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  1. Demetris wrote
    But house of cards season 2 has a couple of strong themes, you should re-listen more carefully. And the strings with the noir elements bond the whole together, it surely is not a-thematic, soundscaping music (Which bores me too, most of the times).


    One of the things I noticed this year while watching it was that each end credit sequence pretty much had a distinct theme, so that there was quite a bit of melodic material this time around. Of course that might have been buried by the length of the album, but I'd be surprised if there wasn't enough material for a good half hour album there.
    A butterfly thinks therefore I am
  2. NP: Cheri (Desplat)

    Been far too long since I've listened to this. I would actually say this is one of his most melodic scores, where you can really hear the themes being taken through multiple variations without having to think to hard to recognise what they are. 'The Wedding', 'To Biarritz' and one of the many variations on the core waltz are the highlights.
    A butterfly thinks therefore I am
    •  
      CommentAuthorSouthall
    • CommentTimeJun 19th 2014
    Son of Batman - Frederik Weidmann

    Pretty decent stuff, but it seems to lack a really solid melodic hook or two.
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 20th 2014
    Martijn wrote
    FalkirkBairn wrote
    Thomas Glorieux wrote
    Are you serious about the House of Cards? I thought it was incredibly dull

    I thought it was incredibly dull too.


    I had a similar discussion with a friend of mine who is a professional editor (of TV programs), who shares my love though not my taste in soundtracks. He loves the House Of Cards score as well, while I think the scoring is functional but wholly immemorable.

    Turns out, after an evening of strong drinkiing and soul searching (as one tends to combine with the other), that his interest in soundtracks is purely utalitarian: like lighting or set production.
    He strongly dislikes melodic material as it tends to "pigeonhole" the composition too much. He listesn to soundtracks the way an architect looks at a building: how and why is it used. Does the material fit its purpose. How could certain structures be improved.

    So he tends to go for strongly a-thematic, soundscaping music, wich bores me to tears.


    Yay! Purely functional music... sleep

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  3. Makes sense though. This guy tries to make scenes work all day. He's drawn to things that seem to make scenes work. wink

    NP: Breathe In (Dustin O'Halloran)

    This one's quite nice. It even has a 'fake classical piece', written for the score, at the centre of the material. Light drama scoring, but more than the usual piano-strings-guitar thing.
    A butterfly thinks therefore I am
    •  
      CommentAuthorScribe
    • CommentTimeJun 20th 2014 edited
    People talked about

    Tales of heartless TV producer and traitorous infiltrator of true score lovers


    Nothing makes a scene work better than the perfect melody and instrumentations.

    As proof I offer you the world-shaping Hollywood-bending power of:

    "Binary Sunset" and "Tales of a Jedi Knight"!

    On whose perfectly crafted melodies the fate of a multi-billion-dollar franchise rises or falls...

    No one would have cared what the fuck happened to Luke Whine-walker if those musics (yes, even the simple, subtlely profound six-note fall and rise that accompanies the beginning of the revelation of the legend of Obi-Wan, "a name I haven't heard in a long time", followed directly by a quieter telling of that glorious previous theme we now associate with the Force itself...

    With that in mind, I submit the claim that if one of these modern a-melodic composers had scored Star Wars, it would have done worse than Battle Beyond The Stars. And thus few of us would even know what the hell it was. "Star Wars? What kind of lame-ass B-move cheese is that? Is that really a movie?" And I would have about 100 less books in my collection. John Williams' melodic writing literally created its own industry.

    Put that in your pipe and smoke it, annoying emotionally-underdeveloped editor.

    No offense to the actual person who I'm sure is simply misled by the corrupt production memes of his time and has no direct ill will towards the beautiful idea of creating productions that actually make emotional impact. It's just that there are are far too few composers around who know how to nail the emotion of a scene like Williams.

    /rant
    I love you all. Never change. Well, unless you want to!
  4. Scribe, there's room for both of you in the world. You can both be right, and each of you can fill the world with work that's worthy, whatever aesthetic constraints are applied. He doesn't have to emotionally-underdeveloped to have those views any more than you would be for writing that post.

    NP: How I Live Now (Jon Hopkins)
    A butterfly thinks therefore I am
  5. franz_conrad wrote
    NP: Cheri (Desplat)

    Been far too long since I've listened to this. I would actually say this is one of his most melodic scores, where you can really hear the themes being taken through multiple variations without having to think to hard to recognise what they are. 'The Wedding', 'To Biarritz' and one of the many variations on the core waltz are the highlights.

    This was the first Desplat score that I didn't care for. It's pretty insubstantial to me.
  6. My playlist for today is from Japanese animations:
    Kaze Tachinu - Joe Hisaishi
    Kaguyahime no Monogatari - Joe Hisaishi
    Ookami Kodomo no Ame to Yuki <Wolf Children> - Takagi Masakatsu

    Bliss! cool
    •  
      CommentAuthorScribe
    • CommentTimeJun 20th 2014 edited
    franz_conrad wrote
    Scribe, there's room for both of you in the world. You can both be right, and each of you can fill the world with work that's worthy, whatever aesthetic constraints are applied. He doesn't have to emotionally-underdeveloped to have those views any more than you would be for writing that post.

    NP: How I Live Now (Jon Hopkins)


    Except that one of us' breed is currently dominating the world and pretty well succeeding in ridding it of the art I love. If it was a 50/50 split I would be perfectly happy, but when it's like 90/10 (and rapidly worsening) in favor of scores that are emotionally underdeveloped wallpaper, there's something for me to be legitimately upset about.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorSouthall
    • CommentTimeJun 20th 2014
    Le Marginal - Ennio Morricone

    Here's a man who has written a theme or two in his time. I love this style of scoring he used on a few crime films in the late 70s/early 80s.
    •  
      CommentAuthorDemetris
    • CommentTimeJun 20th 2014
    franz_conrad wrote
    Demetris wrote
    But house of cards season 2 has a couple of strong themes, you should re-listen more carefully. And the strings with the noir elements bond the whole together, it surely is not a-thematic, soundscaping music (Which bores me too, most of the times).


    One of the things I noticed this year while watching it was that each end credit sequence pretty much had a distinct theme, so that there was quite a bit of melodic material this time around. Of course that might have been buried by the length of the album, but I'd be surprised if there wasn't enough material for a good half hour album there.


    Indeed. It's very improved and theme-based, compared to the 1st season.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeJun 20th 2014
    Southall wrote
    Son of Batman - Frederik Weidmann

    Pretty decent stuff, but it seems to lack a really solid melodic hook or two.


    I heard one distinct theme in there (At least) and the brass / percussive lines are massive and very enjoyable.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeJun 20th 2014
    franz_conrad wrote


    NP: How I Live Now (Jon Hopkins)


    Michael have you seen the grim film? It's one of those that i think you'll particularly like, no? The score is wonderful and works wonders in it too.

    Same goes for the much darker, and wilder:

    WE ARE WHAT WE ARE - Jeff Grace (2013)

    Gripping movie, sentimental and melancholic score by Grace that fits the movie's inner theme a 100% (which is not right away revealed so at the beginning, it can get a bit odd as to why a seemingly horror / thriller film has such a sensitive score and piano theme, but it quickly becomes apparent. Very good film http://www.rottentomatoes.com/m/we_are_ … _are_2013/ )
    Love Maintitles. It's full of Wanders.
    • CommentAuthorDavid OC
    • CommentTimeJun 20th 2014
    September Dawn - William Ross

    What a brilliant score! Begins with a first-rate main titles piece but then continues with fresh ideas and clever variations in nearly every cue. This one's a real revelation - been buried way too long in my stacks.
    •  
      CommentAuthorThor
    • CommentTimeJun 20th 2014
    NP: GIMME SHELTER (Olafur Arnalds)

    Arnalds is one of the most exciting composer voices to appear recently. With this and BROADCHURCH, he paints gorgeous sonic landscapes. Hard to make references, but a little bit of Martinez, maybe, combined with a more classically oriented composer.
    I am extremely serious.
    •  
      CommentAuthorDemetris
    • CommentTimeJun 20th 2014
    David OC wrote
    September Dawn - William Ross

    What a brilliant score! Begins with a first-rate main titles piece but then continues with fresh ideas and clever variations in nearly every cue. This one's a real revelation - been buried way too long in my stacks.


    Absolutely mesmerizing. Loving it, do you think any other Ross score to date, reaches this quality?

    Thor wrote
    NP: GIMME SHELTER (Olafur Arnalds)

    Arnalds is one of the most exciting composer voices to appear recently. With this and BROADCHURCH, he paints gorgeous sonic landscapes. Hard to make references, but a little bit of Martinez, maybe, combined with a more classically oriented composer.


    Couldn't agree more with you here. Excellent style and own musical identity which is not frequently met these days; and he combines the old ambient / minimalism elements with his own signature, creating something modern and new.

    Have you also checked out Johann Johannson's Prisoners and McCannick? I think the same applies to this composer as well.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorDavid OC
    • CommentTimeJun 20th 2014 edited
    Demetris wrote
    David OC wrote
    September Dawn - William Ross

    What a brilliant score! Begins with a first-rate main titles piece but then continues with fresh ideas and clever variations in nearly every cue. This one's a real revelation - been buried way too long in my stacks.


    Absolutely mesmerizing. Loving it, do you think any other Ross score to date, reaches this quality?


    Not that I've heard mate. I only have about half a dozen of his scores but this is easily the best of the them. What can you recommend?
    • CommentAuthorDavid OC
    • CommentTimeJun 20th 2014
    Snake Eyes - Ryuichi Sakamoto

    'The Hunt' is one of those cues that you never forget, especially if you've heard it in context in the DePalma's underrated, guilty pleasure of a film. And most of the rest of the score is only a notch below it.
    •  
      CommentAuthorDemetris
    • CommentTimeJun 20th 2014
    David OC wrote
    Demetris wrote
    David OC wrote
    September Dawn - William Ross

    What a brilliant score! Begins with a first-rate main titles piece but then continues with fresh ideas and clever variations in nearly every cue. This one's a real revelation - been buried way too long in my stacks.


    Absolutely mesmerizing. Loving it, do you think any other Ross score to date, reaches this quality?


    Not that I've heard mate. I only have about half a dozen of his scores but this is easily the best of the them. What can you recommend?


    Only Ladder 49
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeJun 20th 2014
    David OC wrote
    Snake Eyes - Ryuichi Sakamoto

    'The Hunt' is one of those cues that you never forget, especially if you've heard it in context in the DePalma's underrated, guilty pleasure of a film. And most of the rest of the score is only a notch below it.


    Absolutely one of the top modern scores, along with his The Sheltering Skies, Little Buddha, Silk
    Love Maintitles. It's full of Wanders.
  7. Snake eyes is a beauty, agreed on that.

    Demetris, I mostly liked how I live now. Quite a strong central character journey there, and the score made an impression on me too. smile


    Scribe wrote
    franz_conrad wrote
    Scribe, there's room for both of you in the world. You can both be right, and each of you can fill the world with work that's worthy, whatever aesthetic constraints are applied. He doesn't have to emotionally-underdeveloped to have those views any more than you would be for writing that post.

    NP: How I Live Now (Jon Hopkins)


    Except that one of us' breed is currently dominating the world and pretty well succeeding in ridding it of the art I love. If it was a 50/50 split I would be perfectly happy, but when it's like 90/10 (and rapidly worsening) in favor of scores that are emotionally underdeveloped wallpaper, there's something for me to be legitimately upset about.


    Yes, I see what you mean. This Dutch editor must be emotionally underdeveloped.
    A butterfly thinks therefore I am
    •  
      CommentAuthorErik Woods
    • CommentTimeJun 20th 2014
    Demetris wrote
    David OC wrote
    Demetris wrote
    David OC wrote
    September Dawn - William Ross

    What a brilliant score! Begins with a first-rate main titles piece but then continues with fresh ideas and clever variations in nearly every cue. This one's a real revelation - been buried way too long in my stacks.


    Absolutely mesmerizing. Loving it, do you think any other Ross score to date, reaches this quality?


    Not that I've heard mate. I only have about half a dozen of his scores but this is easily the best of the them. What can you recommend?


    Only Ladder 49


    Haven't heard to many Ross scores, huh guys?

    The Amazing Panda Adventure is a sweeping adventurte score.
    My Dog Skip is an emotional tear jerker. One his best.
    My Fellow Americans is a first rate comedy score with a dynamite action cue - "Horse Chase" - that is one of my most played tracks... acorrding to iTunes.
    T-Rex: Back to the Cretaceous is superb. It's a massive score
    The Tale of Despereaux is full of swashbuckling goodness
    Tin Cup is one of my all time favourite sports scores.
    and of course we have this years 50 to 1, which is a good old fashion heart string puller.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  8. Es war einmal in ferner Zukunft ...

    Krieg der Sterne (1977) - John Williams
    on Arista/Fox

    From time to time it's a thing of necessity.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeJun 20th 2014 edited
    Demetris wrote
    Couldn't agree more with you here. Excellent style and own musical identity which is not frequently met these days; and he combines the old ambient / minimalism elements with his own signature, creating something modern and new.

    Have you also checked out Johann Johannson's Prisoners and McCannick? I think the same applies to this composer as well.


    Yes, I have! I like both of those scores (PRISONERS more than MCCANNICK...it was one of my top 10 favourite scores of last year). Glad to see we agree on something. We've disagreed a lot this year. smile
    I am extremely serious.
  9. Prisoners is great, in the film downright brilliant.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSteven
    • CommentTimeJun 20th 2014 edited
    Godzilla Alexandre Desplat

    It takes no hesitation to call this my favourite Desplat score. Even with Powell's wonderful, brilliant and magnificent score to the imaginatively titled How To Train Your Dragon 2, this remains my favourite of the year so far....but only just.
  10. I just finished my first listen to

    HOW TO TRAIN YOUR DRAGON 2 - John Powell

    After just one listen it's my favorite score of the year so far, though I didn't enjoy it as much as the original score. It's not very fair competition yet, given my love and deep familiarity with the first score. Perhaps in time this one will grow on my similarly. I hope so.
    •  
      CommentAuthorlp
    • CommentTimeJun 20th 2014
    Southall wrote
    The Good Wife - David Buckley

    First-rate television music.


    It's weird how the music in season 5 got "better" after the switch to this Baroque/Classical styling. But four seasons prior sleep
    •  
      CommentAuthorSouthall
    • CommentTimeJun 20th 2014
    I barely noticed the music before this season. I wonder what prompted the change. Very unusual direction to go, but it works very well in the show, even if it would irritate Martijn's friend because it has such personality.