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What Is The Last Score You Listened To?

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9 hours ago, Naïve Old Fart said:

The C+C is definitely worth getting hold of.


By the way, I was checking out the C&C JAWS2 score on YouTube and there's something I don't quite understand.
Is the long OST version of Brody Misunderstood a combination of two cues? Or is the part from 1:22 in fact an alternate coda not present in the complete presentation?

 

 

EDIT: nevermind, I realized it’s a combination of Brody Misunderstood (film version) and Rescue Party!

 

 

 

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Don't, the music is much more evocative than the standard thriller setting deserves.

 

 

Part 2 of the 'Mandalorian'. We are crawling towards something resembling a narrative but it probably will need 10 episodes to harvest enough pieces to fill a proper album. Goransson's action music is rather simplistic - it resembles Zimmer, 'Angels and Demons', 160BPM in particular, here more tinny due to a lack of 'overproducing' - , some of the travelogue music featuring the Chapter 1 theme is nice but it's all not very substantial, often too scene-specific to create a musical flow. Oddly enough, that's probably the best we can expect for a non-WIlliams SW project these days.

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Parasite - Jung Jaeil

 

Surprised that I haven't seen this show up much on this forum yet. The film is fantastic, and the score a big part of why the tonal shifts are able to work so well. Jaeil is in full command of his music, love both the classical first half and the thriller/drama second. 

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Mission Impossible - Fallout by Lorne Balfe

 

Just listened to a complete edit that was circuling around. 

 

Balfe has been the most loyal and devoted Zimmer apprentice - and by that, I mean the one that followed his gospels more faithfully, instead of comitting the heresy of creating his own musical voice (like Powell, HGW and, hell, even JXL). This score sounds like a mix between The Dark Knight Rises, Inception and Mad Max: Fury Road, and him turning the classic Schifrin themes into RCP-style epic anthems is woefully misguided. It's rather funny to see Balfe posting enthusiatic pics of the big orchestra he used on his social media, when if fact the whole score sounds very overproduced, much to the way people seem to like these days.

 

Look, this guy clearly have (some) talent. I really like the Ethan's regret theme, it is sad, emotional and gives the movie almost an apocalyptic, fateful, vibe. However, the action music, with a few exceptions is uninspired, unoriginal, boring and tiresome to hear. 

 

Anyway, it's not the worst score ever made, it's probably not even the worse of the last year. It has some good ideas and great moments. But I would really like to see Balfe developing his own identity, instead of just copying and paste his mentor on everything he does.

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2 hours ago, Jules said:

Parasite - Jung Jaeil

 

Surprised that I haven't seen this show up much on this forum yet. The film is fantastic, and the score a big part of why the tonal shifts are able to work so well. Jaeil is in full command of his music, love both the classical first half and the thriller/drama second. 

The film was great.  The music for the 

Spoiler

flooding scene (starting out with the synth choir and moving on to the mournful string music)

reminded me a bit of Williams' approach to similar moments (in a good way).  

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More a collection of easy-to-digest library cues than a properly developed score, it's at least not as awful as Balfe's usual blockbuster offerings. Without much of a dramatic backbone to connect the dots and the rather unsophisticated writing on display it may be polished enough for a nice background listen, though given Desplat's footprints it's rather a shame how broad and workmanlike the artform has become. 

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A sleek, tranquil and often surprisingly melodic Africa score, vaguely recalling JNH's 'Dinosaur' and several Horners from the same cloth. The last third of 2019 isn't quite the lamefest the months before threatened.

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15 hours ago, publicist said:

 

More a collection of easy-to-digest library cues than a properly developed score, it's at least not as awful as Balfe's usual blockbuster offerings. Without much of a dramatic backbone to connect the dots and the rather unsophisticated writing on display it may be polished enough for a nice background listen, though given Desplat's footprints it's rather a shame how broad and workmanlike the artform has become. 

From what I understand, that's pretty much what it is, essentially a collection of demos.

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20 minutes ago, Fal J. M. Skywalker said:

From what I understand, that's pretty much what it is, essentially a collection of demos.

 

Yeah, that's probably why it's better than Balfe's usual underscore, relatively speaking.

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Snow White and the Huntsman

 

It has moments of great beauty and power, but still one of my least favorite adventure/fantasy scores by JNH.

 

With a more aggressive writing than, say, Maleficent or Fantastic Beasts, it's action music is too modern, too RCP-ish and too devoid of JNH's own personality to be interesting - the time he spent with Zimmer scoring those Batman movies wasn't good for him. The Beach Warriors cue is a major example: it has some great choir writing that is buried beneath BAAAAUMS and lots of percussion, both real and synth.

 

The best thing about this score, however, is the more tender, romantic music, with a beautiful theme for Snow White and some touching string writing on a few moments. His task was taking this very silly concept about a serious and dramatic Snow White movie (I burst into laughs whenever I think that there were a time on which Hollywood put millions of dollars on "dark and epic" versions of fairy tales), and he mostly succeeded.

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Anyone else reckon Hollow Man is one of Goldsmith's best and most misunderstood scores of the tailend of his career? It copped a lot of backlash at the time for being "generic" and "boring", but when it has such gripping tracks like this, I pay attention...

 

 

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11 hours ago, Thekthithm said:

Anyone else reckon Hollow Man is one of Goldsmith's best and most misunderstood scores of the tailend of his career? It copped a lot of backlash at the time for being "generic" and "boring", but when it has such gripping tracks like this, I pay attention...

 

 

I do!

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Jojo Rabbit - Michael Giacchino

 

Some moments of Lost style drama and melancholy (which has been Gia's MO for "sad moments" since 2004) mixed with some moments of quirkiness that, for some reason, reminded me of Desplat's scores for Wes Anderson. It's a pleasant enough OST, and I imagine the movie was pretty hard for Giacchino to find a musical voice, but the final result might be adequate but a little dull and forgettable - a little like his Coco score.

 

I'm a fan of Giacchino, but I find a little hard to appreciate his smaller, more intimate scores, I prefer him when he is doing action/adventure blockbusters. That said, Rosie's Nocturne is a really beautiful cue.

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Close Encounters of the Third Kind — John Williams

I was re-listening to this on Spotify and its dissonant textures are quite unsettling. Really impressive stuff.
I checked the LLL website and the 40th Anniversary edition seems rather comprehensive, but then I took a look at @Jay's Google Doc and boy, is it my impression or it's the farthest thing from a C&C I've ever seen? For those who own the physical copy, did you rip it and reassemble the tracklist or did you leave it as it is to match the double LP presentation?

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40 minutes ago, redishere said:

Close Encounters of the Third Kind — John Williams

I was re-listening to this on Spotify and its dissonant textures are quite unsettling. Really impressive stuff.
I checked the LLL website and the 40th Anniversary edition seems rather comprehensive, but then I took a look at @Jay's Google Doc and boy, is it my impression or it's the farthest thing from a C&C I've ever seen? For those who own the physical copy, did you rip it and reassemble the tracklist or did you leave it as it is to match the double LP presentation?

 

It's certainly not the furthest from a C&C, even Hook expanded is more out-of-order.  If you pop disc 1 in and press play and listen to that whole disc as-is, you get a very comprehensive program of the almost-complete score, with only a few cues out of order.  Then disc 2 acts as another walk through the score, this time with a bunch of alternates and little cues and source music interspersed with a lot of the same music you already heard on disc 1, but now edited different (to re-create the OST LP edits) or with clean endings/openings (when they were combined with something else on disc 1).

 

Looking at the doc may make things seem wildly out of order, but that's mostly because I showed where you can get the version with the clean opening or ending in the main list.


But seriously, listening to disc 1 as-is is pretty dang close to a C&C presentation, and the parts that aren't chronological don't change any thematic development, and the parts that aren't there at all are either very short cues or source music.

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12 hours ago, Jay said:

 

It's certainly not the furthest from a C&C, even Hook expanded is more out-of-order.  If you pop disc 1 in and press play and listen to that whole disc as-is, you get a very comprehensive program of the almost-complete score, with only a few cues out of order.  Then disc 2 acts as another walk through the score, this time with a bunch of alternates and little cues and source music interspersed with a lot of the same music you already heard on disc 1, but now edited different (to re-create the OST LP edits) or with clean endings/openings (when they were combined with something else on disc 1).

 

Looking at the doc may make things seem wildly out of order, but that's mostly because I showed where you can get the version with the clean opening or ending in the main list.


But seriously, listening to disc 1 as-is is pretty dang close to a C&C presentation, and the parts that aren't chronological don't change any thematic development, and the parts that aren't there at all are either very short cues or source music.

I think Mike gave us the best of both worlds with that release. You can easily create the C&C playlist from the 2 discs and the 1st disc still works as a wonderful listening experience on its own.

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2 hours ago, Incanus said:

and the 1st disc still works as a wonderful listening experience on its own.

I do also like how Disc 2 is made into a kinda competent program following the same arc, just with the shorter and separate and album-edited versions. It's not a random dump, and still has everything you need without even any editing necessary.

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Earthquake by John Williams - such a beauty. Lyrical, eclectic, and sweetly old-fashioned. From the perspective of the year 2019, it seems just incredible that this very Johnny Williams, this playful "Little Dimitri" went on since then to become a serious, symphonic, towering figure in evening attire he is recognized as now. Not in the sense of this man's talent, but rather: how fortunate are we, that it happened to us.

 

Williams in the early 1970s was like a rising storm. A growing maelstrom of musical energy, which swept every influence in it's wake, while only gathering audacity and lyrical thirst. After this, and the empowerment by The Towering Inferno, Jaws and Black Sunday, he was on fire. And on fire to such an extent, that he didn't even realize just how good Star Wars was. Being so driven by what was inside him, he had very little perspective on how his music sounded like from the outside. Since then he learned a lot about that, but back in the late 1970s, he was still rather bewildered.

 

Towering Inferno by John Williams - definitely a very strong score. Rather more conventional than the Earthquake, but a very important training ground for what was about to happen from 1975 onwards. The final test of the "gaining speed" era of his music; an exercise in polished, classical textures, and drama-driven melodic decisions. Like a last rehearsal before the exam that was Jaws.

 

The Planets - ft. John Williams & Boston Pops. Nice interpretation.

 

7 hours ago, Edmilson said:

Is Nathan Johnson's score any good? Because someday he might end up scoring a Star Wars movie ;)

Yes. It's very well done. In terms of textures (althought it's obviously a suspense-, not an action film) it reminds me of Elfman's Batman, Goldsmith's The Shadow, and some of the music in The Young Indiana Jones Chronicles.

 

That Nathan J. is competent is one thing. The better news is a confirmation that Rian Johnson seems to currently be the most composer-friendly director of popular cinema in Hollywood (considering TLJ and this; and I do not doubt that working together with Williams inspired him a lot).

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The Lost World: Jurassic Park by John Williams: Such a brilliant and quite unique entry in Williams' catalog of scores. One of those sequel scores that while almost entirely stylistically different from its predecessor rises to the same level of excellence.

 

Quo Vadis (Tadlow re-recording) by Miklós Rózsa: One of those classic sword and sandal epics of guaranteed Rózsa quality resoundingly re-recorded by the City of Prague Philharmonic Orchestra. I can't wait to hear their eventual release of King of Kings.

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