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What Is The Last Score You Listened To?

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2 hours ago, publicist said:

Dissonant melancholy, Shore and Cronenberg remain a winning combination.

You just made me think, there was a new Cronenberg movie. That is cruel.:(

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:music: Mission: Impossible by Danny Elfman. I like the two Giacchino scores and the Joe Kraemer one very much. But this is the best outing in the series and definitely one of top 5 Elfman scores. It's just so playful and fun with plenty of thematic material to keep me engaged. Extremely intricate which is a surprise given how much of a rush job this was. It's respectful of the TV series in approach but also so Elfman. Both the OST and LLL are good. It's fun to hear the whole thing but I just love some album edits too (The Heist track).

 

Karol

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Destiny OST (Michael Salvatori, C. Paul Johnson, Martin O'Donnell... and Paul McCartney)

 

It has something for everyone, from beautiful orchestral music representing space and its mysteries, until harsh, agressive electronic action music. It's pretty long, but full of highlights, enough to create great playlists from both styles.

 

Celeste (Lena Raine)

 

This came up on my Spotify while I was researching music for a space-themed RPG I'm going to DM:

 

https://open.spotify.com/album/5OZHQ7KG8k04IOkF50fACO

 

Surprisingly good electronic score with a 80s vibe, simultaneously playful and intimate, melancholic.

 

How to Train Your Dragon Trilogy (John Powell)

 

I just put the three OSTs while I was working. It was amazing to see Powell developing as a composer throughout this decade and three scores. On the first, he got great themes but was still a little rough, until he got more sophisticated with the second and even more with the amazing third score. It is his masterpiece, and alongside the best things this decade has brought for film music fans.

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Actually, it's great. It is for Horner what Snow Falling on Cedars is for JNH, a small, intimate and more abstract score with a strong dramatic hook. I love The Waves of Caspian See theme, and there's some really touching music on This is No Longer Your House, The Dreams of Kings, The Shooting and We Have Travelled So Far, It Is Time To Return To Our Path.

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Fant4stic (2015) Marco Beltrami and Philip Glass

A surprisingly decent score, considering the film it accompanies. I think my favorite aspect of this has to be that sense of whimsy that's more prominent earlier on, which I feel is an element that's become more lacking in modern superhero scores. It often gets too focused on the "epicness" and "seriousness" for there to be any moments that reflect on the joy and wonder there likely could be when being a hero. Which is probably strange for this project, considering how moody it's intended to be. It's helped by how well the Glass sound is replicated in spots, though never to a degree of doing anything particularly unique with those mannerisms. And yes I do mean replicated, because Glass doesn't really do more than a small amount of cues, down to supposedly being busy at the time. Not to mention that unsurprisingly, Fox allegedly gave Beltrami and co. a hard time with the project. As such, it's difficult to not get that feeling that this could've been more, considering a Glass superhero score is a potentially intriguing idea. As is, it's a regular capeshit score that has dashes of PG in spots. The main theme is fine enough, though I certainly prefer John Ottman's from the previous live action incarnation. A lot of the underscore doesn't make too great of an impression, especially in the parts that feel a bit RCPish. However, I think the general sound of it, as well as some very compelling moments do elevate this to something I could recommend. I prefer Logan to this ultimately, but this definitely is worth looking at, at least once.

Also, is the Spotify embed broken? Not sure how you get it to work.

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8 hours ago, HunterTech said:

Fant4stic (2015) Marco Beltrami and Philip Glass

A surprisingly decent score, considering the film it accompanies. I think my favorite aspect of this has to be that sense of whimsy that's more prominent earlier on, which I feel is an element that's become more lacking in modern superhero scores. It often gets too focused on the "epicness" and "seriousness" for there to be any moments that reflect on the joy and wonder there likely could be when being a hero. Which is probably strange for this project, considering how moody it's intended to be. It's helped by how well the Glass sound is replicated in spots, though never to a degree of doing anything particularly unique with those mannerisms. And yes I do mean replicated, because Glass doesn't really do more than a small amount of cues, down to supposedly being busy at the time. Not to mention that unsurprisingly, Fox allegedly gave Beltrami and co. a hard time with the project. As such, it's difficult to not get that feeling that this could've been more, considering a Glass superhero score is a potentially intriguing idea. As is, it's a regular capeshit score that has dashes of PG in spots. The main theme is fine enough, though I certainly prefer John Ottman's from the previous live action incarnation. A lot of the underscore doesn't make too great of an impression, especially in the parts that feel a bit RCPish. However, I think the general sound of it, as well as some very compelling moments do elevate this to something I could recommend. I prefer Logan to this ultimately, but this definitely is worth looking at, at least once.

Also, is the Spotify embed broken? Not sure how you get it to work.

 

I remember listening to this when it came out, and actually quite enjoying it. Probably one of the few back then that I listened to without actually watching the film, which I've since kept clear of. 

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On 3/6/2020 at 5:15 AM, crocodile said:

:music: Mission: Impossible by Danny Elfman. I like the two Giacchino scores and the Joe Kraemer one very much. But this is the best outing in the series and definitely one of top 5 Elfman scores. It's just so playful and fun with plenty of thematic material to keep me engaged. Extremely intricate which is a surprise given how much of a rush job this was. It's respectful of the TV series in approach but also so Elfman. Both the OST and LLL are good. It's fun to hear the whole thing but I just love some album edits too (The Heist track).

 

Karol

 

Oh man, The Heist is my LEAST favorite album edit!  It means the album completely skips over that amazing percussion & piccolo passage that's about 30 seconds into "Langley" on the LLL presentation, I love that bit!

 

 

On 3/6/2020 at 4:37 PM, Edmilson said:

Celeste (Lena Raine)

 

This came up on my Spotify while I was researching music for a space-themed RPG I'm going to DM:

 

https://open.spotify.com/album/5OZHQ7KG8k04IOkF50fACO

 

Surprisingly good electronic score with a 80s vibe, simultaneously playful and intimate, melancholic.

 

I've been hyping this score for years.  It's brilliant!  Sadly, she has yet to have a break-through followup...

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It has been too long since I've been on these forums and I'm finally starting to get back into listening to soundtracks again.  On the playlist tonight is Goldsmith's Alien, Williams' Images and Horner's Class Action.

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:music: Rogue One: A Star Wars Story (OST+FYC) by Michael Giacchino. A pretty lacklustre Star Wars score but a pretty great Medal of Honor one.

 

Karol

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:music: Legend by Jerry Goldsmith. Damn, this score is so good. It really manages to conjure up an entire fantastical world in my mind while I'm listening and it also glows beautifully on album. I really love the old Silva Screen album but also wonder whether we're going to hear an updated album sometime soon. 

 

Karol

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6 minutes ago, crocodile said:

I really love the old Silva Screen album but also wonder whether we're going to hear an updated album sometime soon. 

 

Karol

 

Does it matter? I mean if you enjoyed the old Silva album, then it obviously did the trick.

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3 minutes ago, publicist said:

Unlikely. But the good news is that the Silva album, retrieved from Mike Ross-Trevor's garage, is a Grade A expansion for its time (1992) and while there are mixing decisions that could be revised, it's as good as it gets.

 

You mean the masters are lost?

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7 minutes ago, Jurassic Shark said:

 

You mean the masters are lost?

 

I think the score as prepared for the Silva release was sourced from DAT tape downmixes and that was all they could find.

 

12 minutes ago, publicist said:

@crocodile Unlikely. But the good news is that the Silva album, retrieved from Mike Ross-Trevor's garage, is a Grade A expansion for its time (1992) and while there are mixing decisions that could be revised, it's as good as it gets.

 

Apart from the obvious highlights like 'Dress Waltz' I have always been partial to the atmospheric 2-minute main title that fuses 80's electronic aesthetics with Ravel/Debussy impressionism to great effect. Even Thor has to admit that he got that piece right, and it works wonders in the movie (as Edgar Froese of Tangerine Dream wholeheartedly admitted, when he saw the movie with Scott he turned to Scott and asked him why the hell he wanted to replace it).

 

 

 

He'd argue it must never be heard outside the film!

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Of course not, Goldsmith omitted that very piece on his own limited score release done by UpArts in 1986. 

 

As for tapes and masters, afair Goldsmith recorded cues like Fairy Dance in pre-production, later the score proper. God knows where all this stuff was stored, if it was at all.

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4 hours ago, Þekþiþm said:

 

Does it matter? I mean if you enjoyed the old Silva album, then it obviously did the trick.

I am just curious what else is there. The album itself is perfectly fine as is.

 

:music:The Secret of NIMH. Not fan of the song(s) but the score itself is mint.

 

Karol

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Short and kinda cool. A pulsating, modern spy score (jazz riffs with bass flutes, e-guitars and a good-sized string orchestra), not unlike the (more fleshed out) Motherless Brooklyn in that it recalls musically better times but puts its own stamp on it. Recommended.

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ORI AND THE WILL OF THE WISPS - GARETH COKER

 

Wow! Had no idea this had been in the works so an absolutely lovely surprise. Loved the first score and, so far, this is even better. it's absolutely gorgeous in places.

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On 3/12/2020 at 1:51 AM, publicist said:

(as Edgar Froese of Tangerine Dream wholeheartedly admitted, when he saw the movie with Scott he turned to Scott and asked him why the hell he wanted to replace it)

 

Is there an interview for this?

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I'm basically locked up in my house here in Italy because of the coronavirus, so I definitely need cheerful music:

I recently listened to the original Toy Story album, and I loved it.
My question is: what's the difference between that old version and the 2015 Legacy Edition?
Apart from the additional demos, is it just the same as the original album but chronological and with separate cues, or does it have more material?

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9200000044227574.jpg

 

There's a track on this score that would not sound out of place in Schindler's List, which tells me Williams didn't make his score sound Eastern enough.

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R-2409715-1375293459-8557.jpeg.jpg

 

Epidemically fitting LLL's newest Goldsmith released landed on my doorstep.

 

For a no-holds-barred action spectacle from 1978 it's good news that the sound is cracking. The wealth of trombones (a Goldsmith stable through the latter part of the 70's) rip roar through the speakers and the main action pieces are Jerry pantheon-worthy. The score proper is of course musically brilliantly conceived, though Goldsmith can't escape the sheer idiocy of it, having to score a ludicrous amount of inept scenes of Ben Johnson and Fred MacMurray wooing Olivia De Havilland, but whenever the bees are involved the composer belts up. The buzzing brass effects sound even more amazing now (the players are top-notch, if you compare i. e. The Bees Arrive with the lackluster Prague recording), add to that Goldsmith's always reliable military might that comes through already in early cues like The Black Mass, and you got one of 70's great action scores.

 

 

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