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What Is The Last Score You Listened To From 2022?


Jay

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But Predator 2 is not a "reuse", Silvestri wrote it!

 

Anyway, I wish he owns his music and can sell it only for a BIG BIG BIG amount of money.

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Just now, Bespin said:

But Predator 2 is not a "reuse", Silvestri wrote it!

He reused a lot! The arrangement varies but the core material is almost identical.

 

Karol

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Silvestri returning to the do a sequel score to his own score is completely different from Debney & Jackman aping his material in those decades-later lame movies

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2 minutes ago, Jay said:

I completely disagree, the sequel score has a ton stuff going on that can't be found in the original score any where

Examples?

 

Karol

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Sarah Scachner - Prey

 

Just finished my first listen of the OST album.  It's pretty boring, mostly sound-design-y stuff, no big orchestral moments anywhere.

 

I didn't notice any Silvestri material at all on the album

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John Debney - Luck

 

Hey that was pretty good - a classic orchestral score!  It's not the most catchy/memorable theme ever, but it gets the job done

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23 hours ago, crocodile said:

Examples?

 

Karol

 

The very first track, the Main Titles, does not repeat any Predator 1 themes until a bit towards the end

 

 

The voodoo guy's material is pretty distinctive as well

 

 

 

 

 

Even this suspense cue is different than how he would have handled a similar scene in the first movie

 

 

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1 hour ago, Jay said:

 

The very first track, the Main Titles, does not repeat any Predator 1 themes until a bit towards the end

 

 

The voodoo guy's material is pretty distinctive as well

 

 

 

 

 

Even this suspense cue is different than how he would have handled a similar scene in the first movie

 

 

Thank you Jay. I will gladly revisit the score with those bits in mind.

 

Karol

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9 hours ago, Jay said:

John Debney - Luck

 

Hey that was pretty good - a classic orchestral score!  It's not the most catchy/memorable theme ever, but it gets the job done

 

Listened to the first cue... which sounds like something JNH would write for a 90s rom-com. Love it already. 

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9 hours ago, Jay said:

The very first track, the Main Titles, does not repeat any Predator 1 themes until a bit towards the end.

 

The whole end credits are a substantial upgrade in concept and execution. I cannot really compare the scores fairly, because for years Predator 2 was the only one available, but the firs tone seems more like a training exercise for part 2.

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This is Joan Collins by Lindsay Wright. Never heard of Lindsay Wright but the music is absolutely terrific, jazzy, sassy and bold, much like the Dame herself, and at only 18 minutes, it doesn't outstay its welcome.

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On 05/08/2022 at 7:45 PM, Jay said:

John Debney - Luck

 

Hey that was pretty good - a classic orchestral score!  It's not the most catchy/memorable theme ever, but it gets the job done

 

Solid orchestrations all around. But thematically speaking it sounds like it had a hard battle against temp tracks.

 

I mean, I like the theme that opens the album (and also its grandiose reprise towards the end of "One Year Later"). But it does remind of Marc Shaiman's style - particularly the stuff MS cooked for Simon Birch and maybe Patch Adams

 

There are also hints of Bruce Broughton's "Baby's Day Out" around (e.g. 2:30 in "Bad Luck is Good/Fixing the Randomizer").

 

Perhaps Silvestri's "Polar Express" was there among the temps too. (e.g. 3:33 in the same cue from above, or 0:27 in "A Forever Family". It appears in so many other cues earlier and later.) If not "Polar Express", it could actually have beeen Joe Hisaishi's theme from "Spirited Away" (e.g. track 19, titled "Reprise")

 

"Meet Rootie" also has that same thing going on, though this jazz version actually reminds of Randy Newman's "You've Got A Friend in Me" title song from the Toy Story films!

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Wallfish technically *could*, but this is another waivable adagio light score with a bit of asian pseudo exoticisms mixed in. It remains a very muted year, maybe appropriately so...

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Only listened once to this score. But this is quite a nice interview.

 

I love when they talk about how they got together on the project. I thought that was very funny.

 

"Mychael Danna: It started with a conversation about us complaining about our respective brothers, who we often work with together, and kind of jokingly, we said, ‘Oh, we should switch our brothers out for each other,’ and we both were up for this project [Return of Space] and both of us [are] huge fans of Free Solo — a masterpiece — and then we thought, ‘This is it. This is our moment to work together.’ "

 

https://www.btlnews.com/interviews/return-to-space-composers-mychael-danna-harry-gregson-williams-interview/

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Only Murders In The Building S2 - Siddhartha Khosla

 

This is definitely in my top scores of the year.

There is just something about the music for this series that just does something with me. I love it sooo much.

 

The recording sounds 'fuller' than season 1, which I like, and is crystal clear. The performance of the orchestra, mostly strings & woodwinds, is truly gorgeous.

But the piano is the standout this season. And the performance of this has an extra layer after the interviews with Khosla & the pianist with The Score Podcast.

The operatic vocal performances in the last cue is a wonderful addition to the score, after the voices in the Main Title.

 

I'm still quite amazed how Khosla gets so much emotion out of simply one or two themes. With lots of different variations, tempos, orchestration this really makes for a very easy but rewarding listening experience.

 

I haven't been a fan of his This Is Us scores, but this is just terrific. And I hope he gets to do more orchestral stuff, because he's clearly very good at it.

 

Favorite tracks:

We're Back, Bunny's Painting, Vantage, In Paris, Poor Lil' Bunny, Texting Lucy, Worse Than Watergate, Puzzled & The Boxer's Lover.

 

The Emmy's this year for Dramatic score is really a hard one. Between the five nominees. All deserve to win. 

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On 08/08/2022 at 6:55 AM, publicist said:

Wallfish technically *could*, but this is another waivable adagio light score with a bit of asian pseudo exoticisms mixed in. It remains a very muted year, maybe appropriately so...

 

I watched most of the film a couple of evenings ago (I skimmed past some of the slower bits - it's too long) and the score was pretty much unnoticeable for me apart from one or two instances near the end.

 

Pemberton had a similar challenge with The Rescue earlier in the year. Both scores heavy on the tension scoring with a few moments of more noticeable emotional music, but very little opportunity for more normal scoring.

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Clint Mansell's latest for a psychological horror movie called ‘SHE WILL’. The film explores the story of a woman who after a double mastectomy, goes to a healing retreat in rural Scotland with her young nurse Desi. She discovers that the process of such surgery opens up questions about her very existence, as well as unleashing mysterious forces to enact revenge within her dreams. 

 

On the atmospheric side, though set apart by the syncopations of a chanting chorus (the main theme, i. e. in Incantation). It's one of the more interesting psycho horror scores in some time, it will take some concentration to become ensnared in its grip.

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Balfe - Secret Headquarters

 

The opening track is solid with real epic orchestral music (even though it seems to repeat the same material twice).

 

The rest is pretty much terrible, the definition of McDonalds music. Lifeless synth coolness and 'vibes' and pseudo-90s Zimmer anthems but with zero of the charm or the melodic finesse. This sounds more like Edelman but with up/downgraded gear.

 

Sad/appropriate to see Balfe churning out this nonsense, especially as he (or one of his minions) did show they can do great stuff with Black Widow

 

 

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47 minutes ago, thestat said:

Balfe - Secret Headquarters

 

The opening track is solid with real epic orchestral music (even though it seems to repeat the same material twice).

 

The rest is pretty much terrible, the definition of McDonalds music. Lifeless synth coolness and 'vibes' and pseudo-90s Zimmer anthems but with zero of the charm or the melodic finesse. This sounds more like Edelman but with up/downgraded gear.

 

Sad/appropriate to see Balfe churning out this nonsense, especially as he (or one of his minions) did show they can do great stuff with Black Widow

 

 

I haven’t listened to this and don’t really plan to but I get the sense that a lot of Balfe’s work is kind of autopilot work. Nothing ever pushes the envelope musically and it’s mostly retreads of other successful scores or styles of scoring. He seems like a nice bloke though and he should pick his projects more carefully and not churn out so many half hearted scores.

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Indeed Balfe is best on projects that seem to have more creative freedom for him or are more passion projects.

 

I think his scores got better after the 1st season of His Dark Materials. After that Bad Boys For Life, The Tomorrow War, The Wheel Of Time & Silent Night all had really great music music from him.

 

I still think Black Widow is his best score. It has the most orchestral sound and the way he handles the Russian heritage of the characters is incredible. The choir in that score is incredible. This is still very much in his RCP sound, but somehow this completely works from beginning to end. It's that sound done right in 2021, which was sorely lacking for a good few years.

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It's competent, but expectedly coarse in its epic action moments (it seems that neither cinema nor tv music can't cut through the sound effects without overbearing drums banging). The quieter moments are much more enjoyable and in small spades there are even little nuggets (Scherzo for Violin and Swords). I predict a lot of unwarranted praise for this, but grand gestures do not make great music, Wagner be damned.

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Bear McCreary - The Lord of the Rings: The Rings of Power

 

I enjoyed this OST album much more than I was expecting to!  I never heard any mind-blowing greatness, but I consistent heard good music throughout.  It's nice that 45 minutes of its 150 minute runtime is developed theme suites, which makes it easier to pick up on the themes in the score cue tracks.  I didn't care for the sung songs, though :folder:

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Locke & Key: Season 3 - Torin Borrowdale

 

I've really enjoyed the scores for the past 2 seasons and this one is no different.

The thing that stands out, for me, in the scores is the writing for woodwinds. There are some truly great moments.

 

I think the first season score is still my favorite, but all 3 are very good. The albums get shorter each season, but I don't really mind it. This way the score doens't outstay it's welcome.

I'll be looking forward to see what Borrowdale does next

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51 minutes ago, Disco Stu said:

Three Thousand Years of Longing - Junkie

 

I made it 3 tracks

Jon Broxton said on the MMUK's Facebook group that this was Holkenborg's best score yet (i.e., it was not junk :lol:)

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Hmmm, I wouldn't call any of what I heard "challenging," a word I would reserve for like Schoenberg music or whatever.  Unless you mean "challenging to keeping yourself from pressing forward track"

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3000 years of longing is okay I suppose. The theme is very good and strangely very Yared-esque (I guess for that English Patient longing pathos etc) but the rest is just.....there.

On 30/08/2022 at 5:25 PM, JNHFan2000 said:

Locke & Key: Season 3 - Torin Borrowdale

 

I've really enjoyed the scores for the past 2 seasons and this one is no different.

The thing that stands out, for me, in the scores is the writing for woodwinds. There are some truly great moments.

 

I think the first season score is still my favorite, but all 3 are very good. The albums get shorter each season, but I don't really mind it. This way the score doens't outstay it's welcome.

I'll be looking forward to see what Borrowdale does next

 

Very much agree - Borrowdale's work here is brilliant. I thought the first season score was reminiscent of Navarette's Pan's Labyrinth in its use of mysterious strings and woodwinds:

 

 Pan must have been a temp-track here:

 

 

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12 hours ago, Disco Stu said:

I didn't realize that Phoebe Waller-Bridge has a sister, Isobel, who's a film/tv composer.

 

Isn't this nice?  I think it's nice.

 

 

Yes, that's nice! I discovered her a couple years ago in the score for the new version of Emma, starting Anya Taylor-Joy. Her score is so fun and pretty, and you should definitely give it a listen. Here's the suite with all the main themes for reference:

 

 

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17 hours ago, Disco Stu said:

I didn't realize that Phoebe Waller-Bridge has a sister, Isobel, who's a film/tv composer.

 

They collaborated on Fleabag; that's where I became aware of her. She also did an episode of Black Mirror.

17 hours ago, Disco Stu said:

 

Sounds a bit like a cross between Giacchino's Married Life and Glass's Tyrol Concerto.

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15 minutes ago, Disco Stu said:

I saw a clip of Fleabag once and found it repellent.  No thank you.

It is the whole point of it though. I absolutely hated the character when I first started watching it. Only to realise she hates herself even more than I ever could. What start as a nuisance ended up being quite intriguing character building. Wouldn't write it off based on clips. 

 

Karol

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Three Thousand Years Of Longing - Tom Holkenborg

 

I haven't seen the film, so solely basing this on my listen to the album.

 

The theme introduced in 'Djinn Theme' and later fully explored in the 3rd cue is gorgeous. It grows out of a middle-eastern sounding cello into the full string section. It is very beautiful and reminds me of the cue Many Mothers from Mad Max.

Further statements in Three Years Later & the end credits are wonderful.

 

Cues like Two Brothers & Ceaseless Game Of Power are mostly moments of drums, sound design, low strings and some sort of wind texture. It's miles and miles below the terrific theme mentioned above and doesn't work that well on album. A bit of a chore to get through, but I guess it'll work in the film.

 

As A Consequence Of Zefir & A Djinn's Oblivion are more downstated, but offer some nice solo performances of a few instruments. Not my cup of tea, but I don't mind it.

 

The difference, for me, with this score and others like Mad Max, Deadpool etc. is that those scores were just dumb noise and loud mixing scores. On this score, even the more abstract cues, still feel like a lot of though has been put in them. This also true of the album presentation. At 33 minutes of score + the song, sung beautifully by Matteo Bocelli and based on the main theme in both Italian and English, the album doesn't outstay it's welcome.

 

I won't listen much to the more abstract cues, from just a solo listening experience they are not very interesting, but cues with the main theme I will definitely revisit.

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Pinocchio by Alan Silvestri

 

I posted my thoughts on that movie's thread, but basically it has some Polar Express fantasy mixed with Avengers-like action music. If you like Silvestri's Marvel scores, you'll surely like the second half of this album.

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On 03/09/2022 at 8:36 AM, crocodile said:

It is the whole point of it though. I absolutely hated the character when I first started watching it. Only to realise she hates herself even more than I ever could. What start as a nuisance ended up being quite intriguing character building. Wouldn't write it off based on clips. 

 

Karol

Sort of like if Jar Jar realized he was annoying, he would be a compelling character?  

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Cars On The Road - Jake Monaco

 

The main song I like. Nice country vibe, and when the meldoy appears in the score a few times it's pleasant. But other than that it's way to scatterbrained and mickey mousey. Not really a likeable listening experience.

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Expansive-to-intimate, rather traditional wildlife score, with unusual prominence given to viola solos. From time to time (Scout's Dinner Date) you could be fooled into thinking it was a *real* good old score.

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Finally listened to the Prey OST in full by Sarah Schachner.  I'm sure it works well in the film (which I'll get around to watching I swear!).  It's certainly very taut and tense music.  The melodic music that is there sounds indistinct to me. Doesn't work at all on its own, which is fine I suppose.

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Yea, I was not impressed with that album when I heard it, but want to revisit it now that I've seen the film.  The score is very effective in the film itself!

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