MikeH

I've not seen JURASSIC WORLD DOMINION, but, imho, everything since JURASSIC PARK has been a case of diminishing returns.
It goes to show just how special, and brilliant, the original is.

I was able to get relatively clean versions of these two Ross cues from episode 4.
 
Lots of nice little Star Wars-ian flourishes throughout; he really nails the classic Williams orchestration.
 
SPOILERY if you haven't seen episode 4, obviously.
 

 


 
Note at 1:49 in the first clip, the same motif from the new Lucasfilm/Star Wars logo. 2:17 is reminiscent of the unused Rey Runs cue from The Last Jedi (deleted scene).
 
I suspect the first ~50 seconds of the second clip is actually Holt material; there's an awkward crossfade at 0:50.
 
Overall his writing seems like a natural continuation of the sequel trilogy, which makes sense (given he worked on all 3).

I can ask around since I know people who work at LFL if you'd like.. we can find out what actually happened .
 
As for the vader music at the end, I actually really enjoyed it! A few hints of the imperial march would've been nice of course, however it made me get goosebumps.. although that entire scene did.

It's like a whole new composer was in charge of the score this episode! What a huge improvement that was... it finally felt and sounded like Star Wars!
 
Lots of fun variations of the Obi theme throughout, in fresh and interesting guises, so I assume 85% of the score in this episode was actually Bill Ross? Holt's thoroughly uninteresting, synth-sounding underscore stood out like a sore thumb after the thrilling escape cue in the hanger bay. What a thrill to hear the Obi theme in action/tension mode. 
 
It's increasingly clear to me that JW (and Ross) were brought in to fix a score that wasn't working. This wasn't a Solo situation. 

I have always disliked Beethoven's ninth for the same sort of reason--I'm not interested in joy.  

Hearing the Fallen Kingdom theme a couple times brought a smile. Earlier ribbing aside, FK’s still a fun listen. Giacchino’s action writing is really corny in a way I find endearing in a monster movie context.
My main gripe is that, compared to, say, Powell, he doesn’t intertwine his themes within the score nearly enough. Powell sees action sequences as just as much of a chance to express character or story themes as any other kind of scene, whereas Giacchino just sledgehammers away and has nothing to say.

It's just unmusical and inelegant, to my ears anyway.

It litterally sounds like the horn player started choking and paniced

The scores for Scream 2 and Scream 3 are so fun and over the top and operatic that it’s a bit of a letdown that 4 and 5 didn’t have the big music budgets and had to rely more on orchestral samples instead. 
 
The orchestrations and performances by the musicians on the original trilogy are just superb, especially for 2 and 3 where Beltrami got a much bigger budget and was able to use the full Hollywood Studio Symphony.  3 in particular has some really cool synths and electronic effects in addition to a lot of fun avant-garde orchestral writing. 
 
Scream 2 (1997)
 
 
Scream 3 (2000)
 
 
 
Scream 4 (2011)
 
 
Scream 5 (2022)
 
 

Exactly what I was thinking. 

I’d say Dominion with 2016 being a reference to Rogue One…

2004 vs. 2022

You’re not wrong @Jurassic Shark  
 
I love Star Wars.  Full on adoration.   I love Rise of Skywalker.  I love Episode I. 
 
Sometimes I can’t help myself but dabble in some discussion.  But when I find myself having to defend, I get exhausted and withdraw.  I just have grown so tired of getting nowhere with some of that kind of thing. 
 
If I could have back all the time I’ve spent on the Internet debating the Prequels, I’d be a happy man. 

People had suspected due to the recent takedown notices, and now it's officially on the Disney Music licensing platform.
 
Releasing June 8th.
 

  Original Album Release Date 06-08-2022 Total Duration 42:11 Genre Soundtrack Copyright Year 2022 Copyright Notice Lucasfilm Ltd.  
1. Knights of the Old Republic II - Main Title
2. Peragus II
3. A Dark Awakening
4. Who's on Board?
5. First Battle
6. Nar Shaddaa
7. Iziz
8. Ebon Hawk Damaged
9. Citadel Station
10. Battle Stations!
11. Korriban
12. Telos
13. Combat 1
14. Tomb Interior
15. Battle the Monster
16. Droid Planet
17. Hidden Academy
18. Ebon Hawk Normal
19. Palace Grounds
20. Peragus Dark
21. Polar Regions
22. Dxun Jungle
23. Iziz War
24. Kreia's Darkside
25. Academy Ruins
26. Battle 4
27. Final Battle
28. Planet Core
29. Knights of the Old Republic II March
 
https://www.disneymusiclicensing.com/album/MTk2Mzg2My0wNWRkYjQ

This is great! I’m hearing some influences from the beach montage cue in Jaws as well. 

How is it that video games get scores that are fully orchestral and significantly better than the iive action counterparts which inspired them?

Definitely! I hear some echoes of ‘The Adventures of Han’. There’s what sounds like a jazzier version of its rapid-fire trumpet passage, and the ending timpani solo is also quite similar.

This is great! I’m hearing some influences from the beach montage cue in Jaws as well. 

I can acknowledge the patriarchal society we live in and especially in film music. However, if this score was written by a man, we would've roasted him the same. The sus activity from Disney and the sus performance of this score are the issues at hand, not the composer's gender. 

What do you mean? You don’t think it’s strange that they waited so abnormally long to announce her? (They even announced the Andor composer before her, and that show comes out even later.) You don’t think it’s strange that her Obi-Wan theme was replaced at the last minute with a theme by John Williams? You don’t think it’s strange that she wasn’t allowed to adapt JW’s theme in her score, and instead one of his decades-long collaborators Bill Ross was hired? You don’t think it’s strange that Bill Ross apparently ended up doing way more than simply integrating JW’s theme, to the point that he even scored big sequences like the Obi-Wan vs. Vader duel? You don’t think it’s strange that Ross gets a big listing all to himself in the credits, right after Holt’s name, rather than appearing later with the additional music composers? You don’t think it’s strange that this is a show full of legacy characters set between the PT and OT, and yet not a single JW legacy theme has shown up yet?
 
Come on, there are way too many things out of the ordinary here. Frankly I find it ridiculous that you could think the desire to make sense of all this, is rooted in sexism. We would be just as curious (and upset at the problems with this score) if this were a male composer.

I want to destroy these people who talk through the entire performance.

Agreed so much. I’m a member on the vi-control forum for composers and anyone there who is underwhelmed by the new Obi-Wan piece is convinced that he’s past his prime and obviously experiencing ‘cognitive decline’ since his writing is different than it was 40 years ago. Can you imagine? I could only wish to be as good as JW is this year or any year. Haters gonna hate. 

People just want the big famous themes from him no matter what. They (even composers who should know better) don’t see how much his orchestration and application has become better and better over the decades. When “Book Thief” came out Conrad Pope talked about how transparent JW’s orchestrations have become and the clarity in which he expresses his ideas. Today, if they can’t hum the theme after hearing it the first time they bitch and moan. Memorable themes are a crapshoot no matter how much of a legend you are. 

what a random but timely bump for me, I listened to my new copy of the OST album today (I finally got the jewel case version) and quite enjoyed it!  I hadn't listened to any version of the score in a while.  That Fathiers track is good, yea, and I also really like A New Alliance and Chrome Dome

People just want the big famous themes from him no matter what. They (even composers who should know better) don’t see how much his orchestration and application has become better and better over the decades. When “Book Thief” came out Conrad Pope talked about how transparent JW’s orchestrations have become and the clarity in which he expresses his ideas. Today, if they can’t hum the theme after hearing it the first time they bitch and moan. Memorable themes are a crapshoot no matter how much of a legend you are.