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      CommentAuthorThor
    • CommentTimeMar 24th 2017
    DreamTheater wrote
    DT hates BT. Let's leave it at that. wave


    Leave BT (Brian Transeau) out of it; he's done some fine work. wink
    I am extremely serious.
  1. Ironically both of them worked on The Fast and the Furious franchise...
    • CommentAuthorLars
    • CommentTimeMar 25th 2017
    tylers best action scores for me are The Fast And The Furious: Tokyo Drift and Eagle Eye. and Fast & Furious had with Landtrain at least a great opening track. sadly tyler isn't very good in writing themes. u can hear that also in this new score. absolutely boring stuff. kind of a copy of his Battle: L.A. score, plus the whole idea with the guitar. his Triple X score is even worse. its not a good sign, when a randy edelman score from 2002 for this franchise is much more fun than a 2017 score by a better composer like tyler. i also cant understand the praise for his turtle score to be honest. the orchestration is good, but the main theme is again the weakest part of the score. jablonsky did a much better job in that point with part 2.
  2. I agree about the theme from Teenage Mutant Ninja Turtles, but there's enough inspiration in the orchestration and action writing to overcome that for me. Jablonsky's theme was indeed better, even if the overall score was worse.

    Eagle Eye remains my favorite score of his. Perhaps not coincidental that it was also the first score of his I heard.
  3. Edmund Meinerts wrote
    I think we've had this conversation before, Volker, but I highly doubt you haven't heard Gladiator...


    Ohhh, w.t.f. biggrin tongue
    "Did you see anything out there?" - "No. Why? What happened?" - "The ship just got herpes."
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      CommentAuthorDemetris
    • CommentTimeMar 29th 2017
    Thor wrote
    DreamTheater wrote
    DT hates BT. Let's leave it at that. wave


    Leave BT (Brian Transeau) out of it; he's done some fine work. wink


    Oh count me in on that bandwagon too. I think BT and Tyler Bates are some of the worst things to have ever happened to film music. And that other rza dude. Thankfully they are mostly goners nowadays wink
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTimeMar 29th 2017 edited
    DreamTheater wrote
    So a score about the mighty Power Rangers gets the most derivative, bland piece of work by a very high in demand composer / rock star.

    This is so surprising to me that I can't express how disappointing this is.

    Ok, I'll get my coat. Couldn't resist though... tongue


    But what did you expect? the movie seems laughable teenage-aiming crap. Like most of these kinds of films these days. The theme is nice though. And definitely better than his xxx noisefest. But generally i'd say that after his gorgeous fast five score (perhaps his best work to date imo) he has gone a bit downhill since. Lost interest? too much work and too many paychecks? who knows.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDreamTheater
    • CommentTimeMar 29th 2017 edited
    I remember a time when movies were aimed at teenagers AND had great scores. Why do you think I became a film score fan 30 years ago?

    Let me say it this way: I'm VERY glad I wasn't born a generation later.

    Fast Five gorgeous? I love the movie dude, but there's no way that the Tyler music plays a role in that.

    And thanks for baiting me once again in discussing when I really shouldn't be focusing on this thread. rolleyes
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  4. Demetris wrote
    DreamTheater wrote
    So a score about the mighty Power Rangers gets the most derivative, bland piece of work by a very high in demand composer / rock star.

    This is so surprising to me that I can't express how disappointing this is.

    Ok, I'll get my coat. Couldn't resist though... tongue


    But what did you expect? the movie seems laughable teenage-aiming crap. Like most of these kinds of films these days. The theme is nice though. And definitely better than his xxx noisefest. But generally i'd say that after his gorgeous fast five score (perhaps his best work to date imo) he has gone a bit downhill since. Lost interest? too much work and too many paychecks? who knows.


    Except Eagle Eye (still hands-down his best for me) my favorite scores came around or after Fast Five, actually. That would be Far Cry 3 (the one which made me reassess his work), Iron Man 3, the Now You See Me films (quite awful, saw a bit of the first part, but great scores) and Truth (a nice change of pace, I, for one, find for example Columbus Circle to have a structural flaw... a regular problem I have with his stuff).
    http://www.filmmusic.pl - Polish Film Music Review Website
  5. Far Cry 3 sucks. One OK theme surrounded by a bunch of experimental dubstep nonsense. Why is it THAT score of all things that made you give Tyler a second chance, Pawel?
  6. First, I don't think it's half bad, I actually like it.

    Second and the reason why it made me reassess his career is that it's the first score where I felt he was very coherent in creating and maintaining a vision of a score throughout the whole running time. One of my biggest problems with his work was that I found him to have a structural/conceptual ADHD. He would essentially try an idea until the editing told him otherwise. Eagle Eye was a notable exception, but the ostinato/Bourne influence in that one helped him maintain a coherent sound (and the fact that it was very brute-force all the time also helped). The ADHD element, however, makes him to be a very effective composer in the film.

    Last time I had the coherence issue was a moment in Truth where this score, with constant subtle movement and having quite a bit of restraint, has a short moment (is it half a minute) where he goes full-on desperate percussion-plus-dissonance which doesn't fit the sound of the rest of the score at all. Why did he do it does escape me, as this particular moment was, actually, cut from the film.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorBobdH
    • CommentTimeMar 30th 2017
    What did you think of The Killing Room, Pawel? For me, that is his score in which he created a sound which he carried through consistently, has a strong narrative construct, and is interesting throughout despite its lengthy running time. It's a score that still makes me think Brian really is an accomplished composer capable of creating something interesting, apart from nifty rhythms and orchestral rock (of which Eagle Eye is simply a stronger version of, but is still part of that same style Brian simply loves to create but isn't really pushing any creative buttons of his).
    Procrastinate now. Don't put it off.
  7. Killing Room is a score I REALLY like (ah, the Partian elements there), but one I seriously got into after FC3. I mean, I heard it, I found it nice, but never really properly analyzed it outside "oh, sounds interesting". That said, I haven't heard Disappointments Room yet.

    Back then there are moments which made me scratch my head. He creates something which is somewhat (if inspired by Desplat) interesting like Columbus Circle, but the score not only written for a different ensemble (a string octet), but also featuring a very interesting concept of alternating minor and major key suddenly devolves into some more noisy (yes, noisy) action.

    Or something like Rambo. Frankly, I was more warm to the Rambo outing until I actually got much deeper (thank you, Intrada) into Goldsmith's original First Blood. I ended up scratching my head not just regarding the arrangement of Home Coming (slightly too harsh) but also the misattribution of the betrayal motif from part two (what were you thinking, Sly, when you temped it there?!). Another issue was when I really got into Eagle Eye and got back to the Rambo score I noticed that for Tyler standards, well, the orchestrations are some of his weakest, which I don't really understand.

    I liked Final Destination 5 far more than I thought I would (Fates Bridge is a fantastic cue), but when he went full temp-track in one cue (or maybe not?) I was wondering what the hell is American Beauty is doing in a horror film. Also, to end this little summary, I have to say, that I find the score to the fourth part of Fast and Furious his worst. However, I do like probably his most original score - Bug. Which nobody else does, seemingly.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorDemetris
    • CommentTimeMar 30th 2017
    Fast Five, Killing Room, Rambo all good stuff. The rest is mostly passable. Disappointments Room is, well, Disappointing and completely forgettable.
    Love Maintitles. It's full of Wanders.
  8. Edmund Meinerts wrote
    Far Cry 3 sucks. One OK theme surrounded by a bunch of experimental dubstep nonsense. Why is it THAT score of all things that made you give Tyler a second chance, Pawel?


    Sorry for once again commenting in a negative way, but I've played the game recently and I heard the score in context and I wholeheartedly agree with Edmund. It adds absolutely nothing in terms of excitement or even ambience, in that it somehow fits with the gameplay or the setting. It's just how I feel in general about Tyler, so it still shocks me to see this guy remains so popular among film score fans. Or more importantly production studios.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
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      CommentAuthorDemetris
    • CommentTimeApr 21st 2017
    The best theme he wrote for the ff franchice, from fast five. glad to hear a nice redux on it, powerful!

    https://www.youtube.com/watch?v=36lc8Jkx1VM
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSouthall
    • CommentTimeJun 11th 2017
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      CommentAuthorAidabaida
    • CommentTimeJun 12th 2017 edited
    This is probably my favorite piece of music by Tyler, and its not even film music.
    https://www.youtube.com/watch?v=0wS_tQUjy1k
    Bach's music is heartless and robotic.
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      CommentAuthorThor
    • CommentTimeJun 12th 2017
    Aidabaida wrote
    This is probably my favorite piece of music by Tyler, and its not even film music.
    https://www.youtube.com/watch?v=SLCuL-K39eQ


    confused
    I am extremely serious.
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      CommentAuthorAidabaida
    • CommentTimeJun 12th 2017
    Wrong link, haha! This the one I meant: https://www.youtube.com/watch?v=0wS_tQUjy1k
    Bach's music is heartless and robotic.
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      CommentAuthorAidabaida
    • CommentTimeJun 12th 2017
    Oddly enough, if Night on Bald Mountain was composed by Tyler, it would've worked in my original post. I like it better than anything else he's composed, and its not film music. But yeah, I meant Drift and Fall Again, written by his Madsonik persona. It's a great song, with incredible orchestrations.
    Bach's music is heartless and robotic.
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      CommentAuthorThor
    • CommentTimeJun 12th 2017
    Yeah, it's pretty good. I wish he did more of that and less of the 'wallpaper' things.
    I am extremely serious.
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      CommentAuthorAidabaida
    • CommentTimeJun 12th 2017
    If you go to Tyler's Channel on YouTube, it seems he wants to make film music popular with the "cool kids". He's really talented, and I wish he'd do more with electronics.
    Bach's music is heartless and robotic.
  9. Thor wrote
    Yeah, it's pretty good. I wish he did more of that and less of the 'wallpaper' things.


    Actually I prefer when he works with actual orchestras, but that's because his electronica sensibilities are even more wallpaper than his orchestral writing.
    http://www.filmmusic.pl - Polish Film Music Review Website
  10. Aidabaida wrote
    Wrong link, haha! This the one I meant: https://www.youtube.com/watch?v=0wS_tQUjy1k


    Hey, those retrowave sensibilities are right up my alley!

    Volker
    "Did you see anything out there?" - "No. Why? What happened?" - "The ship just got herpes."
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      CommentAuthorAidabaida
    • CommentTimeJun 12th 2017
    I like the rising pitch throughout, creating some dissonance.
    Bach's music is heartless and robotic.
  11. My review of THE MUMMY, for anyone who's interested:

    https://moviemusicuk.us/2017/06/20/the- … ian-tyler/

    Jon