Tom Guernsey

I’d agree. It’s a lot more natural sounding in the expanded edition. The extra music also makes it a more balanced listening experience (same with Solo) and gives the music room to breathe.
 
One thing i especially love about the HTTYD scores (and other Powell scores of course) is how glorious the performance seems to be. Rich brass, especially the horns and absolutely gorgeous use of orchestral colour which is so vividly captured. I’ve mentioned it before but when the horns bring in the main theme in Test Drive about a minute in, I’ve rarely heard horn chords sounding so rich and resonant. Compare it to the (very well performed) Serebrier conducted compilation and the sound in that track isn’t nearly so gorgeous (and the Philharmonia is an excellent orchestra). Maybe he and Gavin Greenaway drive the orchestra harder for those sections but the results are wonderful. 

I’d agree. It’s a lot more natural sounding in the expanded edition. The extra music also makes it a more balanced listening experience (same with Solo) and gives the music room to breathe.
 
One thing i especially love about the HTTYD scores (and other Powell scores of course) is how glorious the performance seems to be. Rich brass, especially the horns and absolutely gorgeous use of orchestral colour which is so vividly captured. I’ve mentioned it before but when the horns bring in the main theme in Test Drive about a minute in, I’ve rarely heard horn chords sounding so rich and resonant. Compare it to the (very well performed) Serebrier conducted compilation and the sound in that track isn’t nearly so gorgeous (and the Philharmonia is an excellent orchestra). Maybe he and Gavin Greenaway drive the orchestra harder for those sections but the results are wonderful. 

I’d agree. It’s a lot more natural sounding in the expanded edition. The extra music also makes it a more balanced listening experience (same with Solo) and gives the music room to breathe.
 
One thing i especially love about the HTTYD scores (and other Powell scores of course) is how glorious the performance seems to be. Rich brass, especially the horns and absolutely gorgeous use of orchestral colour which is so vividly captured. I’ve mentioned it before but when the horns bring in the main theme in Test Drive about a minute in, I’ve rarely heard horn chords sounding so rich and resonant. Compare it to the (very well performed) Serebrier conducted compilation and the sound in that track isn’t nearly so gorgeous (and the Philharmonia is an excellent orchestra). Maybe he and Gavin Greenaway drive the orchestra harder for those sections but the results are wonderful. 

Agree. And also above YouTube clips so if it’s not available where someone is, you can at least look it up elsewhere. 

Hey Thor (and the others who post on this thread), what do you think about putting the name of the score and the composer above the album cover? I really like this thing of putting the cover of the album you're reviewing, it made this thread (and other score threads) more colorful, but by adding the score and composer name you can make easier for people who use the search bar. Like, imagine someone in the future searching for comments on JWFan about Caprioli, Donnagio, Sarde or Goldsmith, so they'll find these reviews.
 
This is something I like to do myself, like this:
 
 
Or this:
 
 

I'd give the DE of the second a go before firming your opinion. They may just not be your thing, but the first score is the least refined and balanced of the three, with a lot of action/chaos music. #2 has a lot more variety in its sound.
 
Although I'm on your side with how bombastic his music can be. I struggle to listen to Solo in large quantities - great score but very loud and busy.
 
But to your first point, I echo the 'yes'. Most live action films would dream of scores of this quality and thematic depth - they completely outgrow a kids' animation series. And I've stated before but in my personal view, Powell has a talent with underscore types of cues where they are never boring or static even for dull dialogue scenes; something I think he does better sometimes even than (angry villagers incoming) Williams.

Aha thank you. Clearly I was being dim. Makes sense now. Hopefully it’ll hit the target!

Oh, the bit I realised on clicking the link is that there only exists a live recording and they need funding to clear it legally, edit and master it to be suitable for release, and to record some pickups to clean up a few bits.
 
I'd imagine a lot of fans would be fine with just the recording from the day, audience noises and all, but if they end up being able to raise the full amount to do it properly, great.

There's also more details about the organ needing to be re-recorded in Young's main video for the campaign.
 
Yavar

Not exactly a score but it seems an interesting listen.
 
From Mikael Carlsson on Facebook:
 
 

(Posting this in a separate thread to hopefully give it more attention than if it were just in the Christopher Young thread)
 
Christopher Young's Nosferatu CD recording Kickstarter is up:
https://www.kickstarter.com/projects/nosferatu-music/christopher-youngs-nosferatu-a-symphony-of-horror-cd
 
The goal is a hefty $50k. So far (after just a few hours) it's approaching the 10% mark, so hopefully it'll meet its goal within the month.

New Ripley trailer
 
 

No cameras spotted (and that is a shame, I was hoping at least for a recording on Stage+ ) but the microphones were actually visible above the stage. I'm just wondering whether they were recording the concert or just simply hanging there as permanent equipment of the hall.
 

Source: Wiener Symphoniker fb fanpage
 
The concert was AMAZING!!! The best AD concert I have ever been to (London 2014/Kraków 2019/Vienna 2024).
 
I prepared a quick analysis of what tracks were used in each suite (overall almost 2h of music!)
 
1. Godzilla (Godzilla! / Godzilla's Victory / Back to the Ocean) - 6 min.
2. Pelléas et Mélisande - I. Comme un oiseau pourchassé - 8 min.
3. Pelléas et Mélisande - II. Ils regardent la lumière - 5,5 min.
4. Wes Anderson's Suite - Fantastic Mr. Fox (Jimmy Squirrel And Co. / High-Speed French Train / Boggis, Bunce, And Bean / Canis Lupus / Kristofferson's Theme / Stunt Expo 2004 / Great Harrowsford Square) - 9 min.
5. Wes Anderson's Suite - The Grand Budapest Hotel (Mr. Mustafa / A Prayer for Madame D & Last Will and Testament / Canto At Gabelmeister’s Peak) - 4 min.
6. Wes Anderson's Suite - The French Dispatch (Obituary) 3,5 min.
7. Harry Potter and the Deathly Hallows (Part 1: Obliviate / Sky Battle / Fireplaces Escape / Detonators / Destroying the Locket; Part 2: Statues / Broomsticks and Fire / Courtyard Apocalypse / The Tunnel / Dragon Flight / Lily’s Theme / Showdown) - 13 min.
8. The King's Speech (The King’s Speech / My Kingom, My Rules) - 4 min.
9. The Shape of Water (The Creature / Five Stars General / The Shape of Water / Spy Meeting / The Escape / Rainy Day / Watching Ruth / Elisa and Zelda / Without You / Overflow of Love) - 21 min.
10. Guillermo del Toro's Pinocchio (Carlo's Theme / Spazzatura / The Pine Cone / Big Lies / Resurrection / Saving Geppetto / Pinocchio's Choice / Ciao Papa) - 15,5 min.
11. The Imitation Game (Carrots and Peas / Crosswords / U-Boats / Mission / Alone with Numbers / The Headmaster / End of War / The Imitation Game / Alan Turing's Legacy) 15,5 min.
 
ENCORE
12. Girl with a Pearl Earring (Griet's Theme) - 4 min.
13. Eiffel (Valse d'Eiffel) - 3 min.
 
What was so special about this particular concert, in my opinion?
1. Golden Hall itself, of course  and the fact that he was probably the third film music composer playing there after Williams and Hisaishi.
2. Desplat played some of his recent scores like Pinocchio, French Dispatch or Eiffel, which was refreshing. I never spotted Fantastic Mr. Fox suite in concert before neither.
3. He also prepared completely new, extended suites from his trademark scores (Godzilla, Imitation Game, Shape of Water). He played almost half of the Imitation Game and Shape of Water albums (!) He usually plays the main themes from Godzilla and Imitation Game and 7- or 12- minutes long suite of The Shape of Water so he really did his best this time.
4. I think that for the first time he had a choir on the stage (not counting Hollywood in Vienna 2016 cause he was not conducting). A children choir in Fantastic Mr. Fox and at the end of "Ciao Papa" from Pinocchio gave me goosebumps.
5. He got a standing ovation and was very moved, I have never seen him like this before (and I always sit in front rows ).

Is there an official list of what tracks include Monty Norman's James Bond Theme and Paul & Linda McCartney's Live and Let Die?
 
I hear parts of the above in these tracks:
 
* James Bond Theme
# Live and Let Die
101 Gun Barrel / Voodoo Ceremony * 102 Live And Let Die (Main Title) # 103 Bond To New York 104 Whisper Who Dares * 105 Oh Cult Voodoo Shop 106 James Bond Theme (Film Version) * 107 Bond Meets Solitaire (Extended Version) * # 108 Baron Samedi's Dance Of Death (Film Version) 109 San Monique 110 Snakes Alive (Film Version) * 111 Bond And Rosie # 112 Fortune Telling 113 Rosie Flees * # 114 Bond Drops In (Film Version) * 115 The Lovers * # 116 If He Finds It, Kill Him * 117 Low Bridge # 118 New Orleans 119 Just A Closer Walk With Thee / New Second Line 120 Fillet Of Soul – New Orleans / Live And Let Die / Fillet Of Soul – Harlem # 121 Bond's Watch 122 Solitaire Gets Her Cards * 123 Trespassers Will Be Eaten (Extended Version) * 124 Boat Chase # 125 Sacrifice (Film Version) 126 Underground Lair # 127 On The Train / Finale * # 201 Live And Let Die (Main Title) # 202 Just A Closer Walk With Thee / New Second Line 203 Bond Meets Solitaire * # 204 Whisper Who Dares * 205 Snakes Alive * 206 Baron Samedi's Dance Of Death 207 San Monique 208 Fillet Of Soul – New Orleans / Live And Let Die / Fillet Of Soul – Harlem # 209 Bond Drops In * # 210 If He Finds It, Kill Him 211 Trespassers Will Be Eaten * 212 Solitaire Gets Her Cards * 213 Sacrifice 214 James Bond Theme * 215 San Monique (Early Version) 216 Boat Chase Pt. 1 (Early Version) * 217 Fillet Of Soul – New Orleans / Live And Let Die / Fillet Of Soul – Harlem (Alternate) # 218 Underground Lair (Alternate Opening) 219 Sacrifice (Extended Album Version) 220 Baron Samedi's Dance Of Death (Extended Album Version)

That’s in the works 

It's a Disney movie after all, lol. 
 
Can't remember anything about the score as well, but I think it sounded like Giacchino doing superhero music pastiche (before superhero music came to be redefined by Zimmer's Bat-scores).

I still can’t forgive them for calling the first one Jurassic World when it’s literally the first movie in the series about an actual operational park.

Maybe this’ll inspire someone to do a new recording then… I always thought it was a pretty great score. 

I personally always enjoy when an orchestra is pushed to its limits. Overwhelming action is definitely my favorite, as long as it's actual crafted chaos with every part of the orchestra being represented, and not just say... loud, overworked strings, brass, and percussion with ugly, loud synths. 
 
*cough*

Somehow he was able to keep on watching, so either someone forced him, or maybe there was some element of entertainment after all.

I felt both a sense of sadness, and a curious schadenfreude in watching all that talent go to waste.
The Jurassic Worldiverse was past its sell by date, even before the first one was planned. That being said, I refuse to believe that Neill, Goldblum, and Dern can't save #6. I shall frequent my local thrift store with interest.
 

Yeah but did you enjoy it? 😜

You just know that a film is in trouble, when you care more about computer animated animals, than real, live human beings.
Such was the curious case, last night,  of me vs. JURASSIC WORLD: FALLEN KINGDOM.
It started off ok, with people getting some bones from a dead dinosaur, and then being eaten by a (very much) alive one.
Turns out, some old geezer (an American with a very bad English accent - go figure) wants to get a bunch of Dinos from Isla Nubar to the mainland to put them in some park or other. Meanwhile a young, and well dodgy geezer (an Englishman with a very bad American accent - go figure) wants to get his mitts on some Dino DNA so he can create the ultimate fighting machine.
Sound familiar?
Enter the two leads from JURASSIC WORLD, to thwart said young geezer's plans. Throw in a "fuck off" mansion, a cute little cloned kid (no, I'm not making this up!) and a couple of nondescript intern types, plus the guy from JURASSIC PARK who's named after a Steely Dan song,  and you've got yourself a cracking movie.
You think..?
As usual, the dinosaurs are up to ILM's best. It's the actual people who let the side down.
Howard is very pretty (especially in her white cashmere sweater), but she's so stiff that you'd be afraid to look at her the wrong way, lest she falls over, and smashes into a million pieces. Pratt is handsome, and buff, and all that, but he has all the charm and charisma of a two-day-old egg salad that has just been put into the "reduced" section of your local supermarket.
Added to this, the interns are forgettable, with the male intern doing his darnedest to out-scream Chris Tucker, and the (usually) great talents of Jones, Cromwell, and Spall, are completely wasted.
The cinematography is serviceable, and the sound design is adequate, but there's absolutely no sense of wonder. There is not one original shot, or visual (or intellectual, for that matter) idea, in this film. All it really did is to make me want to watch the first one, again. Please note, all further directors of the Jurassic Worldiverse: there's a damn good reason why Spielberg shot JURASSIC PARK in 1.85:1. Watch it, and realize!
I've not seen #6 on the list, but it can't be any worse than this... can it..? 

Top Gun variants.

 

 

 
The Russia House