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  1. What a year he had. I mean, you can enjoy more or less his 2011 take on RC and minimmalist sound but luckily Doyle seems to have left behind those years when his music barely saw the light of day in album format. We didn't only get 4 new scores but two releases of outstanding obscure pieces from the previous decade. It was a year of experimentation and hard work, not as satisfactory as his spectacular 2005 but a really good year.

    I wished Maintitles did a series of reviews on him as it's being done with Newman and other composers recently (By the way, Bruno Coulais should also get more attention IMHO).

    Thor (***)
    At first it was hard to accept Doyle had to oblige and accomodate the demands of Marvel producers but repeated listenings confirmed that there was still a deep melodic root lying undir all thos ostinati. Besides, since Elfman's Spiderman there was no superhero score to feature a recognizable main theme.

    La Ligne Droite (****)
    Again, Doyle seems to go for another composer's style, but this time he achieved a far more exciting mix. Glass and Nyman would never compose with de melodramatic sensibility that the Scottish composer showed here.

    Jig (***)
    A mixture of Doyle's take on RC and Glass with Celtic touches of Quest for Camelot and Into the West. Maybe the nature of documentary music required him to produce more simple music than he's used to and that's why minnimalism and RC mannerism felt more accurate in nthis project. 'Final Results' confirms Doyle's a composer who can write great and memorable endings to his scores, like he did on Nanny McPhee and many others.

    Rise of the planet of the Apes (****)
    His take on RC is even more stubborn as his refusal to leave the orchestra on the periphery. A sensitive main theme with exotic colour (the ocarine) mixes surprisingly well with a rich percussive section and strings. I only wished he had relied more on the brass rather than the ostinati and that the beautiful African chorus had had a more prominent role.

    Killing Me Softly (*****)
    A masterpiece. I'd just say that if you like Bernard Herrman or Goldsmith's Basic Instinct this is your score. The narrative flow is astonishing (as the spooky use of trombone latter in the score).


    Man to Man (****)
    Vintage Doyle at his best and in KMS. Curiously enough, this previously unreleased score features a use of percussion very similar to that of Rise of... The main theme is gorgeous and instantly hummable
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      CommentAuthorErik Woods
    • CommentTimeFeb 7th 2012
    This probably should have been posted in the Patrick Doyle thread.

    -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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      CommentAuthorBregt
    • CommentTimeFeb 7th 2012
    Welcome to the forum Vincint! He's your favourite composer?
    Kazoo
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      CommentAuthorDemetris
    • CommentTimeFeb 7th 2012
    Some not so good Doyle scores, his 2011 ones; but MovieScore Media did a wonderful job with MAN TO MAN. His 2011 scores were mediocre, imo.
    Love Maintitles. It's full of Wanders.
  2. Not my favourite (that place goes for Goldsmith) Bregt, but I've been listening to Doyle lately and I enjoy his music. Maybe as he is one of the few who inherited Goldsmith's and Herrman's sound without playing the 'copy-cat' game is the reason why I like his music.

    Demetris, yes, I don't think the music he composed for 2011 project's is Doyle at his best, tha't whyI said " It was a year of experimentation and hard work, not as satisfactory as his spectacular 2005 but a really good year", and with good year I meant that two obscuree and excellent scores were released as well as a very good new work like La Ligne Droite. It seems to be the time for releasing some delayed and excellent scores he did during 2000's, that might change de widespread cliché that "after recovering from leukemia he just composed for small, unknown and boring productions, The Goblet of Fire being the exception". I think the lack of releases of his works have made us loose a little bit the development of his career during the past decade.

    And yes, he did uninspiring music for Calendar's Girls and Sleuth, but I don't think that's the most representative part of his decade.
  3. VincentKrause wrote
    Thor (***)
    At first it was hard to accept Doyle had to oblige and accomodate the demands of Marvel producers but repeated listenings confirmed that there was still a deep melodic root lying undir all thos ostinati. Besides, since Elfman's Spiderman there was no superhero score to feature a recognizable main theme.


    I must confess I liked Thor very much and had the chance to have it performed live last year.

    http://vimeo.com/41419614
  4. Why is this the first I've heard of KILLING ME SOFTLY? Does anyone else know this score?
  5. christopher wrote
    Why is this the first I've heard of KILLING ME SOFTLY? Does anyone else know this score?



    Yes. It's an spectacular score by the way. Maybe you didn't heard about it becouse the movie it was made for was low profrile and the score got a limited release.

    Watch these clips and you'll get an idea of the heavy Herrman sound of the score. It contains the main suspense/action motif in the form of a frenetic waltz:

    http://www.youtube.com/watch?v=-MZoS1J38R4
    http://www.youtube.com/watch?v=wKCoalNxdAI
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      CommentAuthorThor
    • CommentTimeMay 4th 2012
    christopher wrote
    Why is this the first I've heard of KILLING ME SOFTLY? Does anyone else know this score?


    No. I only know the Fugees song (well, actually it was written by film composer Charles Fox back in the 70's).
    I am extremely serious.