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Mr. Breathmask

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I watched this for the first time the other night and while I didn't love the movie by any stretch I also didn't hate it. Thought it had an interesting visual look that I did appreciate even though at the same time it featured the least threatening Batman I've ever witnessed. What truly surprised me is how much I was taken in by the score. I don't normally enjoy Giacchino scores. I have enjoyed some but I probably don't enjoy more than I do. For whatever reason I liked it so much that I bought the score the very next day. I've listened to it twice already. Strange choice for me. 

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It was nominated for an IFMCA award, so that's my entry point. Then it's fun to hear JNH in a comedic style.

 

For me that's the kind of score that leaded him to score Fantastic Beasts 6 years later!

 

What else? :D

 

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On 28/01/2023 at 10:31 PM, Naïve Old Fart said:

That's not bad. It's not as good as ELEMENTAL (easily TFF's masterpiece), but it's not bad.

@Clockwork Angel, have you heard the Roland Orzabal solo record TOMCATS SCREAMING OUTSIDE?

The Seeds of Love is their masterpiece.

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It's just a bit of fun, @GerateWohl :)

 

 

 

 

5 hours ago, Jurassic Shark said:

Currently sampling this score, and it strikes me as a nice mood score to have in the background while doing other things, for example cleaning the toilet.

What score? What score are you listening to?!

episode 2 GIF by Star Wars

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I cut off The Batman after a half hour.  I thought it was bad and the score was bad.

 

Full disclosure: I also didn't enjoy the first Reeves Apes movie (or the score) so I wasn't exactly in the demo for this

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Fun fact: I have only really heard the The Batman score in the context of the Little Caesars ads.

20 hours ago, Marian Schedenig said:

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I had Escape already, but until today, that was my only Journey album.

Good lineup, Daydream from Evolution is one of my favorites, I would suggest picking up "Trial By Fire" and "Dream, After Dream" their score album for a Japanese film, as well.
 

Spoiler


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data:image/gif;base64,R0lGODlhAQABAPABAP///wAAACH5BAEKAAAALAAAAAABAAEAAAICRAEAOw==


 

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I'm trying to re-assess James Newton Howard.  I sort of dismissed him as The Generic Cinema Sound of the 90's.  I'm still not sure where I stand with him, even with his most popular and safe-buy scores.  But the man has been prolific, and there must be a reason for that.  I sometimes wonder how history will remember him compared to, say, Alan Silvestri.  

 

But I enjoyed this on Spotify, so I'm chancing the 3 disc expansion.  My fear is it may be too much of a good (?) thing.  

 

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9 hours ago, Andy said:

I sometimes wonder how history will remember him compared to, say, Alan Silvestri.  

That's a good question. For both I am fine with my top 5 scores and don't need anything else.

 

If you asked me, which of these scores I would prefer to hear in the concert hall I would probably chose JNH's.

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9 hours ago, Andy said:

 I sometimes wonder how history will remember him compared to, say, Alan Silvestri.

I guess that he'll be thought of a bit like Dimitri Tiompkin: not bad, but not one of the all-time greats.

Personally, I think that Alan Silvestri will be thought of in much the same way.

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13 hours ago, Andy said:

I'm trying to re-assess James Newton Howard.  I sort of dismissed him as The Generic Cinema Sound of the 90's.  I'm still not sure where I stand with him, even with his most popular and safe-buy scores.  But the man has been prolific, and there must be a reason for that.

 

The thing with JNH is, he usually supports the film very well, and he's clearly a very capable composer, but more often than not he seems to end up writing a few very good cues "musically" and then just creating the rest of the score from a pure point of view of doing what the film needs without any particular musical aspirations. The result are scores that tend to have a very fine suite (or opening or credits track), but where those bits actually appear in the score they're one minute highlights that come out of nowhere and are cut short by a sudden transition to far less interesting "background music" (in the sense of music that really shoves itself in the background).

 

Of course, post 2000 and given how films are currently produced and what the demands of score composers are, you can hardly blame him (or anyone else) for that. Although I do think he was prone to that already earlier in his career.

 

But there are at least a few standouts that really hold up and flow well throughout, like The Lady in the Water and King Kong (or at least most of its album).

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DG just released the third single from the 2022 live recordings of John Williams in Vienna, well, I purchased them on FLAC, as it appears this is the only way they'll will be released!

 

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4 hours ago, Naïve Old Fart said:

I guess that he'll be thought of a bit like Dimitri Tiompkin: not bad, but not one of the all-time greats.

Personally, I think that Alan Silvestri will be thought of in much the same way.

For me, I guess it feels like Tiomkin hasn't aged as well as some of his contemporaries and he's certainly not one of my favourite golden age composers. For Alan Silvestri, my main issue is that he kinda hit a peak and has more or less plateaued since then. Unlike other composers who continued to grow and develop their sound (especially contemporaries like Danny Elfman, for example), Silvestri's scores for at least a decade just sound like Silvestri-bot, enjoyable, but nothing really new and all a bit samey at times. I still enjoy them for the most part, but it's all pretty predictable.

 

As for JNH, as an action composer, he was always the "not as good as Jerry" of the 90s for me, but mostly he's one of those 1 in 3 type composers where every 2 or 3 scores are really good but with some pretty uninspiring/dreary ones in between. Hans has a similar hit rate for me. JNH definitely always feels much more of a workmanlike composer than one who is ever truly inspired.

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On 17/01/2023 at 11:48 AM, Jay said:

Ordered direct from LLL:

 

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These arrived the other day

 

 

 

 

On 10/11/2022 at 2:58 PM, Jay said:

pre-ordered two physical CD OSTs from Amazon

 

  Weird: The Al Yankovic Story - Original Soundtrack - Album by "Weird Al"  Yankovic | Spotify

 

This arrived today

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14 hours ago, Naïve Old Fart said:

Great stuff @JTWfan77.

GORILLAS IN THE MIST doesn't quite reach the heights of THE MOSQUITO COAST, or WITNESS, but it's still damn good.

 

@Naïve Old Fart are Witness and Mosquito Coast synth or orchestral or hybrid scores? I know there are synths in Gorillas but it's predominantly orchestral. I'm not a huge fan of Jarre's synth only scores.

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WITNESS is completely synth, but don't let that put you off. If you're not hooked by the end of "Main Title/Journey To Baltimore", you probably never will be.

I'm pretty sure that THE MOSQUITO COAST is, also pure synth.

There are orchestral performances of "Building The Barn", from WITNESS, but, somehow, they don't work.

If you don't like Jarre's synth work,  but you like his orchestral stuff, then this might be an "in".

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Yikes. I'm wondering why I bought Gorillas now. I gave it a listen today and it's 70% synthy dissonance. The end titles, which were fantastic on the Maurice Jarre at Abbey Road album, are thin-sounding and dull. I think I'll stick to theme compilations for this particular composer.

 

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WITNESS is excellent. I recently bought this after a few decades of having a poor tape dub.  Moody, Haunting and engaging. Multiple listenings will set you up. Another score which is also synthesizer based is GHOST with rapturous strings thrown in for a good measure. A distant cousin but more orchestral is ENEMY MINE.  

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