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  1. Since that music was probably for when John Smith has abandoned her, it would have been a bit strange for that theme to appear in the film, since it would be the first appearance of the 'love theme' that ended up being the theme for Pocahontas love of her son. (The melody ended up being more connected to the son than to Smith.)

    NP: Even the Rain (Alberto Iglesias)

    I like what I'm hearing.
    A butterfly thinks therefore I am
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      CommentAuthorScribe
    • CommentTimeAug 23rd 2011
    I really like that Iglesias, it has a nice consistent soundscape without being boring or repetitive, a lot of energy not unlike Lady in the Water, albeit with a completely different set of instruments.
    I love you all. Never change. Well, unless you want to!
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      CommentAuthorDemonStar
    • CommentTimeAug 23rd 2011
    plindboe wrote
    DemonStar wrote
    The same theme from Bolt Transforms returns in a fully orchestral fashion at the end, when [spoiler]Bolt proves himself to be a real hero as well - without needing any super powers[/spoiler].


    Hehe, I'd hardly call that a spoiler. Judging from the trailer you could have guessed that ending with a single brain cell.

    Peter smile


    I never watched the trailer. wink biggrin It's certainly predictable, yep, but I try to remain on the safe side and throw in the tags anyway, lol.
    •  
      CommentAuthorDemonStar
    • CommentTimeAug 23rd 2011
    WP: Dinosaur - James Newton Howard

    I really miss this mode of JNH's. The Egg Travels, The End Of Our Island, Raptors/Stand Together, Breakout and Epilogue all give me the chills like they did when I first watched the film and got the soundtrack much later. One of my top 5 JNH scores.
    •  
      CommentAuthorplindboe
    • CommentTimeAug 23rd 2011
    DemonStar wrote
    I never watched the trailer. wink biggrin It's certainly predictable, yep, but I try to remain on the safe side and throw in the tags anyway, lol.


    wink

    In any case, it's a score I must try, being a Powell fan.

    Peter smile
    •  
      CommentAuthorMiya
    • CommentTimeAug 23rd 2011
    DemonStar wrote
    plindboe wrote
    DemonStar wrote
    The same theme from Bolt Transforms returns in a fully orchestral fashion at the end, when [spoiler]Bolt proves himself to be a real hero as well - without needing any super powers[/spoiler].


    Hehe, I'd hardly call that a spoiler. Judging from the trailer you could have guessed that ending with a single brain cell.

    Peter smile


    I never watched the trailer. wink biggrin It's certainly predictable, yep, but I try to remain on the safe side and throw in the tags anyway, lol.


    The spoiler tags mean nothing if you use them to explain it to someone who hasn't seen the movie? wink
    Labels are for cans, not people. - Anthony Rapp
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      CommentAuthorMiya
    • CommentTimeAug 23rd 2011
    NP: Inception - Hans Zimmer

    I saw the movie and loved it.... and the score is also great! cool
    Labels are for cans, not people. - Anthony Rapp
    • CommentAuthorTimmer
    • CommentTimeAug 23rd 2011
    Miya wrote
    NP: Inception - Hans Zimmer

    I saw the movie and loved it.... and the score is also great! cool


    One of this years top scores IMO.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeAug 23rd 2011
    DemonStar wrote
    WP: Dinosaur - James Newton Howard

    I really miss this mode of JNH's. The Egg Travels, The End Of Our Island, Raptors/Stand Together, Breakout and Epilogue all give me the chills like they did when I first watched the film and got the soundtrack much later. One of my top 5 JNH scores.


    Yeah, one of his very best, I must remember to give this one a play again soon, it's been too long.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorTimmer
    • CommentTimeAug 23rd 2011
    Martijn wrote
    Southall wrote
    Conan the Barbarian - Tyler Bates

    The reaction to this has been very unfair. It's as if people decided it would be awful before they heard it based on past indiscretions of its composer. It's not awful. In the Gladiator style (in fact sometimes amusingly so - not hard to spot the temp-track, but there's no Titus/300 stuff going on) and by no means at the low end of scores written in that style. I can't imagine I'll listen to it very often, but it passes the time.


    With all due respect, but that's bollix: yeah, it had a predecessor that it could not possibly contend with, but Bates isn't even trying to manage something even slightly enjoyable. It's the same old faxed-in soundscaping-with-oriental-slant we've heard a zillion times over.

    If an opportunity arises for a composer to deliver something epic, and he doesn't even *try*, any unhappy reactions are completely fair, to my mind. Whether it's the composer's fault or the director's or the producer's fault, I really don't care. It's a shit score. Poor in every single aspect.


    I must hear this score at some point.....if only so I can have an opinion.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorDemonStar
    • CommentTimeAug 23rd 2011 edited
    Miya wrote
    The spoiler tags mean nothing if you use them to explain it to someone who hasn't seen the movie? wink


    Hehe, yeah. At least they're forewarned to wait until they've watched it. wink biggrin

    NP: Inception - Hans Zimmer

    I saw the movie and loved it.... and the score is also great! cool


    Indeed, excellent score and movie. I especially love Time, both in the movie and as a standalone track.
  2. NP: Cowboys & Aliens --- Harry Gregson-Williams

    listened yesterday to Squanto, today to this dribble. There's such a huge gap when you want to compare an adventure score of 15 years ago with something like this. Man o man, has filmmusic truly degenerated so much in such little time? Squanto is a good score, but it is a pure masterpiece if one compares it with stuff like this
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    • CommentAuthorTimmer
    • CommentTimeAug 23rd 2011
    Thomas Glorieux wrote
    NP: Cowboys & Aliens --- Harry Gregson-Williams

    listened yesterday to Squanto, today to this dribble. There's such a huge gap when you want to compare an adventure score of 15 years ago with something like this. Man o man, has filmmusic truly degenerated so much in such little time? Squanto is a good score, but it is a pure masterpiece if one compares it with stuff like this


    To be fair, this could be exactly what the director wanted? ( I haven't heard the score so I can't really comment on it's merits ).

    As a devil's advocate, howabout if a lot of directors demanded memorable, hummable THEMES and underscores that wasn't just wallpaper paste, I wonder how many scores would be rejected and how many composers would suddenly find themselves out of work?

    On the plus side, the likes of Lee Holdridge would be catapulted into the A-list mainstream.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. Timmer wrote
    Thomas Glorieux wrote
    NP: Cowboys & Aliens --- Harry Gregson-Williams

    listened yesterday to Squanto, today to this dribble. There's such a huge gap when you want to compare an adventure score of 15 years ago with something like this. Man o man, has filmmusic truly degenerated so much in such little time? Squanto is a good score, but it is a pure masterpiece if one compares it with stuff like this


    To be fair, this could be exactly what the director wanted? ( I haven't heard the score so I can't really comment on it's merits ).

    As a devil's advocate, howabout if a lot of directors demanded memorable, hummable THEMES and underscores that wasn't just wallpaper paste, I wonder how many scores would be rejected and how many composers would suddenly find themselves out of work?

    On the plus side, the likes of Lee Holdridge would be catapulted into the A-list mainstream.


    problem is that a lot of directors are indeed content with wallpaper music and effective underscore. Plus lots of composers are fighting against temptracks, time limits and demands of producers and directors. But still, is this the best they could come up with?

    I can't honestly believe Favreau demanded this, considering he received an orchestral rousing piece for his movie Zathura. And I know Iron Man wasn't his call for Djawadi.

    Ah well, another reason why holy grails is such an important thing nowadays wink
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  4. Scribe wrote
    I really like that Iglesias, it has a nice consistent soundscape without being boring or repetitive, a lot of energy not unlike Lady in the Water, albeit with a completely different set of instruments.


    This is Even the Rain, and I agree -- this one's a strong one. punk
    A butterfly thinks therefore I am
  5. Miya wrote
    NP: Inception - Hans Zimmer

    I saw the movie and loved it.... and the score is also great! cool

    This is probably my No. 1 favorite Zimmer score.
  6. NP: Psycho - Bernard Herrmann

    Listening to the original tracks to Herrmann's masterpiece. Released as a digital download on iTunes at the beginning of July this year, this 33-track version is released through Red Bitch Music - a label that has been releasing a lot of old original scores (The Magnificent Seven, The Guns of Navarone, Kronos, 3:10 To Yuma, etc). Maybe a CD release of the score is close?
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  7. Red Bitch Music? Wow.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeAug 24th 2011
    FalkirkBairn wrote
    NP: Psycho - Bernard Herrmann

    Listening to the original tracks to Herrmann's masterpiece. Released as a digital download on iTunes at the beginning of July this year, this 33-track version is released through Red Bitch Music - a label that has been releasing a lot of old original scores (The Magnificent Seven, The Guns of Navarone, Kronos, 3:10 To Yuma, etc). Maybe a CD release of the score is close?


    Is it very good quality?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  8. The quality is reasonable. It is better than the quality I remember on the Sound Stage pressed CD bootleg I have. There is certainly a bit of background noise on this new version that may be cleaned up in any specialist label release.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorTimmer
    • CommentTimeAug 24th 2011
    I still find it boggling that an original score release has never happened for one of the most famous and iconic film scores of all time.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  9. Timmer wrote
    I still find it boggling that an original score release has never happened for one of the most famous and iconic film scores of all time.

    There must have been issues with the release of the music - up until recently at least. Maybe legal issues to do with the estate or maybe studio wranglings? Maybe the quality of the original masters is relatively poor.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorlp
    • CommentTimeAug 24th 2011
    Thomas Glorieux wrote
    Timmer wrote
    Thomas Glorieux wrote
    NP: Cowboys & Aliens --- Harry Gregson-Williams

    listened yesterday to Squanto, today to this dribble. There's such a huge gap when you want to compare an adventure score of 15 years ago with something like this. Man o man, has filmmusic truly degenerated so much in such little time? Squanto is a good score, but it is a pure masterpiece if one compares it with stuff like this


    To be fair, this could be exactly what the director wanted? ( I haven't heard the score so I can't really comment on it's merits ).

    As a devil's advocate, howabout if a lot of directors demanded memorable, hummable THEMES and underscores that wasn't just wallpaper paste, I wonder how many scores would be rejected and how many composers would suddenly find themselves out of work?

    On the plus side, the likes of Lee Holdridge would be catapulted into the A-list mainstream.


    problem is that a lot of directors are indeed content with wallpaper music and effective underscore. Plus lots of composers are fighting against temptracks, time limits and demands of producers and directors. But still, is this the best they could come up with?

    I can't honestly believe Favreau demanded this, considering he received an orchestral rousing piece for his movie Zathura. And I know Iron Man wasn't his call for Djawadi.

    Ah well, another reason why holy grails is such an important thing nowadays wink


    Favreau had way more control with this movie than he did with Iron Man 1. And with all of the big name producers behind the scene, if the music was something that was a problem for them, I'm sure HGW would have been replaced. And I don't trust Favreau's music tendencies now-a-day, especially after Iron Man 2 and that generic Debney-does-RC score.

    BTW, it's completely unfair to bring Squanto into the comparison, as if they are the same. Wrong time, wrong genre.

    That said, Harry was the wrong choice for the movie. The only western he's done before this was Seraphim Falls, and that was way too atmospheric and contemplative for what C&A requires. I don't think the score was bad, but given that Favreau was aiming for a John Ford feel with the music, it was a "bit" off the mark. But I would lay the blame on Favreau for not forcing the issue, because Harry has demonstrated that he's able to write exciting orchestral music when asked.
  10. NP: Harry's Arctic Heroes - Lorne Balfe

    Listening to this now I can't help but think "this is terrific!" It is nothing new: somehow full of reminders of Inception and - more importantly for me - reminders of how good MV/RC could be (dare I mention Backdraft? Probably best not to.)

    It's full of the driving percussive wall of sound that is so common with MV/RC scores but there's more to it than that. There's actually passages that stick out as being memorable. Hints of themes or melodies, quieter more reflective piano passages and some strong cello solos. I think that the majority is synth but the piano and solo strings do sound real.

    Being a documentary about a group of soldiers conquering their disabilities and trekking across the ice to the North Pole, there's a lot of adrenaline-fueled percussion and rhythms driving the music forward, there's lots of drama in those massed synth strings so loved by MV/RC scores (King Arthur somehow comes to mind) and there's the emotional piano segments for the reflective interviews to camera, etc.

    Tracks like "Welcome To The Arctic", "Terra Glacialis" and "Soldarius Fortis" are a few of many highlights so far.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
  11. Harry's Arctic Heroes does quieten down towards the last few tracks but overall it is holding up pretty well.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    •  
      CommentAuthorlp
    • CommentTimeAug 24th 2011 edited
    NP: Conan - Tyler Bates

    This is terrible. To quote Southall, "atrocious". It does everything wrong when trying to imitate RC. The whole thing sounds like a score for a D-level movie on SYFY. Pounding percussion for the sake of nullifying the senses. While 40 piece orchestra doubled up to sound extremely synthesized, WTF! Really? And then top off with a layer of sound design over everything just to muddle it up some more. Ugh. Never before had I tried so hard to slog through each tracks.
  12. lp wrote
    Thomas Glorieux wrote
    Timmer wrote
    Thomas Glorieux wrote
    NP: Cowboys & Aliens --- Harry Gregson-Williams

    listened yesterday to Squanto, today to this dribble. There's such a huge gap when you want to compare an adventure score of 15 years ago with something like this. Man o man, has filmmusic truly degenerated so much in such little time? Squanto is a good score, but it is a pure masterpiece if one compares it with stuff like this


    To be fair, this could be exactly what the director wanted? ( I haven't heard the score so I can't really comment on it's merits ).

    As a devil's advocate, howabout if a lot of directors demanded memorable, hummable THEMES and underscores that wasn't just wallpaper paste, I wonder how many scores would be rejected and how many composers would suddenly find themselves out of work?

    On the plus side, the likes of Lee Holdridge would be catapulted into the A-list mainstream.


    problem is that a lot of directors are indeed content with wallpaper music and effective underscore. Plus lots of composers are fighting against temptracks, time limits and demands of producers and directors. But still, is this the best they could come up with?

    I can't honestly believe Favreau demanded this, considering he received an orchestral rousing piece for his movie Zathura. And I know Iron Man wasn't his call for Djawadi.

    Ah well, another reason why holy grails is such an important thing nowadays wink


    BTW, it's completely unfair to bring Squanto into the comparison, as if they are the same. Wrong time, wrong genre.


    unfair no, because it shows how much filmmusic has changed in just 15 years time. You don't hear me saying there aren't any good composers out there anymore, and you don't hear me saying Harry's a bad one. I'm saying filmmakers want a different sound today, because Squanto and Iron Will are adventure scores for adventure movies, and Cowboys & Aliens is an adventure movie for the new generation.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  13. NP: Antigua Vida Mia - Ángel Illarramendi

    A very minimalistic score (violin, cello, bass, clarinet, marimba and bandoneon). It has a main theme very quirky and with some argentinean references. It doesn't have the typical string writing from Illarramendi, but it's very nice.
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      CommentAuthorThor
    • CommentTimeAug 24th 2011
    NP: LAGAAN (A.R. Rahman)

    My favourite score of his -- including the songs.
    I am extremely serious.
  14. yonythemoony wrote
    NP: Antigua Vida Mia - Ángel Illarramendi

    A very minimalistic score (violin, cello, bass, clarinet, marimba and bandoneon). It has a main theme very quirky and with some argentinean references. It doesn't have the typical string writing from Illarramendi, but it's very nice.

    Definitely worth a listen. Illarramendi is a composer worth looking into in my opinion.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn