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What is the Last Cue You Listened To?


Sharkissimo
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Kamen's Escape to Sherwood. Such a brilliant piece of music and probably clear of the usual ghostwriter etc problems (even though interesting to note how the action theme resembles sections of Mancini's Lifeforce score, specifically the Web of Destiny stuff with the London underground mayhem material, with the string figures):

 

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I used to have that on constant repeat when it first came out. 

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A truly underappreciated score from Armstrong - who really needs to get another blockbuster but without the balfeification of his writing process:

 

This track is more early 90s Doyle than Doyle has been since 1997:

 

 

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"Heartburn Waltz," the theme that Guaraldi wrote for the 1975 Be My Valentine, Charlie Brown is so unnecessarily twisty and weird harmonically for a children's program, I love it.

 

 

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Oh I love that one.   I remember listening in my car in February, which can be a strange month here in Upstate NY, with bright sunshine despite chilling temperatures.  It’s sort of a perfect weather match for this composition. 

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3 hours ago, Andy said:

Oh I love that one.   I remember listening in my car in February, which can be a strange month here in Upstate NY, with bright sunshine despite chilling temperatures.  It’s sort of a perfect weather match for this composition. 

 

The sessions (or maybe the music audio stem, not sure) for the full score of the special leaked btw, here's a playlist someone put on Youtube.

 

 

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Scrat's fantasia on a theme by LVB. Oh, my, Lord. This is seriously utterly amazing! I don't susppose we could get Powell to record the actual symphny/symphonies? This guy is insanely talented.

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Just astonishing orchestral mayhem and a crime that Stone never became a household name:

 

 

Another underappreciated maestro Mark McKenzie - at least Jerry recognised his talents, but not sure fans have sufficiently:

 

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  • 2 weeks later...

Had to revisit the Octopath Traveler main theme after seeing the trailer for the sequel.  It's a banger

 

 

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Is's happening again. I'm listening to A Change of Season from HP1 (film version) and the Rescue of Sirius from HP3, but I'm paying attention to the instruments now rather than just liking the cues. I LOVE THIS MUSIC SO MUCH. Right before Hermione usually screams, what the violins do is just... I don't understand why it takes me years to be able to properly dissect these notes. I have these revelataroy moments on random occasions when I suddenly listen to details instead of the package.

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On 27/09/2022 at 7:30 PM, May the Force be with You said:

Yeah that one and Looking for a truck especially around 4:30

 

This is the last great Silvestri. It sounds inspired (even though he is playing in his own field). The dynamics are innovative and there is that exuberance that late 80s and early 90s Silvestri had.

And man, Silvestri does not get any better than this wonderchest:

 

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I am listening to the new Thor score. Some of it is disposable but I like the majority of Giacchino's material, especially this theme associated with Gorr the God Butcher. Quite an unusual approach to scoring a Marvel villain.  

 

 

Oddly, it reminds me of the creepy source music during the sex scene in Midsommar.

 

Karol

 

 

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On 09/10/2022 at 12:50 AM, Edmilson said:

I think we can all agree that the crescendo that starts on 8:36 and goes until the end of the track below is one of the most exciting moments in Giacchino's career:

 

 

I would very much agree that this whole track is the highlight of Giacchino's career and something he has not come anywhere close to surpassing.

 

The melodic stuff in the beginning of this track this reflects his greatest theme - Desmond and Penny from Lost. Amazing scoring.

 

I often get frustrated with his action music which to me is very grating and NERVOUS, instead of being dynamic or propelling. Here, none of that is present at all, and the score from 3:17 is a brilliant example of how his style can work when presented and orchestrated properly. It still has that annoying undercurrent, but the brass and choral fanfares cover over that much more efficiently than they do in his lazy new stuff.

 

And the mix here is great - in Werewolf or Spiderman or whatever, the choir gets subsumed into the general blur of sound which is a consistent problem with Gia recordings.

 

The Wachowskis clearly know their score composers as both Davis and Gia have done great work for them. So sad to see the nonsense that ended up in Matrix Revolutions.

Having had to go through Balfe's massively banal theme for the Justice Society (never again), I just have to ask why this could not have been that theme:

 

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  • 2 weeks later...

I went to the Halloween Concert by the Arkansas Symphony Orchestra.  They played many pieces. There was a definite high point and low point. 

The low point was the abysmal noise also known as music from Game of Thrones. It had one thing going for it, it was loud. 

The highlight of the performance was the Avatar Suite. Its been 7 years since Horner died and it still stings but his music soared. 

I was impressed with the choir as well. 

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  • 2 weeks later...

One of the most terrifying cues I ever listened, which scored a scene that gave me nightmares as a child, and it's still absolutely creepy today:

 

 

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  • 2 weeks later...

I remember watching this movie when I was young and being very moved by this cue. Years later, I found out it was written by one of my favorite composers:

 

 

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Tango Urilla - who came up with this crazy dance rhythm for this piece:

 

Not amazed by this JG piece - it's that horrible dry urban sound he tried our:

 

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