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


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54 minutes ago, Alexcremers said:

I bought the CD of The Others for a few euro. I remember liking it so I should listen to it again.

 

 

1861_35_zpsuimygjlx.jpg

 

A few good tracks on this one too.

 

Alex

 

I love that one. A Certain Light is terrific

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The unresolved piano motif which is the focus of the entire score is a classy example of how to make a fairly minimal amount of music go a long way. Again, it's another deceptively simple idea and a relatively short melody at work; something which Michael Giacchino (who struggles with thematic development and seems stuck with short melodic phrases) could learn much from. 

 

That provocative synthy timpani though, it's beyond Gia I'm afraid. 

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45 minutes ago, crocodile said:

The Others is a solid score, especially in the film. The album features some more obligatory stingers and stuff like that so it might not be all that smooth listen. But it's core is quite tender and melodic. I would say quite an accomplished work, especially compared to many other titles like this. And the film is very good too.

 

Anyway...

 

:music: The Blue Max (Tadlow)

 

Karol

 

Will check it out then! Thanks Karol!

 

56 minutes ago, Alexcremers said:

I bought the CD of The Others for a few euro. I remember liking it so I should listen to it again.

 

 

1861_35_zpsuimygjlx.jpg

 

A few good tracks on this one too.

 

Alex

 

Lovely score, this one.

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Michael Giacchino - Zootopia

 

Meh - easily Giacchino's worst score.  I guess he wasn't too inspired by the film.  The first half of the OST is a lot of wacky and ethnic sounds, the second is a lot of dark brooding material (Locke's Theme from LOST makes an appearance).  Even the ending suite didn't save it for me.

 

Hopefully I'll like it more upon further listens >shrug<

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1 hour ago, Quintus said:

The Others probably has the best twist ending I've ever seen, it totally blew me away. And it didn't feel gimmicky. It holds up. 

Yeah, and for once the twist actually enriches the film and resonates with what its story is about. I liked that.

 

Karol

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Rey Meets BB-8 + The Rathtars = a reworking of The Stegosaurus from The Lost World.

 

What annoys me about Han and Leia is how the beginning is just a quote of ESB. To be perfectly honest, the Han/Leia love theme has never sounded right since ESB. I don't know what it is. It just feels out of place on the OST, along with Snoke. I just want a leaner faster-paced album.

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13 hours ago, Quintus said:

The unresolved piano motif which is the focus of the entire score is a classy example of how to make a fairly minimal amount of music go a long way. Again, it's another deceptively simple idea and a relatively short melody at work; something which Michael Giacchino (who struggles with thematic development and seems stuck with short melodic phrases) could learn much from. 

 

That provocative synthy timpani though, it's beyond Gia I'm afraid. 

*cough*LOST*cough*

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6 hours ago, E.T. and Elliot said:

Rey Meets BB-8 + The Rathtars = a reworking of The Stegosaurus from The Lost World.

 

What annoys me about Han and Leia is how the beginning is just a quote of ESB. To be perfectly honest, the Han/Leia love theme has never sounded right since ESB. I don't know what it is. It just feels out of place on the OST, along with Snoke. I just want a leaner faster-paced album.

I see you are adhering to Lucas's "faster, more intense" methodology.

 

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Tale of a Lake by Panu Aaltio

 

The Fury (OST album) by John Williams

 

Star Wars the Force Awakens (OST+FYC album edit) by John Williams

 

War of the Worlds by John Williams

 

How to Train Your Dragon 2 by John Powell

 

 

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6 hours ago, Stefancos said:

Nah, none of them are detrimental to the listening experience. They aren't highlight cues, but each have points of interest 

 

I killed most of the second half beginning with 'Maz's Counsel', not counting the concert cues and the finale. Cues generally seem to be rather short and there isn't really much going on development-wise in most of them. Editorially it's not one of Williams' most shining hours.

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5 minutes ago, publicist said:

 

I killed most of the second half beginning with 'Maz's Counsel', not counting the concert cues and the finale. Cues generally seem to be rather short and there isn't really much going on development-wise in most of them. Editorially it's not one of Williams' most shining hours.

And that is where you as a discerning listener come in.

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4 minutes ago, TheGreyPilgrim said:

Tintin, one of the most prosaic and draggy Williams scores and albums ever, over TFA?  Ye gods!

 

IYHO. Idiomatically TFA doesn't stray too far from it and there is a genuine sense of architecture to the Spielberg movie that TFA decidedly lacks: a lot of cues go from one place to another without offering much, construction-wise. And while TFA has much better themes and stand-alone cues, i am done with it in about 35 minutes (which still is a lot, but y'know, Star Wars and so on...).

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Jaws 2 and The Fury are both pretty darn good. I don't know what brittle means in this context but I would never call The Fury brittle by any means. It is a powerhouse of a score.

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