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Your opinion on Ludwig Goransson?


mxsch

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I like him so much, because of his unique style and great incorporation of beats.

His scores for Creed 1, 2, Black Panther, The Mandalorian and Tenet are absolute bangers.

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I'm most familiar with his work on The Mandalorian, which I really enjoy - especially the brassy theme heard near the beginning of the end credits. I've heard Black Panther but it didn't particularly interest me. And I'm watching New Girl, but the music is so unobtrusive that I forget to listen for it.

 

Beyond that, not really sure. But he sure has an amusingly laid-back vibe in all the interviews I've seen with him!

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1 hour ago, Nick Parker said:

 

 

 

Runnin' is another great highlight for me, even with some cringey lines, the idea of merging orchestra with rap is incredible.

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1 hour ago, Jay said:

I like his Mandalorian scores a lot but everything else I've tried didn't do anything for me

 

I have to agree. I really like his work on The Mandalorian, but everything else of his I've listened to just seemed to be your average contemporary film score.

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I wish he would tone back the electronic blibbity-bloo and overall tone of the Mandalorian. He has this amazing theme that is then placed among these techno beats that instantly sour my interest.

 

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23 minutes ago, Arpy said:

I wish he would tone back the electronic blibbity-bloo and overall tone of the Mandalorian. He has this amazing theme that is then placed among these techno beats that instantly sour my interest.

 

I'm the opposite, in that I love when he uses the electronics and occasionally makes it a kind of "Star Wars goes Gangsta" sound. Love it. 

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There are whole scenes that instead of featuring any exciting music are scored by a droning, pulsing beat. Sometimes I really love how he's incorporated the electronic elements, but those moments are few and far between.

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If we talk about about The Mando, I feel random music where used in almost every scene. That was distracting most of the time.

 

I'm not saying music is not good, but it doesn't always fit the scenes.

 

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His Mandalorian theme is fabulous but I am unaffected by his underscore, I think it lacks texture, verve and storytelling substance. 

 

To be fair to the chap though, I haven't listened to enough of his work in order to be able to make a proper fair assessment of him as a composer. 

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I absolutely hate him (not him, personally, but his music).

 

A one-trick pony who either does second-rate Bill Conti all the time, or soulless ostinati and pale, textural colours. He's just as bad as Giacchino, in my opinion - i.e. an "Emperor's New Clothes"-type composer that everyone raves over, even though there's nothing there -- and that 'intrudes' into films and franchises I like and partially destroy my appreciation of them.

 

I wish he never sat his eyes on film music.

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Since I am more interested in music than in sound, his music doesn't give me much. He is experimenting a lot with different instruments and sounds. But musically there is not much interesting happening in his scores as far as I can hear it.

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I also don't like his stuff that much.

 

Tenet is a really weird sounding score IMO, it's nowhere as through produced like Zimmers work, sounds like he picked the first random synth presets he got and mingled all together.

That 747 track is a cheap Zimmer Inception rip off. No other ideas to score this scene? Using the truck siren in Trucks in Place is a nice idea but having this drop in there doesn't fit at all to the scene and style of music he used in the film and stands out weirdly. Feels like he couldn't decide for a style of music to score the film with, and the score lacks identity. Like @GerateWohl said, a lot of experimenting but no real direction to go with the music.

 

So overall, his music doesn't really stand out to me. The Mando theme is nice though.

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Whenever a contemporary film composer says they like to experiment with different sounds, that is normally alarm bells. 

 

All these keyboard players trying to be the next Morricone. 

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Besides Mandalorian, the only soundtrack of his that I’ve checked out is Black Panther, and that one didn’t do much for me.

 

But the theme song for Mando - wow, what a banger! Me and the missus spend our days humming that one as we spend our days locked up waiting for this virus thing to pass.

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The theme tune is absolutely brilliant, and just what TV needed. 

 

It's one of the areas The Witcher went wrong, they completely forgot about the all-important musical signature for the titular character. I mean, what a dumb oversight!

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One of the things I really enjoy about Goransson, moreso in his feature length scores, are his dramatic instincts in terms of spotting and textures. I keep harping on Creed 2, but I loved that there would be conservation scenes between characters that would go unscored for minutes. Then a character would say a pivot line, and something intimate like a harp and french horn would come in. Felt really old-school and satisfying

 

 

And those strings around the end? Hard to imagine many other film composers now writing those.

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Like Göransson himself said to John Favreau in the Galeria episode about the Mando score: "If you would have expected something like a Williams score we would have had a problem."

 

But I have to admit, the Mando theme does its job well, but it is not what I would call a brillant composition. 

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3 hours ago, Quintus said:

His Mandalorian theme is fabulous but I am unaffected by his underscore, I think it lacks texture, verve and storytelling substance. 

 

To be fair to the chap though, I haven't listened to enough of his work in order to be able to make a proper fair assessment of him as a composer. 

 

 I agree the theme is pretty cool, but I also honestly think it's the only thing by him I have ever enjoyed. I find the rest of the music in The Mandalorian to be quite uninteresting

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Same here, for the most part. There's a couple of nice moments, but nothing to rave about. By contrast, composers like Bruce Broughton, Joel McNeely and John Debney, working on The Orville, have demonstrated what can happen when really talented score composers are given the opportunity to score a big sci-fi set piece for TV. The Mandalorian has its own set pieces, and the music does not grab the bull by the horns and lead the fuck out of those sequences like it should do. It's just there, modulating away the background, quite unnoticed.

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He’s promising. I want to see him push his orchestral side to new places. 
 

There are glimmers of it, but he falls back on the current orchestral/electronic tropes too often. 

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6 hours ago, Romão said:

 

 I agree the theme is pretty cool, but I also honestly think it's the only thing by him I have ever enjoyed. I find the rest of the music in The Mandalorian to be quite uninteresting

 

Agreed. I think he's definitely talented. But I think he's a stronger producer than he is a composer.  His core compositional ideas aren't terribly interesting. But he has an ear for sound.

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4 hours ago, KK said:

 

Agreed. I think he's definitely talented. But I think he's a stronger producer than he is a composer.  His core compositional ideas aren't terribly interesting. But he has an ear for sound.

 

That's a spot on observation, in my opinion

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  • 2 months later...

Ludwig has a new score album out today (well, today meaning Friday)

 

1000x1000bb.webp

 

1.Bad Trip Suite
2.I Saw a Girl Today (feat. Eric Andre)
3.Trina and Bud
4.High School Sweetheart
5.I Say Go For It
6.Trip of a Lifetime
7.Tunnel Out of Prison
8.Zoos are Sick
9.Chinese Finger Trap
10.Flipping Off the Freeway
11.The Fight
12.ROTC
13.Run for the Bus
14.NYC
15.Trina is Close
16.The Proposal
17.Payback
18.The Standoff

 

https://music.apple.com/nz/album/bad-trip-music-from-the-netflix-film/1557528439

https://music.apple.com/au/album/bad-trip-music-from-the-netflix-film/1557528439


EDIT: Woah, just noticed what's going on at the bottom of the cover art...

 

EDIT 2: Woah, I just read this unusual factoid on wikipedia

 

Quote

 It was accidentally released on Amazon Prime Video on April 17 and pirated prior to its official release. The film was later sold to Netflix, which will release it on March 26, 2021.

 

EDIT 3: Woah, I just read the wiki plot description, this film sounds bonkers - and doesn't even mention the whole dick fingercuffs thing.  I lost it at gorilla rape

 

EDIT 4: Hmmm, this film was first screened as SXSW in March 2020, so Ludwig potentially recorded this score before Mando season 1

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