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

[Ollie 1,059]

Yes, I miss that Horner.

[Faleel 5,359]

The Lost World - John Williams (chronological "Better than CD quality" 320kbps version)

its got nice percussion, very epic passages in Dino in San Diego

[Datameister 2,044]

Better than CD quality?

[Faleel 5,359]

Better than CD quality?

thats why I posted it in quotes,

I used a setting on soundbooth that ggctuk "discovered" wich he called better than CD quality for the whole thing than cut the whole thing into cues

its in 320Kbps because my mp3 player does not recognize tags for FLAC

[fommes 153]

"Better than CD quality" 320kbps version

Nice one.

[Wojo 2,453]

Well, a live Mexican street corner mariachi band is better than CD quality, but I'll be damned if I'm getting the whole band into my pocket when I want to go somewhere. I'll save that kinky shit for someone else.

[Incanus 5,716]

Medal of Honor Rising Sun &

Medal of Honor European Assault by Christopher Lennertz: Fine successor scores to Giacchino's originals. Lennertz is truly a talented composer and orchestrator whose music brims with emotion, drama and good old fashioned orchestral spirit. While this music does not rise so often to great those thematic heights as Giacchino' scores it is still truly impressive in its variety and power. Very direct, very classical in the sense that Lennertz knows how to use allusions to the classic film music and Hollywood tropes (some would call clichés) with the only downside being that after 2½ hours of listening you can be a bit burned out for frenetic action music and shorter tragic interludes these scores offer in abundance. Perhaps it would be better to enjoy in smaller doses.

[crocodile 8,019]

How did you listen to these? Did you make your own playlist? I was trying to find any information as to how arrange the tracks, but couldn't find anything. So far.

Predators by John Debney

I didn't give the album a fair chance before. I can't imagine myself revisiting it very often, but has to do with the genre and the type of music it requires. It is not a smooth and pleasant listening experience by any chance. The 70-minute album doesn't help. And yet, at the same time, it is very well crafted. Lots of details to discover. The bottom line is we finally got a worthy successor to the Silvestri scores.

Karol

[Incanus 5,716]

How did you listen to these? Did you make your own playlist? I was trying to find any information as to how arrange the tracks, but couldn't find anything. So far.

As no actual "chronological" cue order has surfaced I just arranged the bonus tracks between the tracks of the two OSTs. So I had no specific listening sequence in mind but the music formed a nice listening experience none the less.

[Kevin 22]

High Road to China by John Barry

Mostly indistinguishable with other dramatic Barry scores around that era, but still good.

[Pieter Boelen 740]

As no actual "chronological" cue order has surfaced I just arranged the bonus tracks between the tracks of the two OSTs. So I had no specific listening sequence in mind but the music formed a nice listening experience none the less.

Do you have any suggestions?

[Matt C 455]

Finally put in Crysis 2. Hey, I have to get in music junk food once in a while.

Aside from the Zimmer and Balfe cues (they just phone it in here), the rest of the 2-CD set is very entertaining. I really take a shine to "Chase" and "Sneak and Shoot" myself. But the small orchestra hurts the music -- I guess most of the money went to paying Zimmer and Balfe and the rest went to the cheapest remote orchestra sessions they could find.

Still, it's mindless fun. Anyone who loves Zimmer or RC composers should buy it post-haste. Much more entertaining than Transformers or Clash of the Titans IMO.

[Koray Savas 2,251]

Zimmer and Balfe came in after everything else was pretty much done and gave the game an identifiable theme. The small orchestra was a choice, if I remember correctly. Read the liner notes.

[Richard Penna 3,695]

The Music of Lance Burton

After months and months of searching and e-mailing, I finally got a copy of this. It's the score specially written for Lance Burton's former magic show in Vegas. The late 90s synth gives the recording a bit of a brash sound at times but it's fun to listen to, and even has a recurring theme

[Incanus 5,716]

Creation by Christopher Young: A truly stunning dramatic score from the composer best known for his horror scores.

Far and Away by John Williams: A lovely blend of Irish styled folk melodies and Americana.

Star Wars Episode III Revenge of the Sith by John Williams: Despite some missed opporturnities of thematic development this score packs hell of an emotional punch.

[OneBuckFilms 324]

Close Encounters of the Third Kind

Only the first few tracks on the Special Edition so far, but after seeing the movie recently for the first time in a while, I thought it was about time to break it out.

An awesome score, with a real sense of mystery, playing up the fear and confusion, then breaking out the beauty in the final moments as the aliens are revealed to be friendly.

[tannhauser 101]

Jurassic Park. No words are required.

[Faleel 5,359]

Back to the Future III. No Words Are Required here either

[Richard Penna 3,695]

Source Code by Chris Bacon

I was in a minor music lull when I first heard this, but on reflection it's a really good score. A nice background listen with moments that stick out here and there.

[Incanus 5,716]

Priest by Christopher Young: Young shows what he can do with the modern sensiblities and ostinati driven figures so popular these days. Here he mixes gothic with epic. The music is full of inventive orchestral and choral effects, relentless action and beautiful instrumental and vocal solos for the quieter moments. One particular stunner is the track called Faith, Work, Security with its awesome dramatic crescendo. The finale A World Without End brings the score to a wonderfully triumphant close with the orchestra, chorus and soloist Lisa Gerrard all contributing in a beautiful way. This score was a delightful surprise. Impressive, most impressive.

Mops the floor with the likes of Doyle's Thor any day.

[Brónach 1,302]

I'm listening to Priest too. Wow.

[Jacob 0]

Star Wars Episode III Revenge of the Sith by John Williams: Despite some missed opporturnities of thematic development this score packs hell of an emotional punch.

A top favorite of mine, as well as my personal springboard into the world of film music in the summer of '05.

[Matt C 455]

I'm listening to Priest too. Wow.

Same here. I haven't been this wowed since Young did Spider-Man 3.

I really wished Madison Gate Records did a limited run of pressed CDs, rather than burned CD-Rs.

[crocodile 8,019]

Black Swan and Moon

Now this is Clint Mansell I like!

Karol

[#SnowyVernalSpringsEternal 10,265]

He's A Pirate.

[Koray Savas 2,251]

Black Swan and Moon

Now this is Clint Mansell I like!

Karol

Listen to The Fountain. Now.

[indy4 155]

Source Code by Chris Bacon

I was in a minor music lull when I first heard this, but on reflection it's a really good score. A nice background listen with moments that stick out here and there.

I love the main titles, but I don't remember any other memorable music during the film. I bought "Main Titles" on iTunes though, it's really good.

[Koray Savas 2,251]

SOCOM 4: U.S. NAVY SEALs by Bear McCreary

Brilliant. "The Pursuit Of Vengenace" is the greatest action cue I've heard in a loooong time. It kicks so much ass it's not even funny.

This is the OST version of the cue, which is 3 minutes shorter than LLL's complete release:

[indy4 155]

John Goldfarb Please Come Home:

It's not great, but there are some fun tracks. I imagine it, like many of his early works, will be more of an interesting way to chart Williams' progress over the years than anything else.

[Incanus 5,716]

John Goldfarb Please Come Home:

It's not great, but there are some fun tracks. I imagine it, like many of his early works, will be more of an interesting way to chart Williams' progress over the years than anything else.

Yeah but to the score's credit it is more cohesive than some of Williams comedy work from that period like The Guide to A Married Man. Still the comedies of the day in general (heck even later comedies) seemed to favour this all-but-the-kitchen-sink approach where the music is doing really silly things and going to all directions.

[indy4 155]

Perhaps it's more cohesive, but on an individual cue basis I think I prefer Guide for a Married Man.

[avalanche 0]

Listening to clips of Dario Marianelli's Jane Eyre on YouTube right now. What a great, subdued little score. Definitely moves to the top of the want list.

[Ollie 1,059]

Until September - Barry.

Lovely stuff.

[Incanus 5,716]

Saving Private Ryan by John Williams

Schindler's List by John Williams

The Cowboys by John Williams

[Kevin 22]

The Right Stuff by Bill Conti

Even through all of its temp track classical influences, this score still shines.

[herrmann 0]

The Right Stuff by Bill Conti

Even through all of its temp track classical influences, this score still shines.

The Omen, by J. Goldsmith

ah,ah,ah,ah!

and Indipendence Day boy David Arnold. A simple score with great music!

[crocodile 8,019]

Arsène Lupin by Debbie Wiseman

A really good, balanced score. Somewhere between Patrick Doyle and Elfman's Batman. Nothing groundbreaking, of course, but if you like a solid grand scoring with a touch of European flair (Pan's Labyrinth, Copernicus' Star, Brothers Grimm) then it shouldn't disappoint. Which is a norm of sorts lately.

Karol - who thinks cimbalom always adds an interesting colour to the orchestral palette.

[Matt C 455]

Arsène Lupin by Debbie Wiseman

A really good, balanced score. Somewhere between Patrick Doyle and Elfman's Batman. Nothing groundbreaking, of course, but if you like a solid grand scoring with a touch of European flair (Pan's Labyrinth, Copernicus' Star, Brothers Grimm) then it shouldn't disappoint. Which is a norm of sorts lately.

Karol - who thinks cimbalom always adds an interesting colour to the orchestral palette.

I love that score. One of Debbie Wiseman's best scores ever and a well-arranged score album to boot.

I've been listening to Desplat's A Prophet recently. Those who argue Desplat can't score dark, moody films will be silenced with this. It's more minimalistic and more texture-based (like a more intelligent Dark Knight score), but there's melody and emotion to spare. Some cues like "Le Ciel" and "Visions" open up Desplat's more traditional touches, but it's impressively dark and oppressive for the most part.

[crocodile 8,019]

Thor by Patrick Doyle

Accusing the composer of betraying his style is a bit harsh, mostly because he probably he had nothing to say on this matter. I didn't like the first sound clip, as most people, but the whole work is revealing both in film and on the album (which doesn't outstay its welcome at 72-minute running time). It is a modern, much more streamlined work than usual, true. And most people won't like that. The ever-present big drums are here, of course.

But there is a themeatic content (three or four themes) and very well developed throughout. It is well thought-out and has heart. I first heard the whole thing in the film and I could tell what the themes were and how they develop (which is not so common in the modern blockbusters). I mean the Thor theme in particular which is the most used of them all. And, as I said elsewhere the score actually improves the film a great deal.

The bottom line, as Clemmensen stated in his review, is: "Doyle has effectively given the Steve Jablonsky's and Ramin Djawadi's of the industry a Thor-sized middle finger, proving that veterans of the old guard of film music can beat the dime-a-dozen generation of software-reliant ghostwriters at their own game." And, for once, I agree wholeheartedly.

Karol - who hears less and less RC with each listen and more and more Doyle

[Matt C 455]

The Time Travelers's Wife - Mychael Danna

Such a beautiful, lovely score. Danna uses Thomas Newman-style quirky orchestrations to fit the time-travel and mysterious aspects of the film, while maintaining a wonderful warmth for the central romance. It's wonderful to see Danna tackling a romantic film with passion and restraint. The final three cues ("New Year's Eve", "No Tracks in the Snow" and "See You Again") really seal the deal here. Good movie too.

[Ollie 1,059]

The bottom line, as Clemmensen stated in his review, is: "Doyle has effectively given the Steve Jablonsky's and Ramin Djawadi's of the industry a Thor-sized middle finger, proving that veterans of the old guard of film music can beat the dime-a-dozen generation of software-reliant ghostwriters at their own game." And, for once, I agree wholeheartedly.

Karol - who hears less and less RC with each listen and more and more Doyle

I felt the same way when I first heard Silvestri's Van Helsing.

[Incanus 5,716]

Lost Season 3 Soundtrack

Lost Season 4 Soundtrack

Lost Season 5 Soundtrack by Michael Giacchino

[Jay 37,373]

woah, me too

[Incanus 5,716]

woah, me too

I could go on all kinds of tangents on how uncanny such coincidence is since it is Lost we're talking about but nah. I'll leave that to Datameister.

Doing Jacob's Work

[Jay 37,373]

[QMM 4]

Tree of Life

It's a difficult listen for me. The track I liked most from the previews, Motherhood, continues to be my favorite track, no doubt because it's the most melodic.

[crocodile 8,019]

The bottom line, as Clemmensen stated in his review, is: "Doyle has effectively given the Steve Jablonsky's and Ramin Djawadi's of the industry a Thor-sized middle finger, proving that veterans of the old guard of film music can beat the dime-a-dozen generation of software-reliant ghostwriters at their own game." And, for once, I agree wholeheartedly.

Karol - who hears less and less RC with each listen and more and more Doyle

I felt the same way when I first heard Silvestri's Van Helsing.

Yes, but there is a major problem with Van Helsing: it is way too relentless. 30 seconds into the score and it's already as loud as its finale. But I love the last track very much. I wonder why?

Karol

[Ollie 1,059]

I don't mind listening to Helsing all the way thru.

Much like the Mummy Returns it's good. That's one of the reasons I wish Silvestri had scored Pirates, at the time he was composing great / good action scores. I think POTC would have inspired him to write something in the vein of The Mummy Returns and Van Helsing.

[Incanus 5,716]

Troy (Rejected Score) by Gabriel Yared: I just saw the film a few days ago and I have to say I would have gladly taken this epic material, as old fashioned as it was deemed by the test audiences, over Horner's 3 week hack job any day. Yared's music seems to capture the spirit of the Mythology and epic so well while providing truly rousing battle and action music and a wonderful theme for Achilles that harks back to the sound of the older epics of Rózsa and his kind but still keeps the other foot firmly planted in modern sensibilities. The romantic material is quite memorable and suitably bitter sweet for the story again a small succesful throw back to the tradition of the yester year. I wish Yared could and would score more these kind of large films as he certainly has chops for it. Only thing disturbing the listening experience are the funeral songs of mourning women that do sound authentic to the tradition but are not emminently listenable, but those can easily be programmed out.

Outcast by Lenny Moore: Impressive game soundtrack, I think one of the first games to have music recorded by a symphony orchestra and choir (in this case the Moscow Symphony Orchestra and Choir who have been creating name for themselves as top notch film music re-recording orchestra for the projects of Marco Polo and Naxos film music series under the baton of William Stromberg). Accomplished writing here evokes the feel and style of the music of John Williams, Jerry Goldsmith, David Arnold and other Hollywood greats and paints vivid images in different moods and themes. Moore writes long pieces that feel very coherent and flow well describing different worlds and places in the game. Music ranges from wonder to militaristic action, the choir adding additional layer of awe and drama by chanting, singing and even shouting. Some ethnic instruments are used for Middle Eastern styled sections that add a nice touch to the music. Where did this composer disappear and why don't we have more music like this in the films these days?

[Koray Savas 2,251]

Kung Fu Panda 2 - Hans Zimmer and John Powell

Awesome stuff. Probably the best of the year so far.