John Powell's HOW TO TRAIN YOUR DRAGON 2 (2014) - 2022 Varese Deluxe Edition

[Tallguy 3,385]

4 hours ago, Richard Penna said:

0:25-1:25 in Reprise is a real hidden gem

 

If this is the part I think it is (Hiccup's closing narration) then there's nothing hidden about this gem. It's the track I'm looking forward to most. 

[A. A. Ron 1,742]

There were a lot of things I was afraid they might screw up on this release. There were a bunch of 10-20 second snippets of music on the OST that weren’t on the FYC and vice versa. There were a ton of differences in mix between the two albums as well. Having played most of it twice now, I’m pleased to report that my fears were pretty much completely unfounded and this album came out fantastic! Even editing the film version of Dragon Racing turned out to be pretty easy.
 

After doing that, I added in the album version of Where No One Goes, recreated two additional album tracks from the new master just because I liked them (“Hiccup’s Gonna Be Chief / Drago’s Coming” and “For the Dancing and the Dreaming”) and as a final touch threw in the FSM interviews Tim Burden conducted with Powell when the film came out. Now I’ve got a fairly exhaustive personal album for this score that I should be satisfied with for years to come. I’ll be shocked if this isn’t my favorite soundtrack release of the year.

[Jay 37,353]

2 minutes ago, A. A. Ron said:

There were a bunch of 10-20 second snippets of music on the OST that weren’t on the FYC

 

Where can those be found on this release? 

[Holko 9,525]

6 hours ago, Richard Penna said:

0:25-1:25 in Reprise is a real hidden gem - I had no idea what to expect from this version. And those strings around 2:00 are just insane, but somehow they work over the brass. I absolutely love this cue as a way of ending the main program.

And that ending with instruments doubling the vocal line!

[Holko 9,525]

The HTTYD1 demos are more like worse sounding versions of the film cues, the only difference being the mix, with some different instrument balances making some details more audible. These ones for 2 are more like alternate takes with some different orchestrational or phrasing differences all over the place.

[bollemanneke 3,343]

Shipped!

[Richard Penna 3,686]

9 hours ago, Tallguy said:

 

If this is the part I think it is (Hiccup's closing narration) then there's nothing hidden about this gem. It's the track I'm looking forward to most. 

 

I've seen the movie once, close to when it came out, hence zero familiarity with the score in the film. I had little idea what to anticipate with these variations.

[Jay 37,353]

Maybe this is a dumb question, but if track 2 "Where No One Goes" is the song with a new ending, and track 34 "Where No One Goes Reprise" the song with a new opening, then can reverse phasing be used to get the New Ending and New Opening clean?

 

Similarly, can the beginning track 2 be combined with the ending of track 34 to re-create the album / full version of the song, but with DE sound quality?

[Holko 9,525]

23 minutes ago, Jay said:

can the beginning track 2 be combined with the ending of track 34 to re-create the album / full version of the song, but with DE sound quality?

The album version has a lot of the orchestra mixed out, the DE mixes it back in for both of the tracks, so technically no.

 

23 minutes ago, Jay said:

Maybe this is a dumb question, but if track 2 "Where No One Goes" is the song with a new ending, and track 34 "Where No One Goes Reprise" the song with a new opening, then can reverse phasing be used to get the New Ending and New Opening clean?

Will look into it shortly! The new opening is something like instrumental excerpts put together with some new elements and a unique bridge to the song's opening.

[Jay 37,353]

13 minutes ago, Holko said:

The album version has a lot of the orchestra mixed out, the DE mixes it back in for both of the tracks, so technically no.

 

Sorry, but that's exactly what I meant - the album version of the song in terms of composition, the the DE mix in terms of instruments heard.

 

13 minutes ago, Holko said:

Will look into it shortly!

 

[Holko 9,525]

5 minutes ago, Jay said:

Sorry, but that's exactly what I meant - the album version of the song in terms of composition, the the DE mix in terms of instruments heard.

 

Oh, then yeah, sure. Or you could use the opening of Track 34 too for some extra bits.

[scallenger 483]

For me the "reprise" is the true full song, and the first appearance feels more like a fun introduction to it. I still feel the album version of the song is mixed so differently that it is worth just including instead of recreating it in this new mix. Makes for a more interesting variation of it to have, imo. In a way I am kind of torn on what mix I prefer for the song honestly. Maybe I am just used to it after so many years, lol.

 

 

[Richard Penna 3,686]

For me the only reason to potentially prefer the album mix is that the brass in the bridge isn't underneath those rushing strings, but I think they work and make the track more exciting. I'm not rushing to put the original mix in my playlist.

[Holko 9,525]

1 hour ago, Jay said:

if track 2 "Where No One Goes" is the song with a new ending, and track 34 "Where No One Goes Reprise" the song with a new opening, then can reverse phasing be used to get the New Ending and New Opening clean?

Not really. The mix is different, the drums continue over the new ending, however I did manage to get a pretty good orchestral instrumental pretty easily!

[Anthony 572]

Guess I'm in the minority in that I have absolutely zero interest in the songs - they won't even be in my playlist once I've put it together.

[Jay 37,353]

I don't like the song either but I am curious about Powell's intros and outros for it

[Richard Penna 3,686]

I love the song - Powell's orchestral bits are the icing on the cake 

 

Does Dragon's Lair have a slight Stargate vibe for anyone else?

[crocodile 8,008]

 

Karol

[scallenger 483]

3 hours ago, Richard Penna said:

I love the song - Powell's orchestral bits are the icing on the cake 

 

Does Dragon's Lair have a slight Stargate vibe for anyone else?

 

I absolutely love the song. I mean, it's basically a song made after Powell's theme, and of course they both worked on it. So it feels very much like a piece of the score, unlike the other two songs in the trilogy.

[crocodile 8,008]

I like the song too. It flows very nicely with the rest of the score. I like how Jonsi is integrated more and more into the scores. Doing the song in the first, collaborating with Powell on another one in the second and then making an appearance as a vocalist in the Hidden World cue from the third movie.

 

I'm listening to the album right now. It is utterly wonderful. The original album was great, this is even better. It is definitely bigger of an upgrade than the first DE - there's simply more interesting extra material on this album. 

 

Karol - already hoping for the third DE

[Jay 37,353]

Just got done with my first listen (well, I haven't checked out the demos yet).  Wow, what a score!

 

The old themes returning all sound great, and some get twisted and turned in so many new ways, it's almost like they are new themes.  Astrid's theme especially!

 

I like how different it is from the first score - no one can call this a retread.  Even Williams has written sequel scores that stick way closer to their first entries than this score ever does.  Sure, it has a similar-ish opening and climax, but everything in between is so wildly different!  I haven't even seen the movie and I can tell just from the music it's a different kind of story than the first film was.

 

I can't provide any thoughts on how this compares to the OST, FYC or film, but as a followup to my beloved HTTYD 1 DE (one of my most listened to albums of music in the past 5 years), this is an instant hit for me!

 

I can't wait to get my physical copy and delve into the liner notes!  I actually pulled my HTTYD1 DE off the shelf and am going to re-read those liners first.

 

 

Oh, and I just came across this:

 

 

[crocodile 8,008]

Oh yes, read Tom Grieving's notes for this and The Iron Giant. Both lovely to read. I think he's definitely among the better contributors out there. 

 

Karol

[Yavar Moradi 2,599]

Tim Greiving is the best writer currently working for Varese, IMO.

 

Yavar

[Faleel 5,346]

1 hour ago, Jay said:

 

I like how different it is from the first score - no one can call this a retread. 

Wierd thing is I have actually seen people say that! (There are some lifted sections, but not that much!)

[Anthony 572]

2 hours ago, Jay said:

Just got done with my first listen (well, I haven't checked out the demos yet).  Wow, what a score!

 

The old themes returning all sound great, and some get twisted and turned in so many new ways, it's almost like they are new themes.  Astrid's theme especially!

 

I like how different it is from the first score - no one can call this a retread.  Even Williams has written sequel scores that stick way closer to their first entries than this score ever does.  Sure, it has a similar-ish opening and climax, but everything in between is so wildly different!  I haven't even seen the movie and I can tell just from the music it's a different kind of story than the first film was.

 

I can't provide any thoughts on how this compares to the OST, FYC or film, but as a followup to my beloved HTTYD 1 DE (one of my most listened to albums of music in the past 5 years), this is an instant hit for me!

 

I can't wait to get my physical copy and delve into the liner notes!  I actually pulled my HTTYD1 DE off the shelf and am going to re-read those liners first.

 

 

Oh, and I just came across this:

 

 

 

I like the number of times the term "bullshitting" appeared in that without being edited out. 

[Tallguy 3,385]

46 minutes ago, Power Windows said:

Wierd thing is I have actually seen people say that! (There are some lifted sections, but not that much!)

 

My brother is a professional musician and a Powell fan and he says this. I swear it's all because of Dragon Racing.

 

To me Powell plays the old themes in Dragon Racing and then goes off the rails with the new stuff. Stoik's Ship makes me cry EVERY damn time.

[A. A. Ron 1,742]

20 hours ago, A. A. Ron said:

There were a bunch of 10-20 second snippets of music on the OST that weren’t on the FYC

 

20 hours ago, Jay said:

Where can those be found on this release? 

 

Here are the differences between editions that I've managed to document thus far. I'm sure there are more differences in the mix than I've listed here, but this should be fairly comprehensive as far as microedits and crossfades go. Track numbers and time stamps are from the deluxe edition.

 

1-01 Dragon Racing (Film Opening)

The complete cue is still exclusive to the FYC

 

1-02 Dragon Racing (Original Opening)

This was previously exclusive to the OST

 

1-03 Where No One Goes

Obviously unique to the deluxe edition

 

1-04 Together We Map the World

0:55-1:02 was unique to the OST

2:16-END was unique to the FYC

 

1-05 Hiccup's Gonna Be the Chief

The FYC has a microedit from about 2:52-3:06

 

1-07 Drago's Coming

The OST omitted the first 21 seconds or so

 

1-08 Eret Has Visitors

The deluxe has a short silence in the middle, the FYC was previously the only version with a clean ending

 

1-09 Me Likey

This cue was previously exclusive to the FYC

 

1-11 Hiccup and Toothless Attacked

The OST supposedly has a different mix of the choral bits; the FYC and deluxe edition match the film. Back in 2014 people were saying the film version sounded off because the choral overlays weren't synchronized with each other. I haven't looked further into this.

 

1-12 Dragon's Lair

Exclusive to the deluxe edition

 

1-14 Valka's Dragon Sanctuary

The FYC and deluxe have a clean ending

 

1-15 Hiccup and Valka Bond

The FYC and deluxe have a clean opening

 

1-18 Flying with Mother

The FYC trims about 2 seconds from the beginning. Some fans have claimed the film uses a different mix from the OST, but I haven't looked into it

 

1-21 Stoick Finds Beauty

The deluxe has 2 silences in the middle. The OST removes the first silence with an ugly crossfade. The film/FYC dial out the first 17 seconds or so of the cue.

 

1-22 Get 'Em You Son of Eret

This cue was previously exclusive to the FYC, but it omitted the first 16 seconds or so

 

1-23 Courting Song

This cue was previously exclusive to the OST, the deluxe is slightly longer and has a clean opening and additional dialogue

 

1-24 Courting Song (Instrumental)

The deluxe and the FYC have a clean ending

 

1-25 Battle of the Bewilderbeast

4:15-4:19 was unique to the OST

6:17-END was unique to the OST

 

2-03 Off the Valhalla

The harp is more prominent in the mix on the FYC

 

2-04 Riding to Drago's

This cue was previously exclusive to the FYC

 

2-05 Alpha Comes to Berk

The FYC has a microedit at the beginning, missing roughly 0:06-0:10

The FYC has a very prominent bass or electric guitar in the mix from about 1:35-1:48 -- it's really cool and you should check it out if you haven't. I don't remember but I believe this instrument may have also appeared exclusively or at least more prominently in the FYC versions of "Toothless Comes Back" and "Challenging the Alpha"

The FYC omits 4 brass notes from about 2:04-2:07

 

2-06 Toothless Comes Back

The FYC is missing the first 9 seconds or so

 

2-07 Challenging the Alpha

The OST has a microedit from about 0:27-0:37, the FYC and deluxe have a clean ending

 

2-08 The Chief Has Come Home

The FYC and deluxe have a clean opening

 

2-09 Where No One Goes Reprise

Obviously exclusive to the deluxe edition

 

Where No One Goes (Album Version)

Still unique to the OST

 

Into a Fantasy (Alexander Rybak)

Still unique to European editions of the OST

[Jay 37,353]

Wow that's great, thank you!!! 

[Faleel 5,346]

15 hours ago, Tallguy said:

 

My brother is a professional musician and a Powell fan and he says this. I swear it's all because of Dragon Racing.

 

To me Powell plays the old themes in Dragon Racing and then goes off the rails with the new stuff. Stoik's Ship makes me cry EVERY damn time.

There are the times he references Wounded in Hiccup and Valka Bond, and to Wings in Challenging the Alpha

 

And of course Bewilderbeast shares some similarities with Over/Less Okay

[Tallguy 3,385]

19 minutes ago, Power Windows said:

There are the times he references Wounded in Hiccup and Valka Bond, and to Wings in Challenging the Alpha

 

And of course Bewilderbeast shares some similarities with Over/Less Okay

 

I'm not saying he abandons the old themes. I'm just saying he doesn't quote them as directly as he does in Dragon Racing.

[Holko 9,525]

Previous analysis for HTTYD1:

 

Powell manages the great feat of following a great score up with a great sequel; his sound evolved, the score evolved, he wrote all new themes but also reprises every single old one at least once.

 

New themes: [number of appearances]

Lost and Found: 17

The main theme of this score delivering the emotional content in versatile ways – both sadness and happiness, big or small.

Map of the World: 13

A romantic theme for the characters’ perception of the world growing, eventually used as a theme for Eret.

Good Alpha: 9

A grand and regal theme depicting leadership.

Power (Drago A): 9

A sinister melody appearing both as quiet scheming and loud villainy.

Control (Drago B): 8

Violent stabs of 3-note figures mostly scoring Drago instructing his Alpha.

Courtship (Stoick and Valka): 7

A new love theme born from the courting song.

Valka: 5

A theme specific for Valka and her sanctuary.

Hiccup the Chief: 5

A theme for Hiccup maturing.

Unstable Ground: 4

A setting for strings, mostly sowing around the same note with little pitch variance but very dynamically breathing volume.

Loss: 2

Appearing during and after Stoick’s funeral.

 

Returning themes:

Night Fury (Friendship Arpeggio): 12

Appearing as an ostinato or standalone statements, best known as Forbidden Friendship’s main or Test Drive’s underlying melody.

Friendship: 10

Mostly standing for Hiccup and Toothless’ relationship, it can also be taken as the intro to…

Flying: 11

The soaring melody for the pair’s joyous maneuvers and freedom.

Winds of Change (Hiccup): 6

A gentle theme for Hiccup and the Dragon Riders, or changing minds in general.

Viking Fun (Berk): 9

A fun theme for the island and its inhabitants.

Viking Heroism + Sheep: 12

A heroic viking theme, the ending of which is converted twice into a lowkey choral setting for the island’s sheep.

Dragons: 10

Originally a serpentine melody that eventually softened up as the vikings got to know and befriend dragons, now it appears in various settings.

Love theme: 6

Still employed romantically for Hiccup and Astrid’s continuing relationship, but also appearing in a new setting on solo choir for Ruffnut’s many sudden crushes.

 

briefly reprised themes:

Fighting Dragons: 2

A small utility motif used in the final battle.

Friendly Dragons: 2

A motif that’s not 100% friendly and gentle but illustrates the species getting to know and trust each other.

Viking Warrior: 2

Another viking theme, less overtly heroic than the other.

Viking Warrior 2 (Stoick): 3

And yet another one, related to Winds of Change, often playing together with it.

Falling: 2

A setting and some melodies for the entire orchestra to use as they fit, for things briefly going wrong but about to go right.

Fate: 1

A descending melody for Hiccup’s personality.

Jig: 1

A fun dance tune originally used in the tail testing montage, See You Tomorrow.

 

(1m1-INS) - Dragon Racing (Alternate Film Version)

Quiet strings introduce a brass Friendship, then percussion introduces Viking Fun and Flying on winds, mirroring the first score’s film version opening closely.

(1m1) - Dragon Racing (Original Opening Version)

The same melodic content with faster tempo and Friendship on grand brass fanfares. All instrument groups quietly play around with Viking Fun until a lot of buildup explodes it in a grand string + later bagpipes version. We take a slight detour into an exploratory interlude: a unique pipe bridge then a reprise follow, then a pompous marching Winds of Change, a Night Fury on harp, Fate on strings and brass, the Jig on solo violin with a flute joining, then we rejoin the grand dragon race with its speedier tempo. Viking Heroism scores the Riders’ maneuvers, a quick quiet cut to solo choir scores their target sheep, Viking Fun and Heroism come back, the Love theme supports Astrid’s victory, and another Viking Fun puts a bow on this overture throwing us right back into the HTTYD sonic and thematic universe.

(1m2s) - Where No One Goes

We first see Hiccup and Toothless excitedly flying to Jónsi’s song supported by Powell’s orchestra, plucked instruments and madly sowing strings laying down a Night Fury base with Flying coming in soaring for the instrumental breaks.

(1m3-4) - Together, We Map the World

We jump right into the new material with Map of the World growing from solo instruments to full string section, then playing more on flute. A playful oboe Dragons accompany Toothless’ antics, then Map of the World returns over a base reminiscent of Forbidden Friendship’s glassy textures. Viking Fun on uncharacteristic quiet instruments and a fanfare end the track as Astrid arrives.

(1m5) - Hiccup’s Gonna Be Chief (1m5)

Their titular discussion introduces Hiccup the Chief, which fades away into a comfortable Night Fury in a setting similar to Where’s Hiccup passed around on woodwinds, the Love theme following it up on harp, winds and hardanger. As they notice smoke on the horizon, strings colden the atmosphere and Map of the World comes back on a solo horn. Grand choral orchestra plays as they rush to investigate, a Night Fury and some Map of the Worlds providing the climax for the village covered in a giant ice shard, turning into an action Night Fury and some of the unique action bits from Counter Attack as they are attacked and downed.

(1m6) - Eret Educates Hiccup

Unstable Ground is introduced as Eret the dragon-trapper tells Hiccup about Drago, but they soon decide to escape to a heroic Map of the World with a harp Night Fury coda.

(2m7) - Drago’s Coming

As Stoick hears the news, he orders Berk to close up and get ready, to a militarised Viking Fun, with a string Viking Warrior 2 interlude.

(2m8) - Eret Has Visitors

Hiccup and Astrid come back to the trapper village to more Map of the World, Hiccup the Chief comedically accompanying his surrender.

(2m9) - Me Likey

More Hiccup the Chief starts the cue until the Dragon-riders arrive to save them with Viking Warrior on various brass. until Ruffnut’s new Love Theme version interrupts it, a quick Winds of Change putting a stop to it.

(2m10) - War is What He Wants

As Stoick tells Hiccup about Drago in a flashback, we get our first Power on quiet clarinet, turning into a loud Control as he burns the meeting hall to the ground. A subdued Viking Heroism is followed by Hiccup the Chief, showing he still thinks he can change the villain’s mind.

(2m11) - Hiccup and Toothless Attacked

Unstable Ground accompanies Hiccup riding Toothless into the wild to think about things, but suddenly he’s attacked to partial Lost and Found segments, already indicating the identity of the masked rider. Toothless is abandoned alone sinking into the water to a quiet choir+accordion Lost and Found, until he’s also grabbed and taken to uncharacteristic Good Alpha variations, again not giving away the intent but secretly indicating it.

(2m12) - Dragon’s Lair

Hiccup charms the dragons and their leader with his tricks to Friendly Dragons, the opening of Viking Heroism, ending up on a still not fully major key Good Alpha.

(2m13) - Should I Know You?

Valka is introduced on choir as she reveals herself, then as we cut to Stoick and Gobber, we change to Viking Fun, the B and C phrases of Flying, a variation of Dragons as they find Hiccup’s helmet, then more Viking Fun.

(2m14) - Valka’s Dragon Sanctuary

Glorious complete renditions of Valka.

(2m15-16) - Hiccup & Valka Bond

Map of the World comes back as Hiccup’s worldview expands even more. Glassy textures lead to a second statement. Power on flute and choir briefly darkens the cue, then an appropriately darker Friendship leads to Friendly Dragons and a brief Viking Heroism as Hiccup explains how he met Toothless.

(3m17-18) - Valka’s Flash - Good Alpha

Dragons comes back in its original darker form but quickly turns to a light lullaby Lost and Found, which grows to a full blasting orchestra and choir for the tragic moment of Stoick and Hiccup losing Valka, closing with a solo piano. Good Alpha comes in to lift the spirits, finally in its grand form when we see, well, this nest’s Good Alpha. After brief flutes almost prefacing material from the third score, we get more Good Alpha on choir and strings.

(3m19) - I Grew Facial Hair For You

The Dragon Riders hang out, scored by a dejected Dragons, but once they decide to move and catch Eret to lead them to Drago, the Love Theme plays very motivatedly.

(3m20) - Flying With Mother

A gorgeous flying waltz of Lost and Found with pipes and choir, with a Map of the World interlude on harp and strings, and another on oboe and strings.

(3m21) - Can We Start Over?

Valka starts the cue, then a calm solo piano Friendship and Flying reminiscent of Where’s Hiccup leads to a similar Lost and Found plus a Valka on slow strings.

(3m22) - Meet Drago

A militaristic Power introduces the villain’s headquarters. Dragons briefly plays as the riders are captured, Power plays quietly again, but a Control statement kicks it back into full gear and it plays in full force on choir and strings as he asserts his dominance over their dragons. Control continues to play low in percussion and staggered strings, with some Winds of Change in a not quite heroic setting trying to overtake it. Viking Heroism attempts the same, but Control comes back heralding a big Power again as Drago decides to move against the Berkians.

(3m25-26) - Stoick Finds Beauty

Gentle Dragons variations score Toothless’ antics with little dragons, then Viking Warrior comes back for Stoick finding Hiccup. As he notices Valka, though, the tone shifts suddenly into quiet gentle amazement, a slow Valka variant giving way to Lost and Found on hardanger as they kiss.

(3m27) - Get’ Em You Son of Eret

The trapper decides to switch sides and rescue the Riders, Map of the World transforming to a swashbucklingly heroic fanfare for him. Viking Heroism gets a respectful string reading, then another twinkly Map of the World shows up in the ensuing buildup.

(3m28s) - Courting Song

Stoick and Valka sing „their” song, introducing Courtship.

(4m29) - Courting Song Instrumental

Light variations on Courtship.

(4m30) - Battle of the Bewilderbeast

In the biggest action cue of the score, we get a reprise of Over / Less Okay as a basis, filled with all kinds of new additions and little changes. We set off with a dramatic Good Alpha as the iceberg gets shot, marking the arrival of Drago’s army. The family and dragons decide quickly to pick up the fight, a motivated Dragons leading to a reprise of battle fanfares from Over/Less Okay, Control briefly interrupting as the dragons are trapped. Viking Heroism on brass heralds the Riders’ arrival, properly scored by Winds of Change and Viking Warrior 2. Ruffnut’s Love Theme plays again, then Fighting Dragons also returns to further call back to the first movie’s battle, until Night Fury + Friendship interrupts it when the family joins in too. After a dark Night Fury and more Fighting Dragons, Flying comes in and is interrupted by a fanfare and a grand Good Alpha. Now that all players are set up, Falling and Flying finally join again to give the good guys the upper hand. Drago isn’t all done yet, however, Power screams out on brass and a slower statement scores his Bad Alpha coming out of the water. When Stoick runs in to save Valka, Courtship plays as a fanfare, and another heroic setting of Dragons and Viking Heroism plays, Good Alpha also scoring the good alpha going to battle. Control is getting ready in the percussion as Viking Heroism plays again, but then it gets more and more intense, even victorious as the bad alpha triumphs.

(4m31) - Hiccup Confronts Drago

Courtship transforms into an action motif as Stoick goes to help Valka, Valka also joins in. A very lowkey Control scores Drago talking to Hiccup, then Power plays until Viking Heroism tries to take over. A variant of Control on bagpipes and percussion screams with a menacing low brass Dragons underneath as he hypnotises Toothless into attacking Hiccup, Night Fury taking over as he gets ready to shoot, a held string note being all that remains after Stoick sacrifices himself instead.

(4m32) - Stoick Saves Hiccup

A harmonium (?) + hardanger Lost and Found mourns for Stoick together with Map of the World on strings, with a Good Alpha variant playing as Drago’s army gathers and leaves for Berk.

(4m33) - Off to Valhalla

As Stoick’s funeral ship leaves, Courtship plays on choir and harp, strings joining in, paving the way for Loss on pipes and choir. Courtship returns on brass, harp and strings. A woodwind solo then strings play Loss again, then as Hiccup gains motivation, Flying plays on a solo horn, then the entire brass section, building momentum towards…

(4m35) - Riding to Drago’s

Winds of Change plus Viking Warrior 2 (again showing the unity and closeness of Hiccup and Stoick) in an energetic fun setting, scoring their ride on the little dragons, Falling ending the cue.

(4m36-37) - Alpha Comes to Berk

Unstable Ground plus Power scores the Berkians’ dragons suddenly all leaving at the Bad Alpha’s call, confusing their human friends. Friendship scores the Riders’ appearance, Viking Fun’s ending leading to Flying as they arrive home. Another variant of Viking Fun follows, then the Sheep setting of Viking Heroism’s ending as they distract the Alpha.

(5m38) - Toothless Comes Back

Unstable Ground plays again as Hiccup approaches Toothless, being ridden by Drago and mind-controlled by the Alpha, and tries to call him back by forgiving him. Lost and Found eventually starts breaking through on choir, until Hiccup succeeds and it cries out in joy. Brass fanfares mark the turn of the tide, and Night Fury comes in in a new setting for their maneuvers, Lost and Found playing over it in key moments. Friendship + Night Fury closes with their success.

(5m39a) - Challenging the Alpha

After the Alpha freezes Toothless but he breaks out and jumps to Hiccup’s defense, Lost and Found plays again in many new rhythmic variants. For the final barrage, Dragons and Viking Heroism take over.

(5m39b) - The Chief Has Come Home

Toothless is the new alpha, and Good Alpha finally comes back again in a grand regal setting. Winds of Change scores the Berkians being reunited with their dragons first in big, then quiet settings, Courtship scores Valka being accepted in too, then the Love Theme leads to Hiccup the Chief as the elder accepts him as his father’s successor. Friendship cries out to mark the occasion.

(5m40) - Where No One Goes Reprise

Instrumental selections of the song start the final montage of Berk rebuilding, consisting of various Night Fury variants, a Friendship overlay early on, and the Flying instrumental break. A brass fanfare buildup gives way to the song proper in its Deluxe mix with prominent orchestra to round the score off.

[Tallguy 3,385]

Good heavens! And thank you! 

[TSMefford 1,509]

Mine has arrived! Can't wait to listen.

[Jay 37,353]

Wow Holko, great work there!  Can't wait to read it after I see the movie

 

Also, my copy arrived in today's mail!

[JTN 2,008]

On 16/03/2022 at 8:10 PM, Holko said:

Mine was already in Budapest this morning, they processed the customs paper I had to send in my afternoon, I'll have to pay it in cash tomorrow. Last time I order small from outside the EU.

Én ugyanígy jártam a Varése Scream díszdoboza kapcsán, amikor a UPS szürreálisan magas vámot állapított meg. Vissza is küldtem a csomagot Angliába, és visszautalták a termék árát. Sajnos az USA-beli és brit kiadóktól nem érdemes közvetlenül rendelni az EU-ba. 

[Holko 9,525]

7 minutes ago, JTW said:

Én ugyanígy jártam a Varése Scream díszdoboza kapcsán, amikor a UPS szürreálisan magas vámot állapított meg. Vissza is küldtem a csomagot Angliába, és visszautalták a termék árát. Sajnos az USA-beli és brit kiadóktól nem érdemes közvetlenül rendelni az EU-ba. 

Csak erre az egy HTTYD2 CDre tízezret dobtak a rohadékok.

[Bespin 8,480]

Geez, I must have activated the auto translation button on my phone by error, I can't read anything!

[JTN 2,008]

16 minutes ago, Holko said:

Csak erre az egy HTTYD2 CDre tízezret dobtak a rohadékok.

Elmebeteg árakat szabnak, egyszerűen szürreális, hogy mire megkapod a CD-t, még egyszer ki kell fizetned az árát. Ennyi erővel kettőt is vehetnénk. És ráadásul még vámkezelő nyilatkozatokat kell töltögetni, emailben küldözgetni, sőt, amikor a Magyar Posta szórakozik, még el is kell menni érte a postára. A múltkor két hónapig vártam egy La-La Land csomagra. Egy ismerősöm megrendelte a Music Boxtól, és másnap megkapta, hamarabb, mint én, aki a megjelenés napján, 21:00-kor helyi idő szerint megrendeltem. Ekkor döntöttem el, hogy soha többet nem rendelek EU-n kívülről CD-t. 

[Holko 9,525]

17 minutes ago, JTW said:

Elmebeteg árakat szabnak, egyszerűen szürreális, hogy mire megkapod a CD-t, még egyszer ki kell fizetned az árát. Ennyi erővel kettőt is vehetnénk. És ráadásul még vámkezelő nyilatkozatokat kell töltögetni, emailben küldözgetni, sőt, amikor a Magyar Posta szórakozik, még el is kell menni érte a postára. A múltkor két hónapig vártam egy La-La Land csomagra. Egy ismerősöm megrendelte a Music Boxtól, és másnap megkapta, hamarabb, mint én, aki a megjelenés napján, 21:00-kor helyi idő szerint megrendeltem. Ekkor döntöttem el, hogy soha többet nem rendelek EU-n kívülről CD-t. 

Még a régi szép időkben amikor lehetett, a LLL és Intrada alacsony értékűnek jelölte a csomagokat hogy átcsússzanak a vám alatt. Így is ült rajta a posta egy hétig és maga a szállítás drága volt de 1-2 leárazáskor megérte.

31 minutes ago, Bespin said:

Geez, I must have activated the auto translation button on my phone by error, I can't read anything!

[JTN 2,008]

Just now, Holko said:

Még a régi szép időkben amikor lehetett, a LLL és Intrada alacsony értékűnek jelölte a csomagokat hogy átcsússzanak a vám alatt. Így is ült rajta a posta egy hétig és maga a szállítás drága volt de 1-2 leárazáskor megérte.

Igen, régebben gond nélkül működött minden, és volt, hogy Burbankből 7 nap alatt megérkezett a csomag, és a postás kihozta. Ma már csak bedobnak egy cetlit, hogy szíveskedjek átvenni a postán, de csak ha előtte befizettem az általuk megállapított vámot, ami egyszer 6000 Ft. volt, pedig 1500 Ft-nál többet nem kérhetnének. Rablás. 

A Music Box sem olcsó, de nincs vám, és 17 Euro a postaköltség, akárhány CD-t rendelsz, és a feladástól számított 2-3 nap alatt mindig megjön a csomag (ami keménydobozban van, nem úgy, mint a LLL-nél - Intrada és Quartet kifogástalanul csomagol), és a DHL leteszi az ajtó elé, vagy ahová kérem. 

14 minutes ago, Holko said:

Még a régi szép időkben amikor lehetett, a LLL és Intrada alacsony értékűnek jelölte a csomagokat hogy átcsússzanak a vám alatt. Így is ült rajta a posta egy hétig és maga a szállítás drága volt de 1-2 leárazáskor megérte.

Visszatérve a HTTYD2-re: Alig várom, hogy megérkezzen hétfőn. Tavaly interjút készítettem John Powellel, az egyik kedvenc filmzeneszerzőm. 

[Holko 9,525]

7 minutes ago, JTW said:

Igen, régebben gond nélkül működött minden, és volt, hogy Burbankből 7 nap alatt megérkezett a csomag, és a postás kihozta. Ma már csak bedobnak egy cetlit, hogy szíveskedjek átvenni a postán, de csak ha előtte befizettem az általuk megállapított vámot, ami egyszer 6000 Ft. volt, pedig 1500 Ft-nál többet nem kérhetnének. Rablás. 

A Music Box sem olcsó, de nincs vám, és 17 Euro a postaköltség, akárhány CD-t rendelsz, és a feladástól számított 2-3 nap alatt mindig megjön a csomag (ami keménydobozban van, nem úgy, mint a LLL-nél - Intrada és Quartet kifogástalanul csomagol), és a DHL leteszi az ajtó elé, vagy ahová kérem. 

Na de most már olvasd a csodás analíziseimet.

[Jurassic Shark 12,070]

2 minutes ago, Holko said:

anal

 

Geez, Holko, watch your language.

[Holko 9,525]

37 minutes ago, JTW said:

Tavaly interjút készítettem John Powellel

Úúúúúúúú, hol olvasható?

[JTN 2,008]

2 minutes ago, Holko said:

Úúúúúúúú, hol olvasható?

Hallható, Zoom interjú volt. A Klasszik Rádió Cinemusic műsorában ment le, elvileg az archívumukban megtalálható. 

Just now, JTW said:

Hallható, Zoom interjú volt. A Klasszik Rádió Cinemusic műsorában ment le, elvileg az archívumukban megtalálható. Ha szeretnéd, el tudom küldeni a szerkesztetlen változatot. 

 

[Jay 37,353]

Sorry gents, we have an English only policy on this forum (though I realize now it's not mentioned in the current rules post, I know it used to be...)

[Holko 9,525]

Das ist scheiße!

[Jurassic Shark 12,070]

6 minutes ago, Jay said:

though I realize now it's not mentioned in the current rules post

 

Then it's not a rule.

[JTN 2,008]

My copy arrived today along with THE IRON GIANT DE. Looking forward to listening to it (them). 

[Incanus 5,714]

Got my copy today alongside The Iron Giant. Damn I love this score, loved it in the OST album form which is a great distillation of the music but it is just that little bit more satisfying in complete form. This is how you score a sequel! Also it sounds awesome to my ears on this new release!

[Jurassic Shark 12,070]

It's a sequel?