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


Ollie

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I started with King of Kings (Rozsa)

Any idea what's the definite release of this score?

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I started with King of Kings (Rozsa)

Any idea what's the definite release of this score?

I would guess the Rozsa Treasury discs...

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I have both the Rhino and the Rozsa Treasury discs, I can't favor one over the other and they're not redundant at all

Alrighty. I'll add them to my future shopping list. :)

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Everyone was out so I turned on my sound system and listened to the first half of The Book Thief. Very nice, enjoyed what I heard. Been a while since I sampled new Williams.

Dat indelible sound and timbre of The Master at work... beautiful.

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I'm not very familiar with Japanese game music beyond the classic Mario/SSB stuff, but I've been listening to this a ton today.

My wife played this game incessantly when it came out. The tune at 1:25 has been stuck in my head as her theme since then.

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I hope you'll keep that promise!

Don't expect greatness from the show, though. It's heavily flawed (some episodes are utterly ridiculous!), but there is some fun to be found in some episodes (oh, and if you don't like the first few episodes, don't worry, it did improve as it went on. The first episodes (especially the first four) are not really indicative of the overall quality of the show).

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(oh, and if you don't like the first few episodes, don't worry, it did improve as it went on. The first episodes (especially the first four) are not really indicative of the overall quality of the show).

Kinda like Dollhouse, you gotta slog through the initial 5 1/2 mediocre episodes before it gets really good

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(oh, and if you don't like the first few episodes, don't worry, it did improve as it went on. The first episodes (especially the first four) are not really indicative of the overall quality of the show).

Kinda like Dollhouse, you gotta slog through the initial 5 1/2 mediocre episodes before it gets really good

I don't think you'll like the show as much as Dollhouse, though. :P

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Grand Piano by Victor Reyes

Karol - definitely buying the album when it comes out later this month

Really? Haven't heard it myself but a pianist friend described it as "hackery." He's one of those classical musicians though....

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It is hackery as the whole thing is a big gigantic homage to both classical world and Herrmann's Hangover Square. And other things like that.

Nothing wrong with that.

But then again, isn't all film music worthless according to those people?

Karol

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Forget it Jake, it's Chinatown.

Speaking of noir...


I'm listening to Sin City right now. Forgot almost about this album. It's such a great compilation of three musicians' voices within one sound palette. Each one of them is different: Rodriguez is ballsy but quite simplistic (just as the character of Hartigan), Greame Revell relies almost exclusively on synths to create a warped Marv-ish take on Robert's sound. And then there's John Debney, who creates a truly great 17-minute noir score in the best tradition, elevating the whole thing to even higher level. And then there's also Sensemaya as a cherry on top. One of the few collaborative scores that works perfectly well, both on dramatic level, as well as a coherent album.

Karol

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Flesh + Blood by Basil Poledouris: Yet another listen and I am loving this music more and more. The LLL release offers such vibrant sound ( I am guessing this release is identical to the previous Intrada one) and the music in film order (forms a very strong and entertaining musical arc) plus classy liner notes with a very interesting interview with the composer from the time of the film's and score's release in 1985. Poledouris' writing for the score has shades of Gregorian chant, Thomas Tallis and plain good old Rózsa style swagger and grandeur to it but the love themes form a tender heart of this score amidst the boisterous faux-Medieval atmosphere but there is definite Poledouris stamp to everything in the writing none the less. The subtle use of electronics adds suitably to the feel of the music yet it always stays respectfully an accompanying element and never overwhelms the orchestral timbres but rather like with John Williams' music enhances the existing colours in a great way. You can hear the composer's passion and enthusiasm for the film and story from every note.

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I may be misinterpreting your meaning, but I can't get behind the idea that electronics should remain "respectfully" in the background as accompaniment, always deferring to the acoustic colors. I'm of the Goldsmith mindset, that synths should be as integrated and independent a family as, say, the woodwinds.

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I may be misinterpreting your meaning, but I can't get behind the idea that electronics should remain "respectfully" in the background as accompaniment, always deferring to the acoustic colors. I'm of the Goldsmith mindset, that synths should be as integrated and independent a family as, say, the woodwinds.

I am more partial to the Williams tradition of enhancing existing colours but the 1980's synths are a bit removed from the magic of modern synth banks. In this case I would say too individual synth sound, removed from the orchestral feel, might have been distracting for Flesh + Blood. As great as Goldsmith's Lionheart is, set in Medieval times too, the synths are not its strong suit I feel. What I am saying is that choose your synths and when and where to use them carefully. But it is amazing how well they can work in quite peculiar or surprising contexts. E.g. I love the synths in Hoosiers where Goldsmith lays them over the orchestra so organically.

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That's what I assumed you meant rather than talking about synths and orchestra in general: that based on the period or genre of the picture, they should have an appropriate presence. I agree with that.

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It's a cross between this one and Promised Land. Some themes are present (two, actually), but the score is mostly about minimalism and perpetual motion. Not terribly original in Elfman's repertoire, but has some really cool bits here and there that are new to him. 60 minutes might be slightly too much for this material, but I think you'll like it.

Karol

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It reminded me of Promised Land mostly because of marimbas.

I also like Drones track, where Elfman uses chamber string ensemble and a Glass-like organ.

Karol

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But Jason,... I might be crazy (again!), but didn't you say previously that was your favourite Elfman score of 2012?

Karol

Nope

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