Alan Silvestri's LARA CROFT TOMB RAIDER: THE CRADLE OF LIFE (2003) - NEW! 2022 Varese Deluxe Edition

[Faleel 5,357]

3 minutes ago, Jay said:

The one of her on the horse?

 

What's weird is I swear the OST also used this swimsuit image too?  Kind of like how Starship Troopers OST had two different covers?

The song album?

 

[Jay 37,369]

Ah!  That probably explains it, yea!

[Giftheck 916]

Wasn't this done with the LSO? Something of a through-line since they also did Peter Connelly's Tomb Raider: The Angel of Darkness, which also released in 2003.

 

Sidenote edit: You saw Silvestri everywhere in the 2000s in a way that you see Giacchino everywhere these days.

[JohnTheBaptist 57]

On 07/10/2022 at 11:21 AM, Jay said:

You bring a lot of negative energy to this board across a variety of different threads and topics.

We are all fans of film music in this forum, and should strive to be appreciative of the artform in general and the labels who spend their time and money to bring more of it to us.

 

A label releasing a score you don't care for is not an indication that they chose it over a score that you do.  Things come out when they get approved, and they can only work on what the entities who hold the rights let them work on to begin with

Wasn't trying to be negative, just found it funny is all. And considering I actually like RoP and the score, it's interesting that you single me out as a a negative voice.

[thestat 348]

Not the greatest score in the world but that Flower Battle cue is amazing. Graeme Revell replaced Michael Kamen I think on the first one, back when GR was the Balfe of his day. There are loads and loads of better GR scores than the first Tomb Raider which is terribly uninspired and hurried:

Street Fighter

The Crow

Child's Play 2

The Negotiator

The Saint etc etc

 

It's also anyone's guess how much of any of the above was written by GR.....another Balfe comparison.....

[mxsch 115]

Varese dropped the ball on this.  
I've heard SFX from the movie at least in one track and there is strange artifacts not present on the original album. Stick to it. 
Also track naming is strange. How second part of the Flower Pagoda battle precedes first one?

[Jay 37,369]

3 minutes ago, mxsch said:

How second part of the Flower Pagoda battle precedes first one?

 

On 04/10/2022 at 8:50 AM, Jay said:

I suspect that Paramount's official cue list titling striking again; I'd guess that the album track by that name is comprised of multiple cues, and one that appears in the film chronologically first is in the track after one that appears chronologically after.

[mxsch 115]

On 10/10/2022 at 7:02 PM, Giftheck said:

Wasn't this done with the LSO? Something of a through-line since they also did Peter Connelly's Tomb Raider: The Angel of Darkness, which also released in 2003.

 

Sidenote edit: You saw Silvestri everywhere in the 2000s in a way that you see Giacchino everywhere these days.

It was done with Sinfonia of London

[Luke Skywalker 1,795]

3 hours ago, mxsch said:

Varese dropped the ball on this.  
I've heard SFX from the movie at least in one track and there is strange artifacts not present on the original album. Stick to it. 

Woah, where?

[mxsch 115]

3 minutes ago, Luke Skywalker said:

Woah, where?

Try She Escaped - Break In at 2:22 a bit later

It is clearly a sound of someone running

[Jay 37,369]

I just pulled up that track on Spotify and don't hear anything unusual.

[mstrox 6,651]

I don’t hear anything either.  Some interesting synth noises, perhaps, but all musical.

[Richard Penna 3,694]

Same here - nothing wrong with the track as far as I can tell.

[Giftheck 916]

Definitely synth noises.

[mxsch 115]

Okay but try this if we are now talking about Varese doing shitty releases and Silvestri

This track clearly contains SFX from the movie and I have no idea how it made it into the album. Even recording sessions leak is clean

It is the biggest fuck-up on the commercial album that I've ever heard

 

[Richard Penna 3,694]

I hear something a bit odd from about 0:20 but it's hard to tell what it is - I feel movie sfx would be a lot clearer, especially if they'd used, for example, a music + sfx stem.

 

There's the occasional instance of orchestra/player/soundstage noise in recordings sometimes in quieter bits that you could be mistaking for movie sfx.

[mxsch 115]

17 minutes ago, Richard Penna said:

Where are the sfx in that track?

 

There's the occasional instance of orchestra/player/soundstage noise in recordings sometimes in quieter bits that you could be mistaking for movie sfx.

It is clearly a SFX, listen to this fragment. There are shooting, talking, computer noises, helicopter sounds and someting else

Whoever did this album assembly definitely fucked this up

I can't find this track from the sessions on YT for comparison but it is clean, except there are some strange artifacts on the whole sessions leak

[Jay 37,369]

I hear nothing unusual in that track either.

 

You got something wacky going on with your computer man

[mxsch 115]

53 minutes ago, Jay said:

I hear nothing unusual in that track either.

 

You got something wacky going on with your computer man

I've listened to this on like 5 devices so you just can't hear it

And this is almost unhearable without headphones

[Disco Stu 15,495]

I hear the SFX in the GI Joe track (waaaay waaaay up in the treble), but not the Tomb Raider

[mxsch 115]

14 minutes ago, Disco Stu said:

I hear the SFX in the GI Joe track (waaaay waaaay up in the treble), but not the Tomb Raider

Yeah it seems that I've misheard some weird synth passage as SFX in Tomb Raider

[Florian 4]

On 06/10/2022 at 6:39 AM, Richard Penna said:

Also one of the sample loops he uses is a variation on this library track, although either sped up, or the guy who wrote that library cut took it from somewhere else.

 

That's a loop from one of Spectrasonics' sample libraries. These popped up in TV and movie scores all over the place in the late 1990s and into the 2000s, and continue to do so today on occasion. I noticed them cropping up so often that about 20 years ago I started a list of everywhere I heard them. The first Tomb Raider film uses them liberally, for example.

 

What irks me with regards to this release -- and I wonder if someone can help -- is the total lack of credit for Craig Armstrong's badass cue, "Lab Scene", which is the second part of "She Escaped/Break In" on Disc Two. The cue is credited in the film's end credits, the DE liner notes mention that the cue remains in the film, and it finally gets its debut release on the DE... but it's renamed "Break In" and no credit is given to Armstrong at all. Why is this?

 

I know legalities are complex when it comes to issuing film scores and even writing about them (copyrights, NDAs, unions, etc.) but I waited nearly 20 years to get this piece, and yet it's been renamed and implicitly credited to Silvestri? It's clearly Armstrong's "Lab Scene" cue, so can anyone explain the story behind this?

 

(As an aside, is the following track -- "Shoot Her Between The Eyes" -- Silvestri's original cue for the lab scene before Jan De Bont opted to keep Armstrong's cue instead? I've not seen the film in years, but I am sure the cue name refers to a line in the lab scene and the fact that it is marked as unused suggests it may be Silvestri's rejected piece.)

[Faleel 5,357]

1 hour ago, Florian said:

 

That's a loop from one of Spectrasonics' sample libraries. These popped up in TV and movie scores all over the place in the late 1990s and into the 2000s, and continue to do so today on occasion. I noticed them cropping up so often that about 20 years ago I started a list of everywhere I heard them. The first Tomb Raider film uses them liberally, for example.

Distorted Reality?

[Florian 4]

23 hours ago, Clockwork Angel said:

Distorted Reality?

I think it may be from Liquid Grooves or Metamorphosis, I'd need to check.

[Richard Penna 3,694]

 

[Richard Penna 3,694]

On 14/10/2022 at 3:56 PM, mxsch said:

Yeah it seems that I've misheard some weird synth passage as SFX in Tomb Raider

 

There have been several occasions where something that I'd swear was an effect added by the 'sound team' was actually part of the score, or what sounds eerily like bleed-through from the film's fx stem is just some odd instrument or noise in the orchestra.

 

Plus there are a lot of very detailed recordings where it feels like you can literally hear every chair shuffle from every player.

 

My point being that it happens too often that someone hears a cue for the first time expecting a clinical, 'clean' studio orchestral sound, hears something they don't expect or want and immediately decides the album's producer has messed up.

 

Of course, there are exceptions to that. One occasion I'm aware of when a producer did  mess up is the supposed music-only track (well, music + ambience) on one of the BBC's Attenborough DVDs. Someone had the right idea - mute the centre channel containing the narration - but whoever physically did it either didn't know what they were doing or were really lazy because they removed the centre channel for the entire mix, losing the centre music channel as well.

[Florian 4]

17 hours ago, Richard Penna said:

 

I was right