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What Is The Last Score You Listened To? (older scores)


Ollie

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2 hours ago, publicist said:

Yeah, i like this suite very much. 

 

Wait - since when did you admit to liking this score? Maybe I've misremembered (it happens), but I don't recall you being much of a MoS music perpetrator. 

 

2 hours ago, publicist said:

The action material was the pits but the melodic stuff both for Krypton and the bass pedal one when he's on earth are very catchy. 

 

2 hours ago, crocodile said:

His extended demo track from the second disc is a nice one too. Almost feels like a self-contained 28-minute album. It's actually worth it to buy DE just for this one thing:

 

 

Now this is Zimmer on a good day.

 

Karol

 

2 hours ago, publicist said:

Yeah, i like this suite very much. 

 

2 hours ago, Nic Cage Fugue said:

I really like the piano statement of the main theme starting around 9:30.

 

2 hours ago, TheWhiteRider said:

The drum circle action stuff has grown on me over the years too.  There's a visceral, headbanging appeal.

 

2 hours ago, crocodile said:

I also like the more rural Black Hawk Down-like statement in this track:

 

 

 

Karol

 

2 hours ago, Brónach said:

 

I like the intersection between that and the theme in the ending cue. It's cool.

 

 

Okay where the fuck am I?

 

Guys... youre scaring me. 

 

 

 

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Live binaural ASMR recordings of Disneyland including Captain EO (James Horner) and Soarin' Over California (Jerry Goldsmith). I realized that all the usual suspects showed up at today's listening party one way or another. But someone was missing...

 

:music: Batman (1989) OST - Prince

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2 minutes ago, Nick Tatopoulos's Beret said:

Live binaural ASMR recordings of Disneyland including Captain EO (James Horner) and Soarin' Over California (Jerry Goldsmith). I realized that all the usual suspects showed up at today's listening party one way or another. But someone was missing...

 

:music: Batman (1989) OST - Prince

 

Is this more to your liking, TheGreatEye?

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7 hours ago, Lonnegan said:

Wait - since when did you admit to liking this score? Maybe I've misremembered (it happens), but I don't recall you being much of a MoS music perpetrator. 

 

I even wrote a fair review of it in this very thread years before. Ignorant pig.

 

 

Beyond Borders - James Horner

 

From a short period (after 'Beautiful Mind', till 'Apocalypto') where Horner often abandoned his wholesome musical formula - with mixed success. The movie looks dreadful: Angelina Jolie posing in front of photogenic Third World locations, the milk of human kindness dropping from her then-massive mammaries while rescuing black babies. Later she became a real UN diplomat. Good for her. 

 

Ethnic backgrounds always were a playground for Horner, so it's no surprise that all the usual suspects (flutes, percussion, female chanting) are lined up here. The main theme is a harmonically off the charts hymn that remains a bit vague, which probably was the intention: it's 'world' music in the best sense. The other dominating idea is a sorrowful slavic tune which is clearly tied to the Chechnya portion of the story.

 

What makes the score so unusual in Horner's oeuvre is that it hardly ever motions into his painterly storytelling mode but remains sketchy throughout. The upfront electronic elements are often surprisingly abrasive ('Cambodia III') which is a clear departure from Horner's vanilla 'Titanic' stuff (often joined by vicious prepared piano). 2 minutes into 'Chechnya I' you're in for what sounds like a DJ sample - this is not James Horner-land! (there is sadly not much replay value in these cues, as they lack form)

 

The final track is a great resume with a simple but affecting reading of the themes (the piano line is dripping with regret) and while it's hardly great music Horner should be commended for trying out new things.

 

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Kubo and the Two Strings by Dario Marianelli

 

A reminder that interesting music is still being written in the blockbuster medium. Marianelli's latest effort doesn't really stray too far from his usual vices, but it's refreshing nonetheless to just hear a modern action/fantasy score that strives more for retaining the composer's individualistic voice over aping whatever is hot right now. You normally don't think of Marianelli when it comes to action scoring, but there is some truly fine stuff here to counter that thought. Cues like "Meet the Sisters!" show how he's refined his action writing since Brothers Grimm, and how Marianelli could easily adapt to the needs of the modern blockbuster action sound while preserving his own voice. Add to that his usual thematic subtlety, delicious harmonic progressions and nuanced lyricism , and you have one of the finer scores of the year. Or at least it's one of the few I've been returning to (a rarity these days).

 

Scores like this make me wonder what we missed out on with Pan :( 

 

 

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I was listening to bits and bobs from the following Marco Beltrami scores: The Homesman, 3:10 to Yuma, Knowing, Hellboy, Gods of Egypt and Soul Surfer. In all honesty. these are the only six albums of his album that you'll ever need.

 

Now :music: Stranger Things by Kyle Dixon and Michael Stein

 

Karol

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3 minutes ago, crocodile said:

I was listening to bits and bobs from the following Marco Beltrami scores: The Homesman, 3:10 to Yuma, Knowing, Hellboy, Gods of Egypt and Soul Surfer. In all honesty. these are the only six albums of his album that you'll ever need.

 

No. You could add Snowpiercer and The Seventh Son (that one is less essential, but still).

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3 hours ago, crocodile said:

It's better than The BFG. Is it a great masterpiece? Probably not.

 

There you go @BloodBoal

 

Karol

 

Certainly no masterpiece. But I definitely enjoy it more than The BFG. It's not groundbreaking for Marianelli in any sense, but I appreciate its individualistic character. As such, it stands above most of your typical 2016 scores.

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Isn't it funny when you're halfway through a year and John Williams' score is nowhere to be found in your top 10 so far? Or at least struggling to stay there? Never expected this to happen...

 

Karol

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Yeah, I had a couple of years like that. But not a year in which I enjoy the works of Cliff Martinez, Michael Giacchino, Marco Beltrami, Clint Mansell or John Ottman more than his score. It's truly shocking.

 

Again, there is nothing really wrong with The BFG. Technically, it stands tall above all of them. But emotionally there's just nothing there.

 

Karol

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No, I get the point. But I also get his point.

 

You didn't list those as your favourites in the 1990's. I can see why, they are not exactly the most "striking" Williams scores or albums. And there were more engaging things around back then.

 

But it's also true these scores are better than The BFG. Much better.

 

Karol

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Star Trek: Deep Space Nine Collection

 

Batman Returns complete score while drinking a Crystal Pepsi

 

:music: Batman (1989) OST - Prince

 

It's a damn shame about Prince, but at least we got Crystal Pepsi back.

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Pete's Dragon - The score by a Daniel Hart is not exactly challenging but in its broad celtic strokes and a certain warm cordiality it's more listenable than many other recent scores for Di$ney and children's fare.

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10 hours ago, crocodile said:

Yeah, I had a couple of years like that. But not a year in which I enjoy the works of Cliff Martinez, Michael Giacchino, Marco Beltrami, Clint Mansell or John Ottman more than his score. It's truly shocking.

 

Heartbreaking. 

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Total Recall by Jerry Goldsmith

 

Hellboy by Marco Beltrami

 

Omen III The Final Conflict by Jerry Goldsmith

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7 hours ago, publicist said:

Pete's Dragon - The score by a Daniel Hart is not exactly challenging but in its broad celtic strokes and a certain warm cordiality it's more listenable than many other recent scores for Di$ney and children's fare.

 

Too bad Howard Shore left the project

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On 8 August 2016 at 5:08 AM, Koray Savas said:

Shore's The Departed springs to mind, though I wouldn't really call it sentimental. 

 

It lacks the edge of The Untouchables. That multi-octave cluster when Costner throws the hood off the rooftop--so thick you couldn't even run a piano wire through it! I've tried. 

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:music: Avengers: Age of Ultron by Danny Elfman. Even 16 months after the release, I have yet to get tired of this theme. I love how malleable it is. It manages to simultaneously serve the modern-oriented Marvel ostinatio-based action sound as well as recall the old high sea swashbuckling era of filmmaking. The main phrase is really catchy in both loud brassy statements and more character-oriented moments. And I love how it incorporates the four note motif from Silvestri's longer theme and makes it dance around Elfman's theme. They can appear separately, or in counterpoint to each other, or there is even when Elfman starts with his theme but completes a phrase with Silvestri's motif. Now that is how you treat melodies in your scores and make a clever homage without being slavish to it. This is how you do a relevant sequel.

 

Karol

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Star Trek: Nemesis by Jerry Goldsmith: I still think Goldsmith served this ongoing musical adventure better than anyone else in the esteemed line-up of composers for the film series and even this, the swansong of the Next Gen films and scores, is filled with the same spirit even if there is a darker hue to much of it. This does not preclude intelligently constructed musical drama and thrilling action from taking place though, quite the contrary. While I didn't think so highly of this score when it came out, I have really learned to appreciate it in the recent years.

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Alice Through The Looking Glass (Elfman)

Judge Dredd (Silvestri)

The Rocketeer (Horner)

Batman Returns (Elfman)

Return of the Jedi (Williams) -- Gerhardt album and some bits from Anthology

 

:music: X-Men: The Last Stand (Powell)

 

Karol

 

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