[Closed] Now Playing XLIII

There was only one good cue among the rest of the noise!

-Erik-

Elliot Goldenthal - Interview with the Vampire

Wow, just wow. And yes, it's my first listen.

Collins I've adored for years. This and the Batman scores are the only major things I haven't listened to before, I think. Oh, and Sphere

With all the love for Alien3, my favourite Goldenthal work stays to be Heat.

What about SPHERE?



I Wonder what Lennertz ever wrote to make you all stick him out of the bunch...how is he original?

It always baffles me why some people are so into Lennertz as a "promising star" in film music. Yeap he is a great guy, excellent personality and great to talk to, but nothing he wrote (up to this year that is, i've heard it all) is up to those imaginable standards. Certainly not superior to Brian Tyler.

The first cue was kind of decent...its the hour of almost non-stop mickey-mousing that comes afterwards that can induce head-beating.

Not doing mickey-mousing is one of Tyler's strong points...even in something like Lego Universe he manages to mostly do interesting melodies rather than mickey-mousing...though it might be a bit too celtic for D...

The way he orchestrated his Medal of Honor has much more thought than I think anything Tyler has done. Yes, he does it ably, yes it's complex, but in the end, it's very, very messy and he records better than Zimmer obviously, so it's not the mix's fault. Lennertz has never gotten an action movie, really, so we can't say how he would combine electronics with a proper orchestra.

Brian Tyler has much less substance than any action cue in The Dark Knight Rises. And that IS saying something. So he changes meter a lot (so does Hans, actually), he does well with dissonance (every contemporary classically trained composer does that), has his own rhythmic patterns, which sadly get more and more derivative, because he repeats himself as much as James Horner or Zimmer does, but the thing is, he is far younger than both. He's not exactly brisking with creativity and he never was. He was praised early in his career because he was referencing Jerry Goldsmith. When he does the same with RCP sound, he is suddenly deeply criticized by *many* former supporters, which I find a bit hypocritical.

Tyler is loud and noisy, has little substance to his music. He is passionate about the genre, so I think temp-track love is not just on the side of the producers. What he references in his main Expendables theme is basically a combination of classic action music of the 1980s put through a modern filter (the bass line screams early James Horner music, namely especially Uncommon Valor, the rising brass motif is basically a rip-off of one of Goldsmith's Rambo themes). It's great that he's a fan like us, it's great that he has the passion to actually write, but at the end of the day, the truth is that he writes orchestrally complex music which doesn't have much meaning in and of itself not because he is intellectually dumb, you can't be if you get to finish Harvard of all places, but because he loves the basic idea of getting the right tempo and writing some orchestral mayhem just for the heck of it. I can't fuly get his type of thinking, I'm afraid. To the point that I think that he misses the subtext sometimes, because he simply cares about the fun and delivering something professionally written rather than professionally thought out.

And I went through the guy's whole career, basically.

And that's a fact, right?

Based on Lennertz's Dogs of War theme alone, you know it!

http://www.youtube.com/watch?v=M5bRi_7W … re=related

The entire European Assault score is is sublime.

Also, his score to America! is outstanding. The track "True Inspiration" brings tears to my eyes.
http://www.christopherlennertz.com/projects/america/

Meet The Spartans is a surprisingly intelligent score to a really stupid film.
http://www.christopherlennertz.com/proj … -spartans/

Gun is a KILLER western score!
http://www.christopherlennertz.com/projects/gun/

Saint Sinner, to me at least, is one of the finest horror scores I've heard. Just listen to "Battle with Munkar."
http://www.christopherlennertz.com/proj … nt-sinner/

His video game to to Quantum of Solace is, IMO, better than Arnold's score for the film
http://www.christopherlennertz.com/proj … of-solace/

Warhawk - Big, epic dog fighting music.
http://www.christopherlennertz.com/projects/warhawk/

He's done so much good stuff. Just click through his projects at http://www.christopherlennertz.com/projects/ and immerse yourself in his talents.

-Erik-

Tyler's Rambo is terrible.

-Erik-

NP : THE VIKINGS - Mario Nascimbene



Fantastic score but the sound is horrible, what a shame.

I need to find just the right thread bomb to describe the EPIC FAIL.

So, in other words this forum -- incase some of you forgot things, for example, handed to me.

NP: A Symphony of British Music - Music For the Closing Ceremony - David Arnold

There are 3 cues that David has written, (along with producing the whole thing). It's great
Parade of the Athletes is a (shortened version?) excellent orchestral composition in the grand old British orchestral idiom. Medal Ceremony sounds like a page out of David's electro-pop-orchestral handbook, love it. Spirit of the Flame is gorgeous and defiantly modern. Starting out with a great chorus piece (somewhat similar to Liberi Fatali), then recalling his bombastic Die Another Day work, introducing a bevy of heavy beats and guitar over string/brass linewith, lots of electronics sprinkling about. There are some great melodic material throughout his short (or is it shortened?) cues. They stands out, but in the scheme of the eclectic album, works well in context.