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    • CommentAuthorTimmer
    • CommentTimeSep 5th 2013 edited
    Jon Broxton wrote
    My review of THE MORTAL INSTRUMENTS: CITY OF BONES, for anyone who is interested:

    http://moviemusicuk.us/2013/09/04/the-m … orvarsson/

    Jon



    I'm giving this a listen for the first time right now.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorErik Woods
    • CommentTimeSep 7th 2013
    BRRRRWHAAAAAAAAAAAAAAAA!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  1. Huh?
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      CommentAuthorSteven
    • CommentTimeSep 7th 2013
    Horn of doom! (Though, personally, I didn't hear it. I probably wasn't paying enough attention because I gave up half way through the album.)
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      CommentAuthorErik Woods
    • CommentTimeSep 7th 2013
    Horn of doom indeed. sleep

    -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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      CommentAuthorJon Broxton
    • CommentTimeSep 8th 2013 edited
    You didn't like CITY OF BONES? I thought it was great! Lots of themes, varied sound palette, some moments of choral grandeur. What's not to like? I didn't hear a "horn of doom" anywhere, unless it's now the new thing to slap that name on any score that uses brass.
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      CommentAuthorScribe
    • CommentTimeSep 8th 2013
    Of course its the new thing. You can't use any instrument that was also used in another score without it being plagiarism.
    I love you all. Never change. Well, unless you want to!
  2. Well, who invented the bugle / natural trumpet? The Sumer?
    Bach's music is vibrant and inspired.
  3. There is no "horn of doom" in City of Bones.
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      CommentAuthorSteven
    • CommentTimeSep 8th 2013
    Yeah, I can't say I heard it either? Also, I don't like this score. It's not bad, it's all perfectly adequate and, um, film music-y... but it bores the crap out of me. For the life of me, I can't hear what others are hearing? Which is disappointing, I wanted to enjoy this as much as others apparently are. sad I'll take Pacific Rim over this any day. Much more fun!
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      CommentAuthorErik Woods
    • CommentTimeSep 8th 2013
    Edmund Meinerts wrote
    There is no "horn of doom" in City of Bones.


    It's blasting away during "The Clave's Curse." Did you guys completely skip over "The Angel Rune?" It's in "Valentine."

    I didn't hate that score though but I'm more in line with how Southall felt about the score. The quieter, non-action moments of the score are the highlights (great opening cue) and the scores emotional core. The action music on the other hand relies heavily on the already established sound that Zimmer came up with in Inception and Batman. And the choral music, while beautifully mixed, isn't doing anything new or exciting. It's just... there!

    However, occasionally, Orvarsson inserts some unexpected colour over top of the generic action canvas (for instance stopping the action almost completely for a harp riff) but that's not enough to save me from getting utterly bored with the score about three quarters of the way through the albums playing time. It went from being something relatively interesting and fresh to something that we've heard a million times before from the RC/MV camp. "Vampires and Werewolves" sends the score over the cliff.

    So I can't help but be disappointed with how this score evolved.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  4. This composer seems to be having a good year.

    Mikael's MovieScore Media has released Atli's score for the film Colette and I think that it's a strong piece of music.

    http://www.amazon.co.uk/Colette-Origina … p;sr=301-2
    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
  5. While I heard neither yet, I always regarded him as one of the biggest talents in RCP. Justin may also know him, because he seems to be somehow interested in Mike Post's career and he was Post's assistant before moving on to Remote Control.
    http://www.filmmusic.pl - Polish Film Music Review Website
  6. FalkirkBairn wrote
    This composer seems to be having a good year.

    Prolific, that's for sure. It would take a generous soul to call Evidence or Hansel and Gretel: Witch Hunters "good". tongue

    I think MSM has another Orvarsson score lined up as well, but the name escapes me. Either way, I'm definitely interested; I've been following and rooting for this guy ever since Babylon A.D. and he together with Jackman is my favorite new RC guy of the last ten years or so.
  7. Erik Woods wrote
    Edmund Meinerts wrote
    There is no "horn of doom" in City of Bones.


    It's blasting away during "The Clave's Curse." Did you guys completely skip over "The Angel Rune?" It's in "Valentine."

    I didn't hate that score though but I'm more in line with how Southall felt about the score. The quieter, non-action moments of the score are the highlights (great opening cue) and the scores emotional core. The action music on the other hand relies heavily on the already established sound that Zimmer came up with in Inception and Batman. And the choral music, while beautifully mixed, isn't doing anything new or exciting. It's just... there!

    However, occasionally, Orvarsson inserts some unexpected colour over top of the generic action canvas (for instance stopping the action almost completely for a harp riff) but that's not enough to save me from getting utterly bored with the score about three quarters of the way through the albums playing time. It went from being something relatively interesting and fresh to something that we've heard a million times before from the RC/MV camp. "Vampires and Werewolves" sends the score over the cliff.

    So I can't help but be disappointed with how this score evolved.

    -Erik-

    The action isn't anything new but I think it's executed reasonably well, with all the tropes being used with relative restraint. I think pretty much any cliche or trope can still be effective and good so long as it isn't overdone, and that's largely the case here. Some parts of the action actually remind me of Lockington ("Where's the Cup" from about 0:52 to 1:40 in particular...tell me I'm not the only one who hears it) so I guess I ought not to be surprised that you aren't overjoyed with it, Erik. wink

    What really makes this score is the themes and the quieter moments though. And the choral writing...not everything has to do something new, and I personally do find it exciting. And some of the intricacies in the textures..."Madame Dorothea" could have easily been a skippable suspense cue but with all those cool bells and whistles (is that a mouth harp??) it becomes something worth hearing.

    But yeah, "Vampires and Werewolves"...if nothing else, that cue proves how difficult it is to pull off those distortion effects without it sounding cheap and gimmicky. Which it does here, but not in Remember Me. Well, not as much.
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      CommentAuthorSouthall
    • CommentTimeSep 13th 2013
  8. My reviews of Atli's two MSM releases over at Tracksounds: A Single Shot and Colette. I quite liked Colette. I did not like A Single Shot.
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      CommentAuthorSouthall
    • CommentTimeOct 18th 2016
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      CommentAuthorCaliburn
    • CommentTimeApr 24th 2019
    Oeph, another old thread that needs a revival. Atli deserves more posts!

    Anyways, I interviewed Atli Örvarssonduring the film music festival in Krakow!

    https://soundtrackworld.com/2019/04/int … orvarsson/