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[Closed] Now Playing XLIV

General Discussions » Now Playing XLIV (Posts 1291 to 1320 of 2996)

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  1. NP: Olympus Has Fallen - Trevor Morris

    "Bombastic". That's the first word that comes to mind. "Unsubtle" is another. And there's liberal doses of military snares (and mournful brass solos) and synth choral-type notes for (I presume) fallen comrades. I think that you get the picture?

    I'm only as far as the 7-minute "White House: Air Attack" - with the 10-minute "White House: Ground Attack" to follow - but I think that I can guess the main thrust of this score from Morris: the usual, unsubtle actioneer cacophony of sound. The composer adds a lot of rhythmic material for suspense - mostly pounding electronics - mixed in with loud orchestra (synth or real, I'm not sure).

    Definitely not something that we haven't heard many times before. I don't think that it's bad but it just doesn't offer anything new.
    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
    • CommentTimeMar 19th 2013
    Kevin Scarlet wrote
    PawelStroinski wrote
    James Horner - Flightplan

    Completely underrated. One of his most intelligent soundscapes. Not an easy listen, but ultimately rewarding.

    I love the part with the piano crashing.


    Crashing piano? That's very unlike Horner.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  3. FalkirkBairn wrote
    NP: Olympus Has Fallen - Trevor Morris

    "Bombastic". That's the first word that comes to mind. "Unsubtle" is another. And there's liberal doses of military snares (and mournful brass solos) and synth choral-type notes for (I presume) fallen comrades. I think that you get the picture?

    I'm only as far as the 7-minute "White House: Air Attack" - with the 10-minute "White House: Ground Attack" to follow - but I think that I can guess the main thrust of this score from Morris: the usual, unsubtle actioneer cacophony of sound. The composer adds a lot of rhythmic material for suspense - mostly pounding electronics - mixed in with loud orchestra (synth or real, I'm not sure).

    Definitely not something that we haven't heard many times before. I don't think that it's bad but it just doesn't offer anything new.

    I'd like to qualify some of my comments that I made earlier. "I don't think that it's that bad" will from now on be read as "After a start that I don't think...is that bad it descends into track after track of uninteresting atmospheric electronic ostinatos and pounding orchestral hits".

    Thank you.
    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
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 19th 2013
    Timmer wrote
    Kevin Scarlet wrote
    PawelStroinski wrote
    James Horner - Flightplan

    Completely underrated. One of his most intelligent soundscapes. Not an easy listen, but ultimately rewarding.

    I love the part with the piano crashing.


    Crashing piano? That's very unlike Horner.


    lol
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorDemetris
    • CommentTimeMar 19th 2013
    lp wrote
    NP: The Last Samurai - Hans Zimmer

    I've been listening to this score on/off for the last couple days, and I have to say that it's one of most peaceful score Hans ever done (excluding the action stuff, natch!) The main theme, in the initial, best and most gorgeous track, "A Way of Life" is sublime. So much Zen calmness that sooth my soul. Yes, the entire score is pretty much a TRL redux in Asian clothing, with some Gladiator moments, but the best parts are so good, and so sincere in tone, that I forgive all of the lame action scoring.


    love it, wish he wrote more in this style instead....
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeMar 19th 2013
    Erik Woods wrote
    Timmer wrote
    Kevin Scarlet wrote
    PawelStroinski wrote
    James Horner - Flightplan

    Completely underrated. One of his most intelligent soundscapes. Not an easy listen, but ultimately rewarding.

    I love the part with the piano crashing.


    Crashing piano? That's very unlike Horner.


    lol


    Great score indeed, the crashing piano accompanied not only the fall of the airplane but also the hideous' movie's mega-fail wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeMar 19th 2013
    FalkirkBairn wrote
    FalkirkBairn wrote
    NP: Olympus Has Fallen - Trevor Morris

    "Bombastic". That's the first word that comes to mind. "Unsubtle" is another. And there's liberal doses of military snares (and mournful brass solos) and synth choral-type notes for (I presume) fallen comrades. I think that you get the picture?

    I'm only as far as the 7-minute "White House: Air Attack" - with the 10-minute "White House: Ground Attack" to follow - but I think that I can guess the main thrust of this score from Morris: the usual, unsubtle actioneer cacophony of sound. The composer adds a lot of rhythmic material for suspense - mostly pounding electronics - mixed in with loud orchestra (synth or real, I'm not sure).

    Definitely not something that we haven't heard many times before. I don't think that it's bad but it just doesn't offer anything new.

    I'd like to qualify some of my comments that I made earlier. "I don't think that it's that bad" will from now on be read as "After a start that I don't think...is that bad it descends into track after track of uninteresting atmospheric electronic ostinatos and pounding orchestral hits".

    Thank you.


    Alan, it is Zimmer-esque too i imagine?
    Love Maintitles. It's full of Wanders.
  8. Yes, I would say that it has many elements that are "Zimmer-esque" - I perhaps could just have said that and saved me a bit of time AND got a bit more of a response from people!
    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
    •  
      CommentAuthorDemetris
    • CommentTimeMar 19th 2013
    smile
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeMar 19th 2013
    This is why a rep or like function would be handy.
    • CommentAuthorTimmer
    • CommentTimeMar 19th 2013
    Steven wrote
    This is why a rep or like function would be handy.


    I agree.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeMar 19th 2013
    NP: MURDER IN THE FIRST (Christopher Young)

    I need a bit of relaxing music now that I've been up for 30 straight hours. I could be without the damn marches, though.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeMar 19th 2013
    Timmer wrote
    Steven wrote
    This is why a rep or like function would be handy.


    I agree.


    *like*
    •  
      CommentAuthorMartijn
    • CommentTimeMar 19th 2013
    FalkirkBairn wrote
    NP: Olympus Has Fallen - Trevor Morris

    "Bombastic". That's the first word that comes to mind. "Unsubtle" is another. And there's liberal doses of military snares (and mournful brass solos) and synth choral-type notes for (I presume) fallen comrades. I think that you get the picture?

    I'm only as far as the 7-minute "White House: Air Attack" - with the 10-minute "White House: Ground Attack" to follow - but I think that I can guess the main thrust of this score from Morris: the usual, unsubtle actioneer cacophony of sound. The composer adds a lot of rhythmic material for suspense - mostly pounding electronics - mixed in with loud orchestra (synth or real, I'm not sure).

    Definitely not something that we haven't heard many times before. I don't think that it's bad but it just doesn't offer anything new.


    Oh, that's not half as bad as Timmer led me to believe in the Trevor Morris thread.
    In fact. I'm quite keen to hear it now.

    Although it is a bit disheartening it breaks no new grounds (or, presumably, doesn't offer any nice themes or melodies).
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeMar 19th 2013
    NP: SELECTED FILM MUSIC BY.... (Cliff Eidelman)

    Great orchestral details and melodic sweep. Traditional, yes, but very appealing. Where did this Eidelman go?
    I am extremely serious.
    • CommentAuthorTimmer
    • CommentTimeMar 19th 2013 edited
    The follow up comments suggested to me that it was that bad. wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeMar 19th 2013 edited
    NP: CONTAGION (Cliff Martinez)

    Love this. Bleak, but with some cool grooves and electronic textures. The film was underwhelming.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 19th 2013 edited
    For some reason I wanted to revisit Zimmer's Crimson Tide this afternoon. I don't remember much from the score besides the main melody so I thought I'd give this "game changer" another spin. Yikes! After the first track this one goes down hill fast. It's also doesn't help that one track is 23 minutes long and another at 18 minutes long. Give me the first track, the last moments of "1SQ" and the final track and that's all I need from this one. As a whole Crimson Tide really isn't that good but I do appreciate its importance in the changing soundscape of film scores in the 90's. Still, I think The Rock was the biggest game changer and that score is actually really good! Crimson Tide, not so much.

    NP: Backdraft - Hans Zimmer

    Ah, that's better! This is my favourite Zimmer score!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorMartijn
    • CommentTimeMar 19th 2013
    It's a good thing Bregje nearly never posts any more. She'd have your hide for that! wink
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeMar 19th 2013 edited
    Erik Woods wrote
    For some reason I wanted to revisit Zimmer's Crimson Tide this afternoon. I don't remember much from the score besides the main melody so I thought I'd give this "game changer" another spin. Yikes! After the first track this one goes down hill fast. It's also doesn't help that one track is 23 minutes long and another at 18 minutes long. Give me the first track, the last moments of "1SQ" and the final track and that's all I need from this one. As a whole Crimson Tide really isn't that good but I do appreciate its importance in the changing soundscape of film scores in the 90's. Still, I think The Rock was the biggest game changer and that score is actually really good! Crimson Tide, not so much.

    NP: Backdraft - Hans Zimmer

    Ah, that's better! This is my favourite Zimmer score!

    -Erik-


    CRIMSON TIDE is one of my alltime favourites scores. Love BACKDRAFT too, but not as much. It's not even on my Top 10 Zimmer.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeMar 19th 2013
    Legends of the Fall - James Horner

    Wonderful.
    http://www.movie-wave.net | http://facebook.com/moviewave
  22. Erik Woods wrote
    For some reason I wanted to revisit Zimmer's Crimson Tide this afternoon. I don't remember much from the score besides the main melody so I thought I'd give this "game changer" another spin. Yikes! After the first track this one goes down hill fast. It's also doesn't help that one track is 23 minutes long and another at 18 minutes long. Give me the first track, the last moments of "1SQ" and the final track and that's all I need from this one. As a whole Crimson Tide really isn't that good but I do appreciate its importance in the changing soundscape of film scores in the 90's. Still, I think The Rock was the biggest game changer and that score is actually really good! Crimson Tide, not so much.

    NP: Backdraft - Hans Zimmer

    Ah, that's better! This is my favourite Zimmer score!

    -Erik-

    yeah

    I've edited down the long tracks to 2-3 minutes of interesting thematic material - and that's it for Crimson Tide.
    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
  23. Erik Woods wrote
    For some reason I wanted to revisit Zimmer's Crimson Tide this afternoon. I don't remember much from the score besides the main melody so I thought I'd give this "game changer" another spin. Yikes! After the first track this one goes down hill fast. It's also doesn't help that one track is 23 minutes long and another at 18 minutes long. Give me the first track, the last moments of "1SQ" and the final track and that's all I need from this one. As a whole Crimson Tide really isn't that good but I do appreciate its importance in the changing soundscape of film scores in the 90's. Still, I think The Rock was the biggest game changer and that score is actually really good! Crimson Tide, not so much.


    Oh good, I'm not the only one who feels that way about Crimson Tide. To me it's a great theme surrounded by a ton of serviceable but (on album) very unengaging suspense material. It may be a seminal score but Zimmer (and friends) would go on to vastly improve the formula in The Rock, which for me is the far better score and really defines that era of MV. punk

    Now Playing: God of War: Ascension by Tyler Bates. It irks me to think that given the subject material of the game he probably got this gig because of 300...that score should definitely not be rewarded with further gigs! But it's actually not too bad. Generic as all hell and practically impossible to tell one cue from the next (they're all just loud action cues), but at least Bates isn't suffering from the total lack of structure that plagued his Conan score. Easily one of the better things I've heard from him...low bar, though. wink

    By the way, nice to hear you'll be joining us again on the SoundCast, Erik. wave
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 20th 2013
    Edmund Meinerts wrote
    By the way, nice to hear you'll be joining us again on the SoundCast, Erik. wave


    Looking forward to it! I'll be dead tired but it will be fun!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  25. NP: Brick Lane (Jocelyn Pook)

    Like Danna, Pook is a western composer who taps into Middle Eastern and Subcontinental sounds very well. The ethereal 'First Kiss' is brief but lovely. The music made quite an impression on me in the film.
    A butterfly thinks therefore I am
    •  
      CommentAuthorWilliam
    • CommentTimeMar 20th 2013 edited
    NP: Superman: The Movie - John Williams

    I forgot how much I love this score! cheesy
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 20th 2013 edited
    NP: G.I. Joe: Retaliation - Henry Jackman

    First listen... not really looking forward to this. Let's see where this one takes me.

    EDIT - Three tracks in and I'd rather listen to Silvestri's RISE OF COBRA... and I hated that score.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorDemetris
    • CommentTimeMar 20th 2013
    It's fun and energetic, it's Brian Tyler-ish (track 15 sounds right out of Battle:la) and it's got a nice sound, despite the aural mayhem of various timbres that goes on in there; but it's only if you like this style of scores that you will end up playing it again smile
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 20th 2013 edited
    Turned off G.I. Joe Retaliation half way through. Never again!

    NP: Escape From Tomorrow - Abel Korzeniowski

    Yup, it's still brilliant. Yup, it's still the best score I've heard this year!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  30. NP:Blade Runner - Vangelis (BSX)
    Re-recorded by Ergar Rothermich. I really dig this recording! A landmark score.

    Volker
    Bach's music is vibrant and inspired.

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