[Closed] Now Playing XXXIV

Heh. He said Bob.

What's wrong with Bob?
Bob's a smashing bloke.

Maybe not on a Zimmer score per say but the same sort of orchestration and feel can be heard in Rescue Dawn by Klaus Badelt and The Great Raid by Trevor Rabin.

-Erik-

Aw, stop, it's too much.



Very true. Little known fact, I'm a one-man choir. Ask Bregt.

A wise decision.

A bit of a cloudy weather love, a nd a bit of a dark mood. I'm better now don't worry. Thanks for asking!

WP: Angels & Demons - Hans Zimmer

The Science & Religion and Election By Adoration tracks feature truly gorgeous violin work.

^ ...suuuuuuuure.

NP: Quaritch Speech (from Avatar Academy promo)

ahahahahahahaha

Seems "journey to the line" was a temp track too!

In Search of Peace - Lee Holdridge

I've had this for a while but this is my first listen. Sadly I only have time for a few minutes tonight - but it sounds magnificent!

GhostwriterDesplat Saw the movie and I'm now listening to it away from the film
Thomas

Now Playing: The Ghost Writer Desplat

I'm still amazed by the range of musical genres and films that Alexandre Desplat is getting these days. He hasn’t been hiding lately. Kudos to his agent for getting him art films and also high profile ones like the Twilight and the next one in the Harry Potter series.

What really struck me when I first heard " the Ghost writer" in its entirety, was the use of rhythms especially percussion. Desplat uses percussion like the main character uses a computer keyboard to write his book. From the outset, Desplat uses various types of percussion to mark the rhythm: the timpanis and glockenspiel amongst others. In addition to all the percussion elements, he also engages woodwinds, strings and brass (also used rhythmically) to create a sense of unerving tension that is also heard quite cleverly in the cue « In the Woods » Effective mimicking of the typewriting is done by doing rimshots on snaredrum in the cue. His main theme, played on a flute (or a synthesized created sound?) and first heard in the opening cue, comes back many times like in « Hidden Documents », haunting the listener and telling us that something fishy is going on.

This score isn’t likely to influence legions of other composers. The underscore while intelligent and sometimes jazzy, is often relying on repetitive motifs leaning on a minimalist mode. It has moments reminiscent of Bernard Herrmann and Philip Glass compositions but definitively keeps all Desplat’s trademarks in place. While the main core of his music may be minimalist, he has intricate counterpoint elements. Like in many of his other scores, his attention to details is evident without sounding too much in your face. To the contrary, no matter what genre , his music comes off as being refined and dignified. This is just above forty minutes of engaging, clever writing that draws me into a darker and mysterious world and keeps me interested from beginning to end.


Oh and in the cue "The Truth About Ruth", I love the bit when it all culminates near the end and the orchestra goes in all directions at the 4th minute. Very Potter! Bring it on.

I'm really looking forward to see this movie now.

NP: The Big Country - Jerome Moross

CAH-LASSIC!

-Erik-

NP:Avatar academy promo

Going up to my all time favourites scores. because it's all in one. from new age to orchestral fanfarres.

The unrealeased (until now) music, sounds more than ever from Nicholad Dodd and sometimes sounds out of place. but at the same time it's the best action music of this score, far more powerful than Horner unsuccesful mix of tribal elements with orchestra.

Now we have from "flying island's fanfarre" and more powerful renditions of "i see u " theme to the 20 minutes action climax.