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What Is The Last Score You Listened To From 2021?


Jay

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I think Tom and Jerry was just instantly accessible, like you start the album and soon know what you're in for and enjoy the ride.

 

WandaVision is this slow drip of 10-20 minutes of it per week and most of the releases have 4 different things going on (theme song, commercial cue, sitcom cues, real world cues) so it's a bit "scatterbrained" and not necessarily tied together too much, other than the "real world" cues having recurring themes and the main 4-note theme appearing in all the songs. 

 

I feel like it isn't fair to compare WandaVision to any other scores until all 9 albums are out, and we only have 7 right now.

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25 minutes ago, Jay said:

I feel like it isn't fair to compare WandaVision to any other scores until all 9 albums are out, and we only have 7 right now.

I see your point. But unless Beck just mess them up (which I seriously doubt after what he has made so far) I do think that it's my favourite.

 

I've listen to Raya and the Last Dragon and it's really enjoyable. I was a bit afraid by the electronic recording but I've barely noticed the difference here which is great!

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That short film was available as a "bonus" to view on the screener platform that also had RAYA. Cute little affair, no dialogue. Very Pixar in tone and style.

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Revo - Bravely Default II
 

:love2: :love2: :love2: :love2: :love2: 

 

He did it, the sonofabitch did it.  Every bit as good as the original Bravely Default score, and makes Bravely Second look even worse in comparison than it already did.  All the themes from the first score return and go through wonderful new orchestrations and all the new music is good too.  The first great score of 2021

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underplayed_600.jpg

 

Pretty good electronic score for this documentary about women in electronic music, released just a few days ago (on the women's day March 8, to be exact). I'm very curious about the film, and how the score works with existing electronic works by the women portrayed.

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ab67616d0000b2733294a406fab193381a1ff13a

 

Nice, "floating" score, with slowmoving undulating figures on piano. I really like this, one of the highlights of the year so far as well. I also noticed that it was nominated to some award recently (Golden Globes?).

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18 minutes ago, Thor said:

Nice, "floating" score, with slowmoving undulating figures on piano. I really like this, one of the highlights of the year so far as well. I also noticed that it was nominated to some award recently (Golden Globes?).

Yes best foreign picture.

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27 minutes ago, Raiders of the SoundtrArk said:

Yes best foreign picture.

 

I was thinking about the score. I saw it as one of the nominees in the score category, but I can't remember what it was. Too many awards around!

 

[Edit: Found it! It was the BAFTAs]

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swzwfo-tooliviaor-preview-m3_550x550.jpg

 

Quite lovely. That's the third new score I've listened to in a row that's composed by a woman. Women are winning 2021 so far!

 

[Have to edit myself a little bit -- it's mostly just the broad, Rachel Portman-like theme that is great, there's also a lot of plodding here]

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Some Edda Dell'Orso style vocals plus strings, piano and synth create an atmospheric, hypnotic score that I'm sure it works great on the movie, but on album is just a little boring and samey. At least the album is very short.

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I didn't find it boring at all. This kind of score gives me tons more than any new superhero score or whatever. But I'm still embarassed I thought the composer was a woman!

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He has a young career but has already received a lot of recognition, I have seen lots of lauding for The Last Black Man In San Francisco, Homecoming Season 2, and Kajillionaire all before Minari

 

These are all films/shows I have not seen so I haven't heard a note of his work yet

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Christophe Beack - WandaVision (Episode 9 OST album)

 

That was pretty good, nice ending to the whole thing (on the score front).  I need to re-listen to the whole thing now that we have it all

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Thin Blue Line (Music from the Original TV Series Tunna blå linjen) - Album  by Irya Gmeyner, Martin Hederos | Spotify

 

TUNNA BLÅ LINJEN [THE THIN BLUE LINE] - a new Swedish cop show, with music by Soundtrack of Our Lives member Martin Hederos, and Irya Gmeyner. This was a total surprise -- gorgeous electronic music, voices, melodies, haunting textures. This will no doubt be in the very, very top of my list when 2021's best TV music is being selected.

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He, he. Up untill yesterday, I had no idea this was the Snyder cut of the existing JUSTICE LEAGUE movie. I just thought it was a remake. That's how little I care about superhero stuff. But I'm a fan of Holkenborg. At some point, I should probably sit down and make a decent 60-minute playlist of this, but it's not going to be for a long, long time yet.

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A quaint ensemble score for clarinets, violin, double bass and cowbells (yes, cowbells). This particular sort of pared-down approach seems to be trending quite well in arthouse circles, and I'm (generally) here for it. On that note, I must say that First Kiss has that Mosseri feel to it, especially when the vocals come in. Highlights are Tallie (track 4), Falling in Love (track 8), the aforementioned First Kiss (track 9), and The Fire (track 14).

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I finnaly get through the whole Holkenborg JL... It's quite nice nothing fancy but some good Holkenborg's stuffs. It reminds me a lot of Alita specially on what appears to be the main theme.

About the all Everest thing, I'll pass unless if he meant a model in an exposition ;)

Anyway it worth at least one listening

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The Courier by Abel Korzeniowski

 

Meh. Some decent waltzes stick out in a monotonous stew of limp string ostinati and tepid suspense writing. But clearly this genre, along with many others, I suspect, is not this composer's forte. As for all the Desplat comparisons, let's be honest, this stuff is just nowhere near that league.

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The Planets (Anže Rozman & Andrew Christie) - not my usual go-to style of scoring, mix of synth pads and throbbing textures, with orchestral (not sure if it's real or very convincing synth, but in context it doesn't matter too much), which is very effective. It's one of those scores for a space documentary that sounds kinda exactly like you expect it to sound, but in a good way. Makes a change from the seven versions of the Holst, although it makes me think I should revisit Jim Meacock's score for the 1996 documentary series.

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10 minutes ago, Tom Guernsey said:

although it makes me think I should revisit Jim Meacock's score for the 1996 documentary series.

 

That's a nice one. Overall too ersatz-synthy for me for regular listening, but it has beautiful highlights.

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6 minutes ago, Marian Schedenig said:

 

That's a nice one. Overall too ersatz-synthy for me for regular listening, but it has beautiful highlights.

Not quite sure what you mean by that, but guess as it's not my usual type of music I just take it as it is... I'm not sure I'll listen to it super often but after a day of Basil and Jerry action (Starship Troopers and Rambo II), it was a nice spacey change.

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As far as I remember, its synth stylings are mainly a budget replacement for an orchestra. It doesn't necessarily sound "symphonic", but rather that than "electronic", like the synths are not a deliberate artistic choice but a budgetary compromise.

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1 hour ago, Marian Schedenig said:

As far as I remember, its synth stylings are mainly a budget replacement for an orchestra. It doesn't necessarily sound "symphonic", but rather that than "electronic", like the synths are not a deliberately artistic choice but a budgetary compromise.

I think you're right, whereas the newer version sounds like it's meant to be synths, which is perhaps why it works better for me. The orchestra and choir, whether synth or real, are convincing enough that they sound fine in the overall texture, but the older one is clearly a synth orchestra when a real one might have been nicer. Ah well.

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37 minutes ago, Marian Schedenig said:

What's this new one?

 

3 hours ago, Tom Guernsey said:

The Planets (Anže Rozman & Andrew Christie) - not my usual go-to style of scoring, mix of synth pads and throbbing textures, with orchestral (not sure if it's real or very convincing synth, but in context it doesn't matter too much), which is very effective. It's one of those scores for a space documentary that sounds kinda exactly like you expect it to sound, but in a good way. Makes a change from the seven versions of the Holst, although it makes me think I should revisit Jim Meacock's score for the 1996 documentary series.

 

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raya.jpeg

 

This is really growing on me.

 

It's not his most thematically developed score (even within his small portfolio of Disney animation), but it has a lot of heart and spirit.

 

I like it. A lot. 

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13 minutes ago, LSH said:

This is really growing on me.

 

 

Me too. At first I didn't care for the main theme, but now I can't stop listening, specially the performances on "Young Raya and Namaari" and "Running on Raindrops".

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25 minutes ago, Edmilson said:

 

Me too. At first I didn't care for the main theme, but now I can't stop listening, specially the performances on "Young Raya and Namaari" and "Running on Raindrops".

 

Yeah, it's great isn't it!?

 

I also love the rendition that closes the final track, The New World, too... with that 'Treasure Planet-esque' brass flourish at the end.... which I madly wish led to something else.

 

zorro.jpeg

 

I'm so glad Horner returned for this, at a time when he could have easily said no.

 

much prefer this to the original. More action (The Train is an absolute showstopper of a cue) and a much superior recording... those castanets sound so crisp, and it just feels a bit more mature.

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899683682_18-TheDriftersAlbumArtwork.jpg

 

I hate the dialogue excerpts (which are integrated in the tracks themselves), but the score is pretty cool. Bluesy, funky, jazzy, twangy stuff.  Never heard of the composer before.

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14 hours ago, LSH said:

 

Yeah, it's great isn't it!?

 

I also love the rendition that closes the final track, The New World, too... with that 'Treasure Planet-esque' brass flourish at the end.... which I madly wish led to something else.

 

zorro.jpeg

 

I'm so glad Horner returned for this, at a time when he could have easily said no.

 

much prefer this to the original. More action (The Train is an absolute showstopper of a cue) and a much superior recording... those castanets sound so crisp, and it just feels a bit more mature.

I can't remember if i saw the sequel

If I did, it must have been really bad😄

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On 3/31/2021 at 10:28 PM, Tom Guernsey said:

The one I commented on earlier by Anže Rozman & Andrew Christie.

 

Yes, I know… I was hoping for more background info on what the music was written for. IMDb has it as a highly rated Brian Cox series, so I suppose it's worth watching.

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1177671617_13-GabrieleRoberto...Schnabel-Artwork.jpg

 

Quite lovely, actually (never heard of the composer before). Soft-strumming guitars, Santaolalla-style, cautious pianos and dreamy indie textures - trying to capture the creative process of the famous artist.

 

On 3/17/2021 at 11:36 AM, Thor said:

Thin Blue Line (Music from the Original TV Series Tunna blå linjen) - Album  by Irya Gmeyner, Martin Hederos | Spotify

 

TUNNA BLÅ LINJEN [THE THIN BLUE LINE] - a new Swedish cop show, with music by Soundtrack of Our Lives member Martin Hederos, and Irya Gmeyner. This was a total surprise -- gorgeous electronic music, voices, melodies, haunting textures. This will no doubt be in the very, very top of my list when 2021's best TV music is being selected.

 

....and on to this again - easily my favourite score of 2021 so far. I'm even tempted to let it compete among the film scores when I'll do the annual lists. Even if it's TV and not film.

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Ew0secjVkAQhxkw.jpg

 

Pessi is good when he does slow, explorative textures. There is always a lot of musical content there. This is no exception.

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ab67616d0000b273ad6b6491b271650da6f8df6a

 

This has some great, individual cues, but is obviously way, way too long at almost 2 hours. Yet another project added to the 'whittling' list. There is a superb 50-60 minute album hiding in here somewhere. Eshkeri has always been reliable, and is one of the more interesting composers to do a BBC nature documentary post-Fenton.

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3 hours ago, Thor said:

ab67616d0000b273ad6b6491b271650da6f8df6a

 

This has some great, individual cues, but is obviously way, way too long at almost 2 hours. Yet another project added to the 'whittling' list. There is a superb 50-60 minute album hiding in here somewhere. Eshkeri has always been reliable, and is one of the more interesting composers to do a BBC nature documentary post-Fenton.

Exactly my thoughts. Some really strong music but at 2 hours the album is too long

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(Given this did release this year, I suppose it could count as fitting this thread. Your mileage will vary.)

 

Gave this another listen after I discussed it in another thread. Had a much better time with it, now that I knew what to expect. It's great at really displaying the many ideas of the score (especially some that didn't quite get as much play on the OST), and generally is paced quite well. The more demo-y parts didn't really bother me this time, and I'm much more content with a lot of the arrangements present here. That being said, more than Xperiments does this feel like a supplementary album to the main score, as several ideas still end up feeling better defined there than they do here. As such, I think the DP album might be stronger as a solo listen, but this now is about as strong in my eyes.

 

I think I finally figured out why the love material in WW84 hadn't quite been able to click with me til now. It feels so overly romantic for what I come to expect out of Zimmer that it almost ends up feeling a bit artificial sounding. For which given what the film was trying to convey with the relationship, actually fits quite nicely and is brilliant if that's what the intention was. I don't know if I quite admire it still, but I definitely respect it more now listening to "In Love" (probably the best rendition of the theme and a highlight of the album).

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