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

[Incanus 5,714]

True. These people, Jeff Bond, Jeff Eldridge and Kendall et al. should pool resources and write a whole book on JW's career. Their work is wonderfully researched.

Cinderella Liberty

[JoeinAR 1,949]

In preparation of Star Trek Into Darkness I've been listening to Star Trek The Wrath of Khan. probably shouldn't do that because it's such a great and masterful score. So energetic and lively. So enthusiastic. I absolutely love that moment when the cadet says Sir the Main's are back online. It's so greatly underscored.

[crocodile 8,002]

Which is only fitting because I was listening to Search for Spock earlier today. I love, absolutely love the way he expands upon the Vulcan and Genesis material from the previous score. Not so much of a thrill ride as the Khan, but definitely a more spiritual (almost) and nuanced experience. A different listen, but great one as well.

Karol

[alicebrallice 134]

Kingdom of Heaven is to me inarguably one of HGW's finest achievements.

I absolutely agree

Not a bad film either, especially the Director's Cut. Too bad they had to mess around with the music selection in there.

I actually haven't seen the film. maybe I should check it out!

NP:

[crocodile 8,002]

If you decide to watch it, Alice, make sure it's the 194-minute director's cut, not the 144-minute theatrical version. They are literally miles apart in terms of quality. Strange, because it's almost the same film.

Karol

[alicebrallice 134]

just read about it... I'll definitely make sure it's the director's cut. thanks!

[Faleel 5,346]

Which is only fitting because I was listening to Search for Spock earlier today. I love, absolutely love the way he expands upon the Vulcan and Genesis material from the previous score. Not so much of a thrill ride as the Khan, but definitely a more spiritual (almost) and nuanced experience. A different listen, but great one as well.

Karol

And its much better mixed.

[publicist 4,643]

http://www.youtube.com/watch?v=oY8_TI2xxkE

http://www.youtube.com/watch?v=M0t_XAxOddc

STOKER - Clint Mansell

After a longer pause, Mansell delivers a interesting new score that floats on a delicate mixture of pronounced piano work, strings and some electronic backing. The morbid story inspired a dense and harmonically rich work that might be one of the best of 2013 yet, only that it takes some time to get used to it. One should if the deja vu of scores like OZ, IRON MAN & Co. isn't quite all you ever wanted from film music.

DAYS OF WINE AND ROSES - Henry Mancini

Mancini switching gears between his patented fluffy cocktail source tunes and dramatic variations on his famous title theme - mostly on somber strings. As the tune is strong, he is able to wring out some very poignant and long-lined cues (NO GUTS and I WANT COME HOME both run over 7 minutes). It is not necessarily essential to people only listening to tutti STAR TREK/WARS stuff, but if you love Mancini's tunes, it's a wonderful gift to see him deconstruct them in a dramatic way.

[Incanus 5,714]

Agora by Dario Marianelli: Once again shows the talent of this composer, who really fashions a beautiful and powerful portrait of the Ancient world, full of allusions to the melodic pathos of sword and sandal epics and Middle Eastern ethnic colorations but filtered through the sensibilities of Marianelli's singular voice. At the center of this score are two competing themes for Christianity and Philosophy, both emotionally searching pieces, that intertwine and come together in the finale and become an expression of poignant and tragic love in the most powerful way. The score's mood ranges from tender contemplation of Hypatia's teaching and experiments to thunderous choral and orchestral assaults as the story unfolds and the conflict between pagans and Christians breaks out. Marianelli's score works beautifully on its own but seeing the film only heightened the emotional pull of the music for me. Highly recommended.

[Brónach 1,302]

To think Amenábar originally wanted to make a science-fiction film. I wonder what he would have done.

He's a massive JW fan, by the way.

[Faleel 5,346]

Superman: The Movie - John Williams

There is no comparison.

[JoeinAR 1,949]

Which is only fitting because I was listening to Search for Spock earlier today. I love, absolutely love the way he expands upon the Vulcan and Genesis material from the previous score. Not so much of a thrill ride as the Khan, but definitely a more spiritual (almost) and nuanced experience. A different listen, but great one as well.

Karol

I still need to upload Search for Spock onto my ipod.

As I've said before Wrath of Khan and Search for Spock are perfect companion scores, the flow so well together.

[Incanus 5,714]

The Film and TV Music of Christopher Gunning: A wonderful sampler of what Mr. Gunning has to offer, which is beautiful and intelligently crafted orchestral music in spades. Although the selections from Agatha Christie's Poirot are a highlight the whole album is a strong and entertaining listening experience covering much of the composer's career. Another high recommendation.

[alicebrallice 134]

probably in my top 15 favorite scores of all time.

[gkgyver 1,645]

It is a very good score.

Where the hell did you get the Johnny bag??

[alicebrallice 134]

Where the hell did you get the Johnny bag??

H&M.

[gkgyver 1,645]

They sell John Williams bags?

[Faleel 5,346]

I think Alice made it, like she made the Rarities "fake" cover.

[Brónach 1,302]

She means she got the bag itself from H&M.

[gkgyver 1,645]

Well, that wasn't the point of my question. Sneaky.

Anyway, I'm listening to LOST Season 1 right now. Absolutely stunning achievement.

[alicebrallice 134]

They sell John Williams bags?

if only, eh?

She means she got the bag itself from H&M.

nope.

NP:

[Jonesy 55]

Soul Of The Ultimate Nation by Howard Shore

[crocodile 8,002]

Evil Dead

Independence Day

Warriors of Virtue

Karol

[Jay 37,351]

Thank you, spotify!!

SimCity by Chris Tilton

Great stuff to listen to at work. i stopped before the Night Versions started, which still makes a great presentation.

Escape From Tomorrow by Abel Korzeniowski

Super fun, I want this guy to make more stuff!

Die Hard 5 by Marco Beltrami

Alright, I admit it - this is kind of a good score. I quite enjoyed the new variations on Kamen's theme, and the action music is relentless fun. But man, it was hard to listen to at work - the piercing trumpets at full volume really cut through any other noise in a room.

[Faleel 5,346]

On Her Majesty's Secret Service - John Barry

Best Bond Score Period.

[Incanus 5,714]

Agatha Christie's Poirot by Christopher Gunning: Full review coming soon-ish in the Reviews section. But let's just say here that it is pretty wonderful music.

[alicebrallice 134]

NP:

[Koray Savas 2,251]

How is that? Never knew Debney did a Sims game.

[alicebrallice 134]

I'm into anything that's even a little bit medieval-influenced, so I listen to it quite a lot. nothing extraordinary, I usually just have it in the background while I'm doing other stuff, but that being said I think it's definitely a sweet and enjoyable little score. worth checking out, I'd say!

[gkgyver 1,645]

As soon as I point towards Alice's avatar, she changes it .... something fishy is going on!

[crocodile 8,002]

Frozen Planet

Moby Dick

And Sibelius 4th symphony (just came back from the concert).

Karol

[gkgyver 1,645]

Listening to Star Trek right now.

It really is a great score. I like the variations of the main theme a lot. It's a pity Giacchino didn't create a secondary main theme for Into Darkness. It has nothing to do with the quality of his Star Trek main theme, it's the simple fact that he uses this as his only main theme in the second film in a row. You can't even do that with Goldsmith's theme. It becomes tedious.

[Jay 37,351]

Yea, it was nice that Horner had a secondary main theme for Khan that he could turn into the main theme of Search.

[crocodile 8,002]

Which one are you talking about? The Spock/Kirk theme?

Karol

[Jay 37,351]

Basically the second half of the long main theme

[gkgyver 1,645]

Such a theme is exactly what STID needs.

Well, Giacchino's effort may be slightly dissapointing compared to 2009, but I don't see someone better for it.

[lonzoe 18]

[Naïve Old Fart 9,515]

On Her Majesty's Secret Service - John Barry

Best Bond Score Period.

VERY. WELL. SAID!!!

[Faleel 5,346]

Basically the second half of the long main theme

The Enterprise theme?

[crocodile 8,002]

The Adventures of Tin-Tin

War Horse

Lincoln

Fire Water Paper by Elliot Goldenthal

Karol

[Faleel 5,346]

Batman Forever - Goldenthal

Tomorrow Never Dies - Arnold

Independence Day - Arnold

Alien - Goldsmith

Aliens - Horner

Batman 1989 - Elfman

[crocodile 8,002]

Quite a nice lineup, mister.

Karol

[Faleel 5,346]

Wasn't overly impressed by the Alien scores, but it was my first listen. some of Aliens reminded me of this: http://www.youtube.com/watch?v=iSpoMyC6OMM

[crocodile 8,002]

None of the first three Alien scores are necessarily what you would consider to be an easy listen. But they're all fascinating and intelligent. But yeah, it takes time to get most out of them, especially that they're really difficult music to "enjoy". For me, the landing cue from Goldsmith's score might be one of the very best things he's ever written. It's as good as s-f music gets.

http://www.youtube.com/watch?v=rM0koGWbx6Q

Karol

[Incanus 5,714]

Alien is indeed a fascinating score. It is beautiful how Goldsmith slowly peels away the wonderment of space and descends into this completely alien and strange soundscape that is unsettling and inventive and most of all scary. The music first draws you in and then proceeds to scare the living wits out of you. And despite the score not being easy on the ears, the whole musical world the composer builds is so compelling you can not but be impressed.

And the sequels do that to a certain degree, containing challenging writing but of course the novelty of the horror is diminished a bit and other elements take over, namely more violent and viscious action writing.

[publicist 4,643]

http://www.youtube.com/watch?v=XPhYZonFl2k

PAIN & GAIN - Steve Jablonsky

Largely electronic pop score with some entertaining pieces (see above). On the whole, there is much too much directionless droning and not enough musical content/development to even recommend it as a dubtape.

SIDE EFFECTS - Thomas Newman

Newman in safer havens again. After the not wholly agreeable slambang shenanigans of SKYFALL, here comes Newman doing what Newman does best in this genre, namely developing a distinctive percussive sound with several layers of interest running throughout. Lots of quiet and loud tinkling of bells and triangles and spherical guitars in minimal mode thrust forward with unease (befitting the Soderbergh thriller i suppose), though there are neither obvious themes nor obvious set pieces to hang onto, apart from a rising and somewhat curious fragment that is best heard in SALT WATER. So it's strictly for fans of Newman's more peculiar style, but as such, it's hard to resist.

[Matt C 452]

The Forbidden Kingdom - David Buckley

The Chinese instruments -- paired with simple but harmonic orchestral writing -- make this RC/MV score very enjoyable. It doesn't have that sheer power of Badelt's The Promise (partly due to the smaller orchestra), but in its own way it's more broadly appealing. The score is at its best when it's in its mystic dramatic mode, especially in "Her Destiny Was Written" and "The Seeker of the Prophecy"... and the final cue "As One Tale Ends" is a great finish to the album.

Fun stuff.

[publicist 4,643]

STAR TREK INTO DARKNESS - Michael Giacchino

A closer inspection of Giacchino's new score solidifies the general impression of it in the movie: like Abrams' movie, it has a certain flair for the BIG moments but is disappointingly shallow in connecting all the dots. Giacchino has proven that he's adept at solid orchestral writing so his dependence on very simple (and very tiring) rhythmic devices comes as a surprise for such a kinetic venture. The theme from 2009 is proudly paraded around without doing anything that it didn't do the last time, only Spock's theme gets some serious workout in a fight sequence and the new thematic material tends to be so mousy that your enjoyment largely depends on how you like the themes from the first film. Obvious deviations from the established orchestral formula are LONDON CALLING and KRONOS WARTET, one which satisfies itself with doing an uninspired Philip Glass impersonation, the other giving us a war cry similar to countless video games and last year's DARK KNIGHT RISES (it's symptomatic that the track titles are far more inspired than the actual music).

So while it's far from being a disgrace within current blockbuster parameters it seems to lack anything that rises above dutiful and a bit joyless handiwork.

[alicebrallice 134]

NP:

[KK 3,307]

@ Publicist, although I'll likely get burned alive for it, you've perfectly expressed my thoughts on the score. It's surprising (and perhaps a bit scary) how spot-on you articulated them.