Michael Giacchino's Dawn of The Planet Of The Apes (2014)

[Jonesy 55]

Another oddity: The final track is credited to Griffin Giacchino there

A ghostwriter, I guess

[Faleel 5,346]

Is that his pet monkey?

Griffith Giacchino is his son I believe.

[Jay 37,352]

IMDB confirms it

http://www.imdb.com/title/tt2103281/soundtrack

[BloodBoal 7,538]

[Jonesy 55]

Samples on soundcloud:

https://soundcloud.com/sony-soundtracks/sets/dawn-of-the-planet-of-the-apes

[igger6 894]

I love Giacchino, but man, he loves him some slow descending major thirds, doesn't he?

(Musically literate people, please correct me if I'm misusing the term. The one major theme that jumped out at me in the RAH suite (heard in full-throated form in the end credit sample on his website) is based on a pair of notes I swear I hear in every Giacchino score. E-C, E-C, etc. etc. It's rarely in the foreground as it is here, but almost any time Giacchino goes into dramatic, emotional mode, there they are.)

[Max 141]

The soundtrack is out on iTunes!

I just finished my first listen, and I love what I hear! I'm definitely looking forward to listening to this one again and again. I'm not very familiar with Goldsmith's original Planet of the Apes score, but the closest thing to which I can compare this would probably have to be Giacchino's own Lost, but better, I think. An evolution and improvement of that style, in my opinion.

The album also sounds great. Joel Iwataki has done a fantastic job--definitely better than Wallin! I'm eager to see what you think.

[Jay 37,352]

Oh sweet, it's on Spotify properly now too. I'll listen on my way to work!

http://open.spotify.com/album/59wzkoPpKOwo2YQFmKoiKV

[crocodile 8,006]

It's available on the new continent only it seems.

Karol

[Jay 37,352]

I've listened to it twice now, and I enjoy it!

I can't even really think of any other Giacchino scores to liken it to, because it all sounds very original to me. Indeed another evolution of his sound.

I'm also not familiar with all the scores in the long running Apes franchise, but I did notice some percussion that sounded like Elfman's version.

I'll probably end up seeing the film now just to give the music context. I always enjoy scores more that way.

[crocodile 8,006]

It's not bad so far. Not bad at all.

Karol

[Dixon Hill 4,234]

I'm a few cues into it and it is really impressive. Seems like the good but somewhat unconvincing STID was just him shaking off the cobwebs after his hiatus and getting back on two feet. This one is definitely an evolution in the right direction.

[Jay 37,352]

And to think he composed it after Jupiter Ascending. I wonder what that one sounds like.

[Sharkissimo 1,973]

Any cues that'd be up my street?

[publicist 4,643]

At the very least he's using sneaky xylophones and halfway atonal woodwind parts in his action music. Kudos for that alone.

Any cues that'd be up my street?

Try the suite first:

[crocodile 8,006]

I'm a few cues into it and it is really impressive. Seems like the good but somewhat unconvincing STID was just him shaking off the cobwebs after his hiatus and getting back on two feet. This one is definitely an evolution in the right direction.

Listening for the second time in a row. It's waaaaaaay above two Star Trek. It seems like his own style met its match in this film.

And the action music is stronger than usual.

Karol

[Dixon Hill 4,234]

Any cues that'd be up my street?

Hard to say yet.

And to think he composed it after Jupiter Ascending. I wonder what that one sounds like.

They should just cancel that movie, and he should adapt the material into a symphony.

[Sharkissimo 1,973]

At the very least he's using sneaky xylophones and halfway atonal woodwind parts in his action music. Kudos for that alone.

Any cues that'd be up my street?

Try the suite first:

I like the very beginning and 4:10 to 4:59.

[publicist 4,643]

The most percussive cue:

Goldsmith it ain't but there's still a wide margin between this and what was served in summer blockbusters up to 2013.

[crocodile 8,006]

I love what he does with woodwinds in chorus in this one:

Karol

[KK 3,307]

Some of this stuff sounds quite good. I'll check out the whole thing later tonight.

[Dixon Hill 4,234]

Only minor quibble is with his I-vi thematic thing, which is now bordering on self-parody haha. It's his danger motif. And also with the cliched dramatic-upwards-portamento choir that happens a few too many times.

[crocodile 8,006]

On their own, simple themes might be indeed disappointing. But in the context of the whole soundscape he's created and how themes move through it, it's all highly effective. The longer-lined melodies, with richer constructs, wouldn't serve this concept as well. Not with this one.

Karol

[Sharkissimo 1,973]

And also with the cliched dramatic-upwards-portamento choir that happens a few too many times.

That thing should be limited to just trailer music, then quarantined, and killed with fire.

[KK 3,307]

Only minor quibble is with his I-vi thematic thing, which is now bordering on self-parody haha.

Glad I'm not the only one who finds this really annoying. It was nice enough at first, but hearing those same progressions pop up in nearly every one of his scores is grating on the ears.

[Jay 37,352]

Since I have no idea what that means, can you guys provide timestamps?

[Jim Ware 526]

And to think he composed it after Jupiter Ascending. I wonder what that one sounds like.

They should just cancel that movie, and he should adapt the material into a symphony.

Jupiter Ascending wasn't written or recorded to picture, so that's not an entirely invalid approach.

[Jay 37,352]

I thought a bunch of music was written early, but then there were traditional film cues set to picture recorded eventually as well?

[Dixon Hill 4,234]

On their own, simple themes might be indeed disappointing. But in the context of the whole soundscape he's created and how themes move through it, it's all highly effective. The longer-lined melodies, with richer constructs, wouldn't serve this concept as well. Not with this one.

Karol

Sure, there's nothing wrong with themes being simple. But there are other possibilities beyond that same progression over and over. Especially when the melodic line doesn't have any character of its own and is just the top line of the harmony.

Since I have no idea what that means, can you guys provide timestamps?

The I-vi harmony is the first two chords of what seems to be the main "character" theme. They're the same chords that open the Super 8 theme, a ton of Lost themes, and I'm sure many other Giacchino themes that I can't think of offhand. He just does it a bit too much.

I do really like the theme presented in the opening cue and the end credits suite though.

The choir thing can be heard in one instance at 5:30 in Gorilla Warfare.

[crocodile 8,006]

On their own, simple themes might be indeed disappointing. But in the context of the whole soundscape he's created and how themes move through it, it's all highly effective. The longer-lined melodies, with richer constructs, wouldn't serve this concept as well. Not with this one.

Karol

Sure, there's nothing wrong with themes being simple. But there are other possibilities beyond that same progression over and over. Especially when the melodic line doesn't have any character of its own and is just the top line of the harmony.

I don't disagree. But in this one it makes perfectly sense, given that it kind of depicts how new "simple" society of apes is developing. It just works. Very much in the same way Lost did.

The trouble starts when you get to big space operas and things like that - things that require more adventurous thematic material.

Karol

[Jim Ware 526]

I thought a bunch of music was written early, but then there were traditional film cues set to picture recorded eventually as well?

There were pickup sessions a month or so ago, but the bulk of material was recorded in June 2013.

[Jay 37,352]

I'd have to imagine the pickups last month were set to picture. But who knows I guess. He didn't tweet out slates and stuff like he did for STID and DOTPOTA

[Jay 37,352]

So KK and Jim, what do you think of the OST?

[ymenard 54]

The simple themes *are* part of what he does. The 3-chord piano stuff or a simple "same note plucked 3 times on the viola". It works best on more tribal situations, a la Lost or this movie.

He still proved with John Carter that expressive themes are possible in a more grandiose-type setting.

Anyway the whole thing is really impressive, it's like he's pushing every Giacchino button from the past decade (back to the Lost pilot) and it all works together flawlessly. You can tell he worked a lot on his orchestration. It reminds me of JP: The Lost World in the woodwinds mixed with Goldsmith from his adventure-era (mummy/mulan/edge/ghost&darkness).Top score of the year by far.

Wish he had made a reference to the funkyness of Goldsmith Escape from POTA

[Sharkissimo 1,973]

You know, it would've been really cool if in the end credits, Giacchino had quoted those 8 chords from the original score.

[BLUMENKOHL 1,068]

Am I the only one that thinks the orchestrations sound...more mature?

Or is it just the mix? It sounds less goofy and plucky (which had become Giacchino's trademark). This sounds big and professional.

[Jay 37,352]

It's definitely a way more mature score than the usual summer blockbuster Giacchino score

[Sharkissimo 1,973]

I'm hearing the same, Blume. This sounds like a progression from JOHN CARTER. A good omen for JURASSIC WORLD.

[Jay 37,352]

And Jupiter Ascending, Tomorrowland, and Inside Out!

[Muad'Dib 1,802]

I was listening to this on Spotify when browsing around and in a lot of parts it really got my attention. Like I was distracted doing something else and suddenly I was wowed at how good and mature the music sounded.

Really, really nice score. Giacchino really surprised us all with this one.

[BLUMENKOHL 1,068]

Yeah. The instruments no longer sound like they're stressed to their limits playing notes that should be played by another instrument.

This feels very different from past Giacchino, specifically in orchestration. Even the percussion have a satisfying bite and oomph he's never achieved before.

Do we know who the orchestrators are on this?

[publicist 4,643]

Arthur Morton & Sandy Courage.

[Jay 37,352]

We might not find that out until the physical CD drops on August 12th

Unless someone wants to ask Gia over twitter

[Dixon Hill 4,234]

I'm sure it's Tim Simonec as usual. Although he's not on IMDb for it....

[crocodile 8,006]

Yeah, from a few quotes from Giacchino himself it seems his goal was to honour Goldsmith. And I do get that vibe - from orchestration, not themes.

Karol

[Sharkissimo 1,973]

From what I've heard (not available on Spotify UK yet) this rips the Patrick Doyle score to shreds.

[publicist 4,643]

This is not the hardest task but let's not get ahead of ourselves. This is still far from brilliant, so file it under Godzilla-good.

[crocodile 8,006]

I'm not sure whether this is better (or worse, for that matter) than Godzilla or How To Train Your Dragon. Or other good stuff this year. I enjoy each one of those in different ways - hard to compare, really.

Karol

[Jim Ware 526]

From what I've heard (not available on Spotify UK yet) this rips the Patrick Doyle score to shreds.

I suspect that Giacchino had more than nine days to write it!

[crocodile 8,006]

Apparently, he "roughed out" a version of it in 15 days before diving into Jupiter Ascending. Whatever that means.

Karol