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[Closed, Sink] Now Playing XXXVIII

General Discussions » Now Playing XXXVIII (Posts 3001 to 3030 of 3051)

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  1. NP: Where the Truth Lies (Mychael Danna)

    Another erotic thriller! With nice use of electric guitars, vibraphones, and strings that Herrmann would stop and say 'that's mine!' for. Strange that the same composer's Chloe didn't manage to engage as much as this. Some nice moments when the whole thing falls away to ideas based around violin soli.
    A butterfly thinks therefore I am
  2. NP: Wolfman (Danny Elf--- woah, wait a second. No, like always, somewhere around track 6 I tired of the album. It's a shame, as it's well written, but you'd really have to love that main cello theme to hear as much as of it as the album offers. It wouldn't have hurt it the album mingled Elfman's score with Conrad Pope's material a bit, just for variety.
    A butterfly thinks therefore I am
    • CommentAuthorKevinSmith
    • CommentTimeApr 20th 2011
    Neverwas - Philip Glass

    Imagine Finding Neverland, but written by Philip Glass and that's what you get. Good score.
    Revenge is sweet... Revenge is best served cold... Revenge is ice cream.
  4. Timmer wrote
    I MUST hear Desplat's PLATOON cool

    sorry Kevin, I know you meant to say Delerue wink

    Freudian slip/wishful thinking, I guess. biggrin
  5. franz_conrad wrote
    NP: The Queen (Desplat)


    Perhaps this was the least essential of the Desplat scores over the years, among those that got the most acclaim. It's a nice work, very formal, regimented in feeling. It has the waltzes, etc. There's a lovely piece that rounds out the score in 'Queen of Hearts', and 'People's Princess' nods nicely back to the energy of the opening of Birth. The brass solos are less common in Desplat. For some reason all these things aren't quite engaging me today. There's plenty of scores by the composer I like more.

    If I have one complaint, it's almost too dainty. It's like the music is straining to express some full emotion, but it's just too constricted, like the Queen herself, I guess.
  6. It's definitely appropriate for the film, but as an album isn't always great. (Particularly with the two repeated cues used to make up the 40 minute length -- although both are great cues.)
    A butterfly thinks therefore I am
  7. NP: An Unfinished Life (Christopher Young) and An Unfinished Life (Deborah Lurie)

    Was the rejection of Young's score the most unnecessary score rejection in history? Deborah Lurie seems to have been asked to give The Horse Whisperer in return, but it's not actually that different from Young's score. I prefer Lurie's, actually. After a strong opening cue, Young's slips away into fairly boring territory, while Lurie returns more often to her lovely theme. (Dramatically though, I'm not sure either would have made the film feel very different from each other.)
    A butterfly thinks therefore I am
    •  
      CommentAuthorSouthall
    • CommentTimeApr 20th 2011
    franz_conrad wrote
    NP: Where the Truth Lies (Mychael Danna)

    Another erotic thriller! With nice use of electric guitars, vibraphones, and strings that Herrmann would stop and say 'that's mine!' for. Strange that the same composer's Chloe didn't manage to engage as much as this. Some nice moments when the whole thing falls away to ideas based around violin soli.


    Excellent score, this.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorSouthall
    • CommentTimeApr 20th 2011
    franz_conrad wrote
    NP: An Unfinished Life (Christopher Young) and An Unfinished Life (Deborah Lurie)

    Was the rejection of Young's score the most unnecessary score rejection in history? Deborah Lurie seems to have been asked to give The Horse Whisperer in return, but it's not actually that different from Young's score. I prefer Lurie's, actually. After a strong opening cue, Young's slips away into fairly boring territory, while Lurie returns more often to her lovely theme. (Dramatically though, I'm not sure either would have made the film feel very different from each other.)


    Yes - very odd rejection. I haven't seen the film but can't imagine Lurie brought anything to it that Young hadn't. I love the Young album.
    http://www.movie-wave.net | http://facebook.com/moviewave
    •  
      CommentAuthorThor
    • CommentTimeApr 20th 2011 edited
    Timmer wrote
    The artist has finished his presentation when it's in the film.


    He's finished the film score, not the soundtrack. Two different entities, two different artistic expressions. The latter just uses the first as "raw material" for something completely new, just as you would when you, say, adapt a book to film.

    Honestly, what's the problem with turning a C&C presentation into a set list of your favourite tracks?


    No problem per se. Just that a random "Thor's Best of" playlist doesn't exactly constitute professional album production at its finest! biggrin <-- there, I used wit. Happy, franz?
    I am extremely serious.
  11. Thor wrote

    Honestly, what's the problem with turning a C&C presentation into a set list of your favourite tracks?


    No problem per se. Just that a random "Thor's Best of" playlist doesn't exactly constitute professional album production at its finest! biggrin <-- there, I used wit. Happy, franz?


    When laughter results, we'll call it wit. But in any case, the wit was only requested when one wishes to make an analogy like - 'I don't bake my own bread, I don't park my own car, why should I produce my own listening experiences?'
    A butterfly thinks therefore I am
    •  
      CommentAuthorThor
    • CommentTimeApr 20th 2011
    franz_conrad wrote
    Thor wrote

    Honestly, what's the problem with turning a C&C presentation into a set list of your favourite tracks?


    No problem per se. Just that a random "Thor's Best of" playlist doesn't exactly constitute professional album production at its finest! biggrin <-- there, I used wit. Happy, franz?


    When laughter results, we'll call it wit. But in any case, the wit was only requested when one wishes to make an analogy like - 'I don't bake my own bread, I don't park my own car, why should I produce my own listening experiences?'


    I don't believe anyone made an analogy like that, but I'll be sure to insert a laugh track the next time we debate the matter.
    I am extremely serious.
  13. SPACE BATTLESHIP YAMATO - NAOKI SATO & YASUSHI MIYAGAWA

    Third listen. My god this is incredibly powerful and moving. Thematic brilliance, based on simple yet addictive melodies and rhythms. The choral cues especially are haunting and very memorable. The kind of scoring Hollywood isn't interested in any longer.
    "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.
    •  
      CommentAuthorThor
    • CommentTimeApr 20th 2011
    NP: BAND OF BROTHERS (Michael Kamen)

    Few could do soaring themes as well as Kamen; perfect for this kind of patriotic war score.
    I am extremely serious.
  15. Perfect score.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 20th 2011
    ^ Far from perfect but it is really good!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    • CommentAuthorTimmer
    • CommentTimeApr 20th 2011
    I like Kamen's score a lot but you could argue that aside from opening and closing titles that the series needed no underscore at all, I believe we had a similar debate concerning Private Ryan some years ago.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  18. Timmer wrote
    I like Kamen's score a lot but you could argue that aside from opening and closing titles that the series needed no underscore at all, I believe we had a similar debate concerning Private Ryan some years ago.


    I do feel however that much of Kamen's underscore was more interesting in what it added to the drama than a lot of Williams' subdued patriotism for SPR.

    NP: War and Peace (Kaczmarek)

    Great main theme. The rest -- not so much.
    A butterfly thinks therefore I am
    • CommentAuthorKevinSmith
    • CommentTimeApr 20th 2011
    Timmer wrote
    I like Kamen's score a lot but you could argue that aside from opening and closing titles that the series needed no underscore at all, I believe we had a similar debate concerning Private Ryan some years ago.


    Aside from the opening titles and the two suites, you don't need anything else from Band of Brothers.
    Revenge is sweet... Revenge is best served cold... Revenge is ice cream.
    • CommentAuthorKevinSmith
    • CommentTimeApr 20th 2011
    Blizzard - Mark McKenzie

    Beautiful.
    Revenge is sweet... Revenge is best served cold... Revenge is ice cream.
  21. KevinSmith wrote


    Aside from the opening titles and the two suites, you don't need anything else from Band of Brothers.


    If you want to ignore the 11 minute setpiece 'Discovery of the Camp', you go for it... I'm afraid it's one of those cues I need. wink
    A butterfly thinks therefore I am
    •  
      CommentAuthorThor
    • CommentTimeApr 20th 2011 edited
    NP: DON JUAN DEMARCO (Michael Kamen)

    I really like Kamen when he was in a more calmer, melodic, romantic mood like this.
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeApr 20th 2011
    franz_conrad wrote
    KevinSmith wrote


    Aside from the opening titles and the two suites, you don't need anything else from Band of Brothers.


    If you want to ignore the 11 minute setpiece 'Discovery of the Camp', you go for it... I'm afraid it's one of those cues I need. wink


    yeah
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 20th 2011
    Yup... I agree. That cue and that scene is particular is devastating. But I still prefer to hear the theme from Suite #1 in it's original form in Mr. Holland's Opus and Suite #2 is pretty much a direct lift from Kamen's own The New Moon In The Old Moon's Arms. However, the actual main theme is one of Kamen's finest.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  25. Thor wrote
    NP: DON JUAN DEMARCO (Michael Kamen)

    I really like Kamen when he was in a more calmer, melodic, romantic mood like this.


    Indeed. A treasure, that one. Quite an odd film, from the looks of things.
    A butterfly thinks therefore I am
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 20th 2011
    Thor wrote
    NP: DON JUAN DEMARCO (Michael Kamen)

    I really like Kamen when he was in a more calmer, melodic, romantic mood like this.


    But he wrote one dozy of a swashbuckling action cue in the track "Don Alfonso." Out of all the composers to leave us over the past 5-10 years this is the one that devastated me the most because he had some much more to give. What an incredible talent! sad

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeApr 20th 2011
    Erik Woods wrote
    Thor wrote
    NP: DON JUAN DEMARCO (Michael Kamen)

    I really like Kamen when he was in a more calmer, melodic, romantic mood like this.


    But he wrote one dozy of a swashbuckling action cue in the track "Don Alfonso." Out of all the composers to leave us over the past 5-10 years this is the one that devastated me the most because he had some much more to give. What an incredible talent! sad

    -Erik-


    True. That track is not that dissimilar in style from what Horner would later write for the ZORRO films, for example.
    I am extremely serious.
    •  
      CommentAuthorsdtom
    • CommentTimeApr 20th 2011
    The Wildest Dream from Joel Douek. Not very impressed with this generic score. Not really annoying just generic background music.
    Thomas smile
    listen to more classical music!
  29. Southall wrote
    Aurora Borealis - Mark Painter

    Remarkable work, really - would be interested in hearing the much-vaunted second volume but can't find it anywhere.


    I can't find anything on this with an internet search for:

    "Aurora Borealis" "Mark Painter"


    Is the name misspelt? Is this some obscure instrumental work?
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 20th 2011 edited
    NP: Hoodwinked Too - Murray Gold

    I guess any film that makes $100 at the box-office gets a sequel. Seriously, $100 million? I didn't think any one saw the first movie never mind wanting a second one. I heard nothing but awful things about the first movie. Oh well, if they can release a Cars 2, an Alvin and the Chipmunks sequel, two Big Momma Sequels and a House Party trilogy then I guess anything is possible.

    Gold's score for this second installment is an energetic, highly entertaining effort with a heavy emphasis on big band/jazz music, which comes uncomfortable close to sounding like The Incredibles. There are quieter more reflective cues that adds a bit more depth and emotion to the score but for the most part this is on full throttle action or eerie suspense music. The non-jazz elements - like the mystical, mysterious and adventurous "How It All Started" - are cues that are far more interesting to listen to then any of the jazz material. In saying that the musicians performing the score give it there all including the late, great trumpet player Maurice Murphy who performed on this score. There's also come 70's crime drama parody music in the score featuring waka-waka guitars and screaming trumpets. That stuff has been done to death that it's closer to grating than enjoyable.

    Basically, this a hodgepodge of styles that makes the album from start to finish (46 minutes) a bit of chore to get through but when Gold is concentrating more on the purely symphonic music it's pretty spectacular!

    Oh yeah, "The Song Of Kirk" features yodelers... beware! shocked

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!

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