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  1. I quite like the song. it's oddly sung but there's a very nice melody to it. Also, it's not a pop song, it's a continuation of the score (sound wise) with Kronos and Patti. It's odd, but don't dismiss it without even listening once. It deserves a chance.
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      CommentAuthorDemetris
    • CommentTimeMar 26th 2014
    Synchrotones wrote
    Demetris wrote
    Similar to the song?


    Yes (in a way), without Patti's vocals obviously. Though I've yet to work out whether the "Mercy Is"-theme is unique or a reprise of one of the score's themes. The score (overall) is much bigger though.

    The orchestration of the score is along the same lines of the song - dark, brooding, heavy on strings especially Kronos Quartet. The quartet gives it quite a harsh sound; add to that Mansell's electronics; electric guitars, some deep brass and percussion; some zither (i think) to give it an 'ancient' feel.

    Though there are also moments of (dare I say) 'ethereal' and (almost) lyrical beauty. It has got recurring themes and motifs, but Mansell generally holds back on them. Judging by the score, this is going to be one helluva dark film! smile

    Personally, I find it very fascinating, but I'm sure not everyone will feel the same! You know, this is Mansell, not Horner!

    Pt.


    Why holding up? Damn, i am bored of this holding up, it's a friggin biblical epic for God's sake, unleash the music! The song was hideous, i really hope there's some sense of theme or melody in the score otherwise it will be a huge fail i suspect.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorBobdH
    • CommentTimeMar 31st 2014 edited
    The song was written by Patti Smith and Lenny Kaye, not Clint Mansell, who only did the arrangement to make it fit with his score tonally. The score itself reveals its themes more and more on repeat listens. It's also Clint Mansell's biggest score to date, in terms of orchestral size (135 pieces, not counting Kronos Quartet) and loudness.
  2. BobdH wrote
    The song was written by Patti Smith and Lenny Kaye, not Clint Mansell, who only did the arrangement to make it fit with his score tonally. The score itself reveals its themes more and more on repeat listens. It's also Clint Mansell's biggest score to date, in terms of orchestral size (135 pieces, not counting Kronos Quartet) and loudness.

    I doubt it could top Sahara... punk YES! Best Mansell score ever, despite (because of?) not sounding like him at all.

    Also, where are you getting this 135 players stat from? Because if that's just the number of musicians listed in the booklet it doesn't mean squat, players could rotate in and out of different sessions.
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      CommentAuthorBobdH
    • CommentTimeMar 31st 2014 edited
    Yes, musicians counted in the booklet. But the score also sounds bigger than Sahara.

    Sahara is a very fun and enjoyable score, but nowhere near his best work, which is The Fountain.
  3. My review of NOAH, for anyone who is interested:

    http://moviemusicuk.us/2014/04/02/noah-clint-mansell/

    Jon
  4. I watched the movie earlier this week, and for me there were moments the music really stood out in the movie, but overal it didn't leave a lasting impression (while watching) which isn't that unusual for me.
    The song at the end did deliver the right atmosphere to end the movie.

    I do look forward to listen to the music on its own.
    And now I'm going to read Jon's review :-).
    Recognizing somebody else's strength doesn't diminish your own (Joss Whedon)
  5. Short review of Noah.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
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      CommentAuthorSouthall
    • CommentTimeMar 12th 2016
  6. Is that the prequel to RISEN?







    :coat:
    Bach's music is vibrant and inspired.
  7. Review of High Rise. No sequel to Risen. Music by Clint, but not Eastwood.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
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      CommentAuthorMartijn
    • CommentTimeApr 6th 2016
    biggrin
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  8. I'm no big fan of Mansell, but he's definitely a much better film composer than that other Clint. tongue
  9. Brian Kilkline is a better composer than Eastwood. Any of us farting powerfully on the ivories are a better composers.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
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      CommentAuthorMartijn
    • CommentTimeApr 6th 2016
    ...Junkie XL?
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
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      CommentAuthorSouthall
    • CommentTimeApr 6th 2016
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      CommentAuthorDemetris
    • CommentTimeApr 7th 2016 edited
    Not very excited with Mansell's output the last 5 years or so. He comes out as uninspired to me. And definitely not even near as 'edgy' as that trademarked quality his music used to have. Anyone?
    Love Maintitles. It's full of Wanders.
  10. I dunno, I'm no big fan of his but I liked Noah more than I usually like his music.
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      CommentAuthorBobdH
    • CommentTimeApr 7th 2016
    When Mansell's good, he's <I>good</I>, which has given us a few very, very good works, all the rest is mediocre or draws from those few Very Good works. To me he is one the composers with the biggest drop in quality between his Great Works and The Rest. That small select group of really inspired works to me includes The Fountain, Black Swan and Noah. I liked Stoker, revisit only parts of it, and respect High Rise as an intelligent score, I'm curious how it works in the film.
  11. THE FOUNTAIN is the only score of his in my collection. On this album only "Death is the Way to Awe" really stands out for me.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorDemetris
    • CommentTimeApr 7th 2016
    BobdH wrote
    When Mansell's good, he's <I>good</I>, which has given us a few very, very good works, all the rest is mediocre or draws from those few Very Good works. To me he is one the composers with the biggest drop in quality between his Great Works and The Rest. That small select group of really inspired works to me includes The Fountain, Black Swan and Noah. I liked Stoker, revisit only parts of it, and respect High Rise as an intelligent score, I'm curious how it works in the film.


    THE FOUNTAIN is his highest moment to date. But he has some truly inspired scores as well as that, i.e. Requiem for a Dream, Abandon, also United, Moon, Wrestler,
    Love Maintitles. It's full of Wanders.