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Everything posted by igger6

  1. Has anyone drawn up a list of which tracks contain previously unreleased music? My initial sense is that every new cue is less than a minute long. Is that right?
  2. I loved the new concept. One of the bittersweet parts of my maturing awareness as a film score fan over the past decade (a maturation in which you, sir, have played no small part) is that I used to learn about new releases from Cinematic Sound, and now I've moved upstream to the source, so to speak, usually hearing about things from the FSM board or from the labels themselves. That's why I grew to appreciate your appearances on The Soundcast, where you could spend more time giving opinions and less on introductions. This felt like a Woods-only version of a Soundcast episode in certain entertaining ways. I'd definitely tune in again. P.S. Alphabetically by composer all the way, and alphabetically by title within composer sections, except for series scored by a single composer, which go chronologically within the alphabetical spot for the title of the series, of course.
  3. Dang, @bruce marshall, you had me hoping for "The Flag Parade" for a second there before I clicked the link.
  4. Fun fact about the violinist on "Schindler": I taught two of his sons as high school sophomores. In an email exchange two years ago, I noticed "U.S. Marine Band" in his signature and started asking nerdy questions about JW. He responded gamely and sent me an old YouTube clip of his 2003 performance. We were in discussions about bringing a few musicians to my school, but the pandemic and then his retirement intervened. Cool guy!
  5. I'm so glad this guy exists and have been beating his drum forever (just see the top of this page!), but yeah, I wish he had more of a focus on listenability than comprehensiveness. Not every cue works well in reduction. I still Google him every few months to see where his JW fixation will lead him next, though.
  6. The new logo is fine, although I think it looks too modern, while the aesthetic of Star Wars has always leaned more toward nostalgic and deliberately old-timey design, nothing slick or shiny. This looks like an animated logo for the company that designed the Naboo starfighter (always the most incongruous-looking Star Wars ship in my book). The logo's music, though, fails to echo either the melody or texture of any familiar Star Wars sound. I admit that I don't really know the Blake Neely sound, but I used him because his Flash theme is a prominent recent member of the fast-minor-arpeggio club that, to me, is the antithesis of Star Wars. As a card-carrying musical curmudgeon who's only tolerating Ludwig's outlier approach to Star Wars scoring, and as somebody for whom the symphonic (not just orchestral, and certainly not synth-orchestral) sound of Star Wars is the sonic equivalent of its nostalgic visual aesthetic, this logo seems both visually and aurally dissonant. I recently said to someone that I think the most fitting additions to the Star Wars universe are the ones inspired by real-world elements that existed before 1977. That's why the WWI-looking troops on Corvus in Mandalorian Chapter 13 look appropriate to me, even if that hasn't been a primary source of the aesthetic so far, while, say, a pinch-and-zoom touchscreen in a spaceship cockpit would look out-of-place. That's also why synths and electrics, by and large, take me out of the score (including in "The Chase Through Coruscant"), while, say, the bass clarinet does not. I know Williams dabbled in synths here and there, but the main aesthetic was what it was―because Williams chose to make it that way, not because it was all he knew how to do. That's mostly blown out of the water in Mando, and it's thrown into sharpest relief when the old sound does show up. It's interesting to me because the show leans so hard into the visual aesthetic but departs so strongly from the aural. The new logo seems to depart in both ways. </rant>
  7. And yet, both of these hack jobs sound better than the Blake Neely-esque blob of arpeggiated anonymity that's currently sliming the opening of every Mandalorian episode. I was sure JW would find time to fart out some fantastic ten-second Lucasfilm fanfare during the TFA sessions, but I've pretty much given up. If it didn't happen for the dawn of the new era when he was already rounding up an orchestra, it won't happen now.
  8. The real question is, was Batu an uncredited co-composer on JW's theme for Batuu?
  9. What's amazing about this score is that many of its best moments (revealed even more clearly in this expansion) are instances of Powell doing something interesting with some element of Williams' Solo theme. It's like the entire composition was Matrix-uploaded into Powell's brain, as second-nature to his thinking as anything he'd written for the film himself. Almost every cue has an example of this somewhere. Heck, even the transformation of the Imperial March for "Mimban" is a great example. I really really hope we get another John Powell Star Wars score―preferably with another Williams contribution.
  10. The opening notes of the main melody sounded a little too reminiscent of one of his Jurassic World themes to me at first, but as it goes on, it's lovely, patriotic, and emotional. I'll be curious to hear the theme stretch its legs in an action-music context elsewhere in the score. Great to have this franchise honoring its roots like this!
  11. OK, I figured out what I want JW to compose next: a suite of concert arrangements of Powell's themes from Solo. The circle will be complete!
  12. Is "Extra Deluxe Mine Mission" just "Mine Mission" plus "Break Out"? Or is there something new in there?
  13. The whole existence of this edition is a eucatastrophe in my book, and I'm particularly thrilled to know which cues were JW's, in whole or in part. It does make the plot thicken in my head, though. Did JW and JP sit down and spot the movie together? Did JW do it alone and just "claim" certain scenes (or even, apparently, segments of scenes) for himself? Did that serve as stylistic inspiration for Powell's approach elsewhere, in a more specific way than just imitating Williams' general Star Wars style? For the cues that were partially composed by Williams, was this because of later changes to the edit, or did Williams deliberately provide some sort of compositional "tabs" for Powell to expand upon? Sometimes I marvel at how incredibly much and yet, in a way, how little we know about this art form we love.
  14. Oh, yeah, I definitely hear it. For that matter, the opening percussion of "Lions Reign" is very similar to the percussion that kicks off "The Egg Travels." Again, it's more textural than anything. Cool!
  15. Thanks for the thread on one of my most favorite Special Topics in Film Music! I voted for Treasure Planet just because it's such a criminally underrated film, and the score is one more well-oiled cog in the machine. The production design in that movie is freaking visionary―honestly, I defy you to find a major-studio animated film from the past 30 years that's as bold and original in its designs as that one. They had a concept and committed to it 1,000 percent. And the score is just a fantastic seafaring adventure score. Minus the theremins for Martin Short's B.E.N. and the guitars for Jim, you could put this score on a straight-up Treasure Island movie and it would work like gangbusters. And holy cow, there are a lot of leitmotifs! Jim, Silver, the voyage, B.E.N., Flint and the pirates, Morph―even Captain Amelia gets a one-off melody. I could go on and on about this score, and I've already bought the expansion in the various parallel universes where it exists, but they couldn't make it back through the wormhole with me. What holds me back from picking Dinosaur is how un-melodic the predator music is, and how dominant it becomes later in the score. Likewise, the Atlantean sections of Atlantis have some lovely moments (@Thor, I agree: that solo soprano moment in "The Crystal Chamber" is one of the most gorgeous simple melodies anyone ever wrote, and the buildup to it is priceless). But there's a little too much atmospheric percussion and wailing vocals for my tastes in the midsection. The main theme of Dinosaur is the best of the lot, and Atlantis has some very high highs, but Treasure Planet will always have my heart. As a kid raised on the Disney Renaissance, I was contractually bound to purchase these soundtracks on release, and because of that, JNH deserves a lot of credit for getting me into film music. These might be the first all-instrumental non-Star Wars soundtracks I owned. @WampaRat or anyone else, can you post the bit from Ghost and the Darkness that sounds most like "The Courtship"? I read that comparison on Filmtracks decades ago and never found the smoking gun―or else I did find it and wasn't convinced by the smoke. But hearing it again here, I'm wondering.
  16. The more I think about it, the more I think this was a smart way to approach the sensitive subject of when and where to use Williams, particularly given that the easiest theme to justify using in Season 1 would have been the Force theme, which has been exceptionally well-worn in recent years. I'm just as glad we didn't get a "Binary Sunset" quote to accompany the floating mudhorn, for example. (And Giacchino emphasized the potential pitfalls of putting that theme in another composer's hands.) This Easter egg may have been specific and nerdy enough to open the door to other not-so-obvious winks, which would be far more enjoyable in this era of abundant Star Wars music than just slathering on familiar arrangements. I still have my issues with Goransson's approach, and I wish he honored the Williams idiom more often than he does—themes or not—but this method of weaving in the familiar is growing on me. Next stop: droid motif!
  17. I heard that MOTR quote instantly, too. What an odd choice. That’s not even close to being the Resistance. Those guys would maybe have kids in the Resistance. It’d be just as appropriate or more to reference the Rebel fanfare. Oh well. It was fun. Actually, I say do more of this. It’s a better tune than anything else in this series, and this kind of referencing would manifest musically what every other aspect of the series does: traffic in Star Wars iconography and tropes without really creating any cohesive new vision as yet.
  18. @The Big Man, can you elaborate on your adulation for those waveforms? I'm a waveform neophyte, and I'm curious what makes those indicative of particularly good...mixing? Mastering? I don't even know enough to know which term to use.
  19. Hahaha, thanks, @gkgyver and @Arpy. Good point. That makes me feel better
  20. Wow, as a Giacchino fan, I find that both crushingly disappointing and utterly perplexing. He doesn't sound like any of those scores to me, and I thought (think?!) of him as a champion of melodic tonality in the face of currents that favor the likes of Joker and Arrival.
  21. The "Across the Stars" single confirms visually what we already knew: that ASM is now the sole fixation of JW's brain. She has taken root like an extra lobe and is now sprouting poofy purple synapses of her own.
  22. I realize this thread is destined to become a cesspool of political sniping, but doggone it, someone must tell the story of JW's music usage, and I will fall on my sword! It's in the opening three minutes of the clip if you're ideologically inimical to watching the personages involved. Interesting to hear this piece for a small band ensemble! I assume this the Marine Band? It
  23. @Jay, what's the Contact connection you mentioned? I don't know that score well beyond the end credits suite, but it seems a million miles from The Witches stylistically.
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