[Closed] Now Playing XVII

NP: Babe (Nigel Westlake)

After totally brilliant Goldsmith I was in the mood for something light, but great nonetheless... I am listening to my (mostly) dialogue-free copy, which is how the score should have been presented in the first place. I decided to make my own, after being totally frustrated with the album: singing mice, talking pigs, and hysterical humans. Dammit I want the music, and the music alone. Which is exactly what I did! Aaaah... much better! Some of this music is truly more beautiful than needless words can describe.

4 STARS

Well, after the first track I thought "here we go" But I have to say, considering some of the negative comments directed at this score, that I really quite enjoyed it, the pan flutes can go take a hike but some of the action material really grabbed me, there was a particular riff that was very catchy; and I thought the Barryesque underscore in tracks 8 & 9 were splendid.

I'll have to give it a second listen to really get a handle on it but I have to say that I'm looking forward to a second listen.

Unfortunately the score does end on a bit of a whimper on album, there's no final cue to wrap the whole thing up. But that's a minor quibble I suppose, because I really enjoy the score. The action music is particularly bad-ass, ala 'Time To Get Out', 'The Palio', 'Pursuit At Port Au Prince' and 'Target Terminated'. I like the build up of tension Arnold creates in 'Night At The Opera', that worked particularly well in the film.

Though I've never understood why people seem to have a problem with the pan flutes? They sound fine to me.

'Field Trip'?



Yep, I just had a look. Hell has frozen over!

It'll take a few listens to acquaint myself with track titles.

Hell?.....

I agree with everything Jordi said too.

then you should listen to Black Beauty and Sommersby quick if you haven't done so

Those two are probably my all time favourite Elfman scores.

I have a lot of respect for Elfman, he has his own unique voice in film music and has deservedly carved himself a niche amongst the A-list composers, unfortunately his is a style that doesn't gel with me very often.

Can you name a "thick" composer!?

Played today: OORLOGSWINTER - Pino Donaggio
A lot of dramatics, a lot of violin, vocal and strings, but it certainly isn't doing 'it' for me. Pino is trying too hard, and although it delivers some great old fashioned string writing, overall Oorlogswinter struggles to make an impression. Partly because it lacks a strong theme, but also because it's so predictable in its use of instruments (basically Band of Brothers meets ZwartBoek) and writing.

I know the dramatics is a problem even the composer himself acknowledges (apparantly, at several points he didn't want to score the scene at all, yet the director forced him to), but it remains overbearing at times on its album presentation.

Nevertheless, it absolutely has some gorgeous moments, and it isn't bad per se, but when the choir, string and horns are at full blast during Verlies ('Loss'), I'm aching for the more restraint Saving Private Ryan. What was all the fuss about again?

" Partly because it lacks a strong theme"

This must be the most confusing thing i've heard this year, along with BENJAMIN BUTTON not having a proper theme. OORLOGSWINTER has some of the strongest thematic material from everything released this year, the only other thing i can think of coming closely is Defiance.

Hans Zimmer - King Arthur

Not a big fan of the score, but listening it to find some of foreshadowing of Zimmer's most recent sound. I think some stuff is there and yes, something more than Chevaliers de Sangreal.

I absolutely adore Ilia's Theme.

Couldn't agree more!

NP: Journey to the Center of the Earth - Andrew Lockington

Very good!