's opinions of the past become more romanticized when they get disenfranchised with newer stuff. Absolutely convinced something like US Marshals got high praise back in the day. It's just one track that at least tells the listener that it's going to feel a bit different from the standard fare recently. I'd get the complaint if it sounded more RCP-ish or trailer like (or even just being for a major sequence), but now I'm wondering if people expect too much at this point. I'd ask if you even heard the track, but I'm probably being a
  8. I'd argue it has a little bit of Journey to the Line DNA, though definitely better at making its own identity out of it than many other examples (including Zimmer's own attempts). Pretty funny how the first Days of Future Past used both tracks, as if the studio is just fully admitting they didn't have any real ideas there. As for the actual score track itself, it's pretty fun, even if it's not very substantive outside of the energetic rock style. I'm sure it'll be better than Steven Price's effort at least.
  9. Just get an older version of Audacity, since this spyware business is only gonna affect new versions starting with the next firmware (assuming it goes through at all).
  10. It doesn't have a ISWC like the other cues, and the work ID starts with 912 like them. As such, it's either related in some fashion to the score, or a different project they're cataloguing right after. Kind of wondering if it's an alt name for a suite.
  11. Wonder Woman 1984 (2020) - Hans Zimmer & Co. Source: ASCAP & GEMA (thanks to ArchiveCollection for providing the order) Co-composer credits: * = Steve Mazzaro ** = Dave Fleming *** = Omer Benyamin **** = SM & OB 1M01 OPENING GAMES** BBF905 1M02 GAMES BEGIN* BBF907 1M03 DIANA FALLS BEHIND* BBF910 1M04 NOT READY TO WIN* BBF911 1M05 1984 OPENING* BBF912 2M08-09 MALL HE
  12. Okay, ASCAP has just barely got the full cue credits to WW84, down to them still adding entries every check that I have made so far. I'll post what the list currently is, and update if there is any more: The most interesting thing thus far is the lack of credits for the use of pre-existing material (Beautiful Lie (BvS), Adagio In D Minor (Sunshine), I Won't Leave You (Pompeii)). In the case of the first, its lack of mention in the music section of the end credits as well suggests that it wasn't necessary as it purely is a solo HZ composition. For the last two, the Murphy track is
  13. Over a decade of movies? But isn't this supposed to be an alternate Loki post Avengers 1? I'm sure the show goes into it more, but that's only like half the time for his character within the universe.
  14. So I decided to double check the Zero Boys page to refresh on the comments I mentioned earlier, and found this fascinating exchange happened recently: (Stéphane is the real name for Hybrid Soldier, if anyone is curious) Not really sure what to make of this, besides Zimmer maybe begrudgingly agreeing to it as a means of appeasing his associates and die hard fans (do note how the FB post would've more addressed the casual crowd presumably). Had to really have changed his mind fairly late for this to hold any weight.
  15. There was some recent post on HZ.com saying that The Wind or The Zero Boys was going to release on CD soon, though where they got that information from I'm not sure. The latter would certainly fit the FB post description well, since that was only on LP prior.
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