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


Ollie

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Bullshit. SKYFALL is NOT boring.

It's not what I wanted it to be. But it works very well in context, is mixed well and there's nothing I can really say against it. I just wished for someone to force Newman out of his comfort zone. He rarely writes in a more traditional vein. Hopefully, we'll get to hear him unleash an orchestra once more before everything is said and done (not necessarily with this series). Why? Because whenever he does, it's pure magic.

From his list: TDKR was a very bad score, Skyfall was so boring, The Avengers was forgettable, and I admittedly really need to listen to Cloud Atlas, Moonrise Kingdom and the aforementioned Life of Pi and ZD30

Pretty much "all" the Moonrise Kingdom is here.

Karol

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Don't forget Journey To The Mysterious Island!

Isn't that more of a pastiche score?

I don't know and I don't care. It's a great score.

I admittedly really need to listen to Cloud Atlas

It's quite a mix bag. There is a half that is truly good, then there's the other half that is downright unlistenable.

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Would be funny to tell Goldsmith that in person. "Your work, sir, feels like a firm handjob..."

I knew there was something Jeff Bond wasn't telling us.

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Journey of Natty Gann - James Horner

He really knows how to convey the wonder, optimism, and emotions of the main character. As a musical experience, it works just as well with the film as it does without it. And dammit, the one-two punch of "Farewell" and "Reunion - End Title" still leave me teary-eyed. And you have to give Simon Rhodes credit for mixing the score so well that it sounds like it was recorded yesterday. Amazing score and amazing job at Intrada.

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I love Batman Begins and The Dark Knight, the films I mean, but the scores are just there, they don't hurt or help the film, except sometimes when I think (when watching the films) that the film could be even better right here if better music was playing. TDKR was a bad film, a very big letdown of a concluding chapter to what had been a great franchise before then. None of the three scores offer anything I enjoy listening to on their own.

I tried several times to get into Skyfall, the score I mean. The film was great! But for the score, I listened to the OST twice, the FYC disc, and a fan edit combining the two and still just don't "get" this score. It's all just so boring! Admittedly, a big part of it for me could be that I can't help but compare it to Arnold's Bond scores, which I love!

Avengers, I didn't like the film so I haven't seen it again or listened to the score on it's own. I should give the OST a shot some day.

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I felt that TDKR was the one Batman score that was actually intrusive in film in many parts.

I found the Avengers OST rather average as well.

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There are definitely some Goldsmithian moments in there. Overcooked and less neat than he would have done it, but still.

Speaking of the old metalworker, I'm listening to Star Trek: Nemesis at the moment. It's amazing how this score has grown on me. From one of the least appealing Treks it has become one of my current favourites. Maybe because I generally I prefer moodier film music to the jolly fanfares, which this one delivers in spades. He also does some really cool things with Shinzon's theme, a character development that is quite atypical for this series.

Karol

It's workmanlike but always when i hear people whine how bad it is and then applauding Giacchino for his half-assed efforts i can't help but think that MG never even approaches the structural brilliance of a cue like REPAIRS. I had the misfortune of seeing the movie on tv some afternoon and what even middling JG was able to put behind those perfunctory scenes feels like the firm handjob grip of an old whore with 100 years of practice just knowing her stuff.

Nemesis was never one of Goldsmith's greatest scores. We never anticipated it being not only his final Star Trek work, but one of his final works altogether. We also never anticipated that not long after this, the great big 100-piece orchestra symphonic scores we'd all been taking for granted all those years would become less and less frequent. Now that we're in this dark age of film music, Nemesis proves to be a score way ahead of its time. We look back on it not only as the quality score it is, but with fucking lust and longing for those days. At least, I do anyway.

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Tracks like On Thin Ice and The End are very old school synthy, Vangelis like. Why Do We Fall? is a classic Zimmer "pump up" quasi-passacaglia. The Bane material will also get your blood flowing, but I find the atonal rhythmic stuff and ostinati and "ethnic" League of Shadows stuff (echoing Ra's' theme from BB) more interesting than the brooding bass lines associated with him. The Rise finale is a great coda to the series. I love just how far into electronica the score gets in its most intense moments. Some stuff sounds like it could be lifted directly from an EDM album.

And the movie was fantastic.

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What parts were intrusive?

Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura

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With the Dark Knight Rises it didn't really help that the music almost caused my ears to bleed because of the "no subtlety" rule Zimmer and Nolan seem to employ.

Memoirs of a Geisha by John Williams

Suite from Memoirs of a Geisha for Cello and Orchestra by John Williams

Amistad by John Williams

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What parts were intrusive?

Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura

I'm just sitting here headbanging to your post.

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What parts were intrusive?

Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura

I'm just sitting here headbanging to your post.

In 5/4, I take it? ;)

Karol

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What parts were intrusive?

Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura Deshe Deshe Basura Basura

Say what?

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Tracks like Papa Song and Sloosha's Hollow really brings it down, for me.

In the context of the entire score, I think they serve as a great downtime. There's some really interesting sonic textures going on there, and when the music kicks it back up in "Sonmi - 451 Meets Chang," awesome sauce.

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RoboCop by Basil Poledouris

Got this today in the mail (the Intrada release). Delicious and witty. Love the use of 80's electronics, much more interesting than what he later did with Red October. Love the commercials music - hilarious. In my book, his second best after Conan.

Karol

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Gerhardt's Empire Strikes Back album is certainly one of the greatest audio recordings in the history of the human race. If our civilization ended and an alien race exploring the ruins of our world had to uncover only one thing to represent our history...I would be okay with it being the Gerhardt Empire Strikes Back album.

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Overall, I'm not a huge fan of the score, but I love this track. Most for 21:34 (that's my headbangin bit), though I also like the Goldsmithian bit from 8:15 onwards.

Yeah big fan of that first passage, again more for the shimmering ostinati than the bass line. Interesting to hear this, what I assume are the live sessions, before anything is overlayed onto them.

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Overall, I'm not a huge fan of the score, but I love this track. Most for 21:34 (that's my headbangin bit), though I also like the Goldsmithian bit from 8:15 onwards.

Yeah big fan of that first passage, again more for the shimmering ostinati than the bass line. Interesting to hear this, what I assume are the live sessions, before anything is overlayed onto them.

I also love the synth toms on the 4th beat of every other bar. I literally can't help but swing my torso back when they hit.

FWIW, the film version of the cue is quite different. More subdued.

https://www.youtube.com/watch?v=a_KNUBkd0GY

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Nice, that guy has a lot of non-album stuff that I'll have to give a listen to. It's gonna be a pain when I feel compelled to track all of that down for Interstellar....

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Nice, that guy has a lot of non-album stuff that I'll have to give a listen to. It's gonna be a pain when I feel compelled to track all of that down for Interstellar....

Yeah, there are a lot of sessions out there.

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Gerhardt's Empire Strikes Back album is certainly one of the greatest audio recordings in the history of the human race. If our civilization ended and an alien race exploring the ruins of our world had to uncover only one thing to represent our history...I would be okay with it being the Gerhardt Empire Strikes Back album.

Are you talking specifically about the recording quality, or about the entire album as a whole?

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A terrific CD although I am not too keen on the performance of the brass section on all tracks.

Young Sherlock Holmes by Bruce Broughton

Lair by John Debney

Nerakhoon - The Betrayal by Howard Shore: Strangely enough I can hear shades of what is to come in e.g. in The Hobbit scores in this one. Howard Shore through and through in musical language and motifs but the prominent solo cello and a smaller chamber ensemble with choice choir sections give it an interesting twist. At times exquisitely beautiful and lyrical at times classically brooding Shore it will certainly please his fans, both of Middle Earth and of his darker psychologically infused scores.

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Not Gerhardt's finest, but that doesn't necessarily constitute a failure.

Karol

Oh certainly not. On the whole still a great CD. And a nice reimagining of the score in a suite form, something I wish Williams would do more often these days since he himself hasn't got the time to do any compilations anymore. ;)

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He still arranges quite a lot of suites.

Conan The Barbarian for me today.

Karol

He arranges them but not many of them see a studio recording these days.

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spent about 6 hours listening to Horner yesterday on the drive to and from Home and the Rock.

Avatar, The Amazing Spiderman, Wrath of Khan, Search for Spock, and pieces of other scores.

Can't wait to hear how badly Zimmer will fail again following a far superior composer.

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Gerhardt's Empire Strikes Back album is certainly one of the greatest audio recordings in the history of the human race. If our civilization ended and an alien race exploring the ruins of our world had to uncover only one thing to represent our history...I would be okay with it being the Gerhardt Empire Strikes Back album.

Are you talking specifically about the recording quality, or about the entire album as a whole?

Everything. As far as I'm concerned, a perfect Star Wars album.

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