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


Ollie

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I freaking love this score. And imo it’s the best of the entire franchise. Shows Marianelli’s versatility as a film composer. 

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This 2004 score is only available on one of Focks' combo sets, so I had to make my own cover for it in iTunes in 2 minutes. It's much too long, but whittled down to 44 minutes, it's one of her better efforts, IMO. Waltzes, melancholy and classicism aplenty, but also some darker moments reflecting the nazis.

 

On to:

 

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In honour of the late Kaczmarek.

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Goodwin's Spree de Corpse - how do you make a 55 year old film sound like today? Good composition. And this does. Young could have composed this in 2020.


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55 minutes ago, Knight of Ren said:

The Land Before Time

Beautiful score, I very much prefer the emotional bits to the mickey-mousing stuff, but even that is done with such great care and attention to detail that it's a delight to listen to!

 

Is the Mickey Mousing a thing in We're Back: A Dinosaur Story? I haven't heard that one before.

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1 hour ago, Knight of Ren said:

I feel the second it's a bit less interesting and tends to be a bit too reliant on themes from the first one, and it would work better with a strong new identity alongside the returning material, but is very enjoyable nonetheless.

When I want to listen to Zorro I listen to the first one. Also nothing new came to my attention in Legend of Zorro. And the first one nicely builds up from beginning to end. The second appears to me somehow like an a little unstructured elaboration on the old material that doesn't even try to bring something new. Seems a score Horner just did for the money or it was just done by his interns.

Also the movie is surely not very inspiring compared to the first one, it's an utter mess.

 

 

On 21/05/2024 at 6:33 PM, Thor said:

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In honour of the late Kaczmarek.

Listened to that on Tuesday, too. :) 

 

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Listened today to both discs of Vol.2 of this great two part anthology of Hisaishi's work. Unfortunately, not as much as I wished of his work is available around here. But these albums are really wonderful. This vol.2 rather focusses on his minimal non-film work. 

I love it.

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Are these worth getting for someone like me who usually tries to avoid compilations and would rather get the full albums, but isn't going to start importing stuff from Japan for insane prices?

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2 hours ago, Marian Schedenig said:

Are these worth getting for someone like me who usually tries to avoid compilations and would rather get the full albums, but isn't going to start importing stuff from Japan for insane prices?

Definitely. 

If you are not completely against any kind of highlights collections you should get them. They are available on Spotify as well.

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:music: Obsession by Bernard Herrmann. The original soundtrack album. I am currently reading Paul Hirsch's book on his career editing films and it felt only natural to put on Benny's work in the background. I like the Prague re-recording very much, and I also love Music Box expansion, but the original album programme was already quite masterful. Plus there is that magical glow to the church recording that adds an extra spark. Always a treat, this one.

 

Karol

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The Devil's Advocate by James Newton Howard

 

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I've been exploring some of JNH's older horror scores from the 90s. Tried A Perfect Murder and Stir of Echoes before, didn't care for any of them. This one is a little better, even if some cues are just his standard 90s suspense material with "worried pianos", synths, etc. But I did like when the tracks with dark malevolent choir. Never thought that horror was his strongest point but these tracks are really great.

 

Oh, the OST has some rather stupid Al Pacino monologues. Thankfully they're confined to their own tracks and don't invade the music. But I'd support an expansion if only to get rid of Pacino.

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Face/Off by John Powell

 

Face/Off Soundtrack

 

I freaking LOVED this movie as a teenager. Saw it back then and thought I was watching one of the greatest masterpieces in action cinema of all time. Then, when I started going through internet forums a few years later, I was very sad to know that most people didn't care for the movie. Sigh...

 

As for Powell's score... Well, a few days ago when I talked about JNH's The Prince of Tides, I mentioned about how it sounded like a young somewhat inexperienced composer trying to sound like a more established composer (on that case, John Barry) and didn't have the style he would be known for. Here it's the same thing, just replacing Barry with Hans Zimmer.

 

It has all the tropes from Zimmer's 90s action music, from the rock drums to the power anthems on brass that were clearly written on a synth and then translated for the real instrument. It's not bad if you enjoy The Rock, Crimson Tide, etc., but I really prefer the actual John Powell style, not a Zimmer immitation. I'm glad that Powell eventually was able to develop his own musical style, not tied to Zimmer.

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Gave this a spin after Kaczmarek's recent passing and forgot how lovely it is. Mostly piano, with just a handful of orchestral tracks. It might "only" be 20 years old, but it a solid reminder of how wonderful this kind of drama score can be. I had forgotten that he won an Oscar for it too. I don't remember it being as controversial as other years (it's no Brokeback Mountain...) but then again, it was up against Harry Potter and the Prisoner of Azkaban, Lemony Snicket's A Series of Unfortunate Events, The Passion of the Christ and The Village, each of which are probably top 10 scores from their respective composers! Still, I can't really begrudge this particular win and glad to revisit it.

 

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I don't remember Finding Neverland at all. Has it got a main theme?

On the other hand I listened to the strings-heavy Washington Square and I loved it..

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WASHINGTON SQUARE is a little too string-heavy for my taste. FINDING NEVERLAND is lovely, of course. Kaczmarek was always very good at solo piano stuff. My favourite Kaczmarek scores (and I've probably heard 75% of what is available) are LEONIE, UNFAITHFUL, GUERRA E PACE, FINDING NEVERLAND and BLISS. I want to sample/get QUO VADIS, but I haven't been able to find it.

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12 minutes ago, Thor said:

I want to sample/get QUO VADIS, but I haven't been able to find it.

Oh, I listened to that the other day.

It's quite good for a Kaczmarek score with some interesting choral stuff..

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Hopkins was never a great composer or anything (although he IS my second favourite actor of all time), but this one is quite good. Lovely, shimmering pastoral textures.

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He's written a few scores (mostly for his own films), and some concert works. He's okay talented, but not impressively. His waltz, which was performed by André Rieu a few years ago, is charming, but very simple. You can see and hear it on YouTube. I can also recommend his "Composer" album from a few years ago, released in collaboration with Classic FM, which includes a selection of his work.

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30 minutes ago, Thor said:

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Hopkins was never a great composer or anything (although he IS my second favourite actor of all time), but this one is quite good. Lovely, shimmering pastoral textures.

I have seen this film but hadn't realized he wrote the music too.

I only knew of that waltz..

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This was a film that really grabbed me during a festival in 2015, and the score is hypnotic. Partos explores in ambient terms, with added vocals by none other than Lisa Gerrard (if memory serves). Not for everyone, but I dig it.

 

On to...

 

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Gosh, so gobsmackingly beautiful. Sounds like Max Richter in his glory days. My review here.

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17 hours ago, Thor said:

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Hopkins was never a great composer or anything (although he IS my second favourite actor of all time), but this one is quite good. Lovely, shimmering pastoral textures.

Just listened to this too.

Yeah, I agree.

And I would dare to say that it's much better than some film composers working today!

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4 hours ago, filmmusic said:

And I would dare to say that it's much better than some film composers working today!


That’s a low bar. ;):lol: But I take your meaning. 

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49 minutes ago, bollemanneke said:

Dora and the lost city of gold. You know, Thor really has a point about albums being too long. Really.

I don't know about this score, but it depends on the composer and the score really.

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21 hours ago, Thor said:

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This was a film that really grabbed me during a festival in 2015, and the score is hypnotic. Partos explores in ambient terms, with added vocals by none other than Lisa Gerrard (if memory serves). Not for everyone, but I dig it.

 

On to...

 

ab67616d0000b2733db5f1564e053fb8746f0671

 

Gosh, so gobsmackingly beautiful. Sounds like Max Richter in his glory days. My review here.

Stop listening to so many scores!

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Amar is such a genius when it comes to ethnic colours. I just adore the duduk here (what I think is a duduk, anyway) and the mournful, haunting ambiance aided by occasional chanting vocals.

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The film is one of my guilty pleasures. I love ancient aliens and worldwide conspiracies (as fiction). Snow’s score is great, perfectly fits the story.

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Lately I started to listen to Federico Jusid.

Technically great score, but I have a problem with ostinato rhythms (it seems this romantic minimalism is a trend nowadays, like with Desplat), and when you finish the score, there isn't any theme/melody stuck in your mind..

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I thought SANTA EVITA was a great score. It came at a time I had lost a little bit of faith in Jusid. Yes, it's not on the level of his earlier efforts (like ISABEL), but there's enough of his earlier DNA in it to be a highlight that year. There's also the great TERESA inbetween (from 2015), which is superior to SANTA EVITA. Alas not commercially released yet, AFAIK. The "Journey to Teledo" track is like it came straight out of the 90s.

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9 minutes ago, Thor said:

There's also the great TERESA inbetween (from 2015), which is superior to SANTA EVITA.

Yes, I listened to this earlier in the day (I mean the promo tracks at his site), and it was much better!

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I keep looking into Bataller's other work - both past and present - to see if he has ever come up with something on this impressive level, but alas, nothing so far. Maybe some day.

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37 minutes ago, Thor said:

I keep looking into Bataller's other work

I haven't ever heard of this composer.

Has he written anything religious? ;)

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32 minutes ago, filmmusic said:

I haven't ever heard of this composer.

Has he written anything religious? ;)

 

Not that I'm aware of.

 

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Now that Daft Punk didn't do it in the end (damn those rumours!), Rebotini does a pretty decent job at capturing the sliterhing synth textures of Goblin and the like. My review here.

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Il Était une Forêt by Éric Neveux

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A guilty pleasure of mine. A score just same like its film trying to give the daily events in a big forest an adventurous flavour.

For a score about plants it could have been a little less synthetic at times and there are no melodies to remember, but it is beautiful and works great in context.

And for me it is a little more than these modern pure "harmony and texture only" scores, that I usually don't touch with oven tongs.

Don't know why. Maybe I just liked the film.

 

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Speaking of nostalgia, this film and score is very dear to me. Kempel was underused at the time, and we lost him much too soon. A spectacularly good score - both the orchestral and electronic bits - beautiful, mysterious and rollicking all at once. Irritatingly, I traded off the CD years ago. I regret it, as I do many of my trade-offs.

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On 23/5/2024 at 11:17 AM, JTN said:

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Probably my favorite JNH score. 


Excellent score. The last cue is a genuine goose-pimple tear-jerker. And I do not say that lightly.

 

 

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Gorgeous little score this. Breaks my heart every time.

 

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If you’re a fan of small intimate non-specific ‘African’ sounding scores, this is a winner. Lovely vocals.

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Your images don't show, Lee.

 

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It's more than just "GLADIATOR Lite", it's far more 'earthy', in a way. More acoustic, more intimate. But ballsy when it needs to. Dig this, one of Örvarsson's best.

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H20 - John Ottmann

 

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Listened to that again yesterday. Originally I bought it just for the orchestral version of the Halloween theme. But this is quite a good horror score with some nice thematic material and more than the usual hollow suspense stuff. Not that special at the time but meanwhile I can appreciate it better.

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39 minutes ago, Thor said:

Your images don't show, Lee.

The important one does. 

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I always wished I could get into Rota's Fellini scores, but alas I can't. And that's despite being an Elfman fan! However, a lot of Rota's non-Fellini work, I quite like.

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