BRIAN TYLER

Ehh, I want that shooter icon!

Yeah he looks cool! Liked the previous clip of AVP2, although its a bit overwhelming. See if the rest of the album will hopefully has some moments of respite, before making any judgements.

Jordi, you pulled out a Jordi. Not in musical change of mind, but in your language skills.

I would say Track 4 "Requiem Epilogue" would be a sufficient hint to answer that question yourself.

Look again.

Well, amazon.de says "Epilogue", but either way, you´re question is answered.

But what if you're NOW playing a Brian Tyler score?
Surely it should go into the Now Playing thread...
Or if you think he wrote the best score of the decade. Then it should go into the Dissection Of A Joke thread...

I mean if we're going to go so OFF-track like in the examples above!

Here I copy my large composition (almost a dissertation in forum means ) from NP thread:

Demetris, these cranky obsessions let me find a voice of Michael Giacchino and in the end respect him even more than I really loved him after his Williams references called the first MoH scores. After two or three scores and even action tracks I managed to find a style of Marco Beltrami, who I rather dislike except Hellboy and I plan to hear I Am Dina, which I've heard really good opinions of.

This all happened because people start going over how great Brian Tyler is as a composer in a situation when I can't even define his personality. And a musical personality is something I am looking for. Not homages, temp-track love, but something very distinct. Aside from musical voice there are some things I rate highly with other composers. Michael Giacchino is one of the most intelligent composers working today. With Horner I've had (he lost it recently) a big child going in great emotional diatribes over the drama of the movies, no matter how it screws up the movie sometimes. With Zimmer I have either intelligence or his weird sense of humour, often present in an ironic twist in his most serious dramatic works, like Hannibal and his later "romantic comedy" remark. With Goldsmith I have his intelligent rhythmic patterns and odd meters. Most of today living and writing composers don't have that. They just do their jobs better or worse, sadly, mostly worse. From this generation, I would say Mansell is a very positive difference (for lack of the idiom).

Tyler loves what he does? Great. But I need something else. I mean, everybody working in the industry except people doing classical music as their main job love what their do. He is passionate perhaps more than anybody else and that has him having lots of fun while doing such a loud and, yes!, admittedly referential work like Alien vs. Predator. But being subtly referential and taking pages from other works, which he does here too, e.g. in a piece I always mention, which is Taking Sides, is something completely different *even* in a largely homage work. If I would write such a referential work, I would take and fully credit a theme from one of the movies and, frankly, I'd take Silvestri's Predator main title rhythm (I think he does actually). I wouldn't take Horner's Main Title, because it's really Gayane's Adagio biggrin . And then work around these basic patterns.

OK, easy to say for me, but I don't like myself in that matter and I never said I was a rather good composer, because I rip everybody and I know that. That's why I seldom show my own works, really. I had no education *at all* and can't do more than ripping off Zimmer and Horner, now probably I could add Brian Tyler to that matter, because, yes, there is a pattern he does repeat in almost every action score he does, it's very obvious to me in Decimation Proclamation. But many composers feature similar patterns today. That's why I take a lot of modern writing composers above Tyler and him being so praised like he is is something that does annoy me, because for me he is like everybody else from his generation except largely stylish Powell and aggressively percussive Giacchino using sul ponticello tremolo to a great effect, better than anybody else today.

Do I wish I could write something like AVP myself? Yes and no. Yes, because it is a very complex work outside of my own abilities as a composer. That I don't take away from Tyler, though I really wonder of Elhai's input in Tyler works. Me not having as good equipments wouldn't even let me use half of the effects he uses. No, because I would love to get a very strict compositional identity, without clear influences by other composers and temp-track. I said that many times above. For me, complexity is not enough. I can prefer a very simple work to a complex action piece if I find that work much more inspired and emotional.

Large rant here, but lack of a very strong identity and musical personality and being somewhat lackluster in his performances, I can't say what's wrong with them, I find the orchestra performs his works somewhat by the numbers always, makes me feel he is a way overrated composer. Partition didn't change my mind in that matter.

I was afraid to state that, actually, but it's not far from my opinion.

Why do you have to compare him, constantly, with other composers? Isn't it a bit unfair (especially when you compare him with Michael Giacchino, a modern-day genius if you ask me and i am not exaggerating even the slightest, i am dead-serious)? I strongly think that generally, every composer must be given the chance and studied / regarded withing his own frame of work.



Pawel, Tyler's hugely appreciated in the business partly due to his unending enthusiasm and passion for film music which overflows everything and it's impressively fused with absolute professionalism. Very few composers will go excitingly talking out loud and clearly about other composers' works using specific examples and names, almost as "looney" and passionate as we do here and this is something everybody adores in Tyler.

But that's just a matter of personality and it might not be as important. However, what you have to acknowledge and understand is that Tyler has an evidently enormous musicianship and knowledge of SO MANY DIFFERENT MUSICAL GENRES / INSTRUMENTS that so few other people in the industry actually do, nowadays. The man is SO old school in his approach to film music whilst simultaneously at the peak of technological knowledge and that's something that's clearly evident in his work which in VIOLENT contrast to the plethora of examples of totally ridiculous and amateuristic usage of electronics in film music (Wiseman's FLOOD being a fresh one) he showcases probably the most logical, well fit-in and metered usage of electronics today after JOHN POWELL and HARRY GREGSON WILLIAMS.

Furthermore, his orchestral writing abilities are undeniably IMPRESSIVE but what's most lovable within Tyler's approach to the movies is that whereas many other composers would quickly step in, do the job without too much hustle, provide something generic and fast to merely serve the movie, TYLER has the time, will and passion necessary to actually sit down and bang the hell out of the musical side of virtually each and every project he writes for; who could have EVER came up with such energetic, dense and rousing stuff for like WAR, TOKYO DRIFT or even AVPR or the crap that is the movie DARKNESS FALLS?! i can assure you, VERY FEW and you know that to be true, there are everyday examples all around us.

I can wholly respect (as i numerously said in the recent past) your wish not to like him or his music and there are stuff by Tyler i don't like either but you simply can't burn down to the ground everything that's related to his name just because you don't appreciate his work or you can't get into it, imo. I, for one, would deeply wish that half the younger composers working today in the industry actually shared his immerse passion and love for our beloved genre; things could have been SO different; for that alone, i hugely respect him.

I wonder if they don't love it actually. Somehow I can imagine Tyler loving temp-track.

That's SO stretching it and so not cool.

I don't understand you people and your obsession with the temp track.

Do you have ethical problems with it? Whats your deal? If you want to get rid of composers falling into the trap of souning similar...then eliminate the temp track altogether. They are paid to do a job, not be creative.

This is HOLLYWOOD. It's BUSINESS first, and an art second, is this not common sense? We don't have studios cutting films to match music a la Korngold. It's a different time and a different world.


You can continue to shit on Tyler, but thankfully it will not hinder his hiring for films and I will continue to buy his scores and listen to his music, because I enjoy it, and if it sounds like something else? So what. Chances are I don't have that something else, so why should I care?


Most of the time, you people and your "that sounds like ____" is such a stretch that you have to do a deep analysis of the music and be looking for it.


Star Wars sounds like Korngold, I guess we should throw it out too.