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[Closed] Now Playing XLVIII

General Discussions » Now Playing XLVIII (Posts 3421 to 3450 of 3470)

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  1. STARCRAFT II: LEGACY OF THE VOID

    Epic orchestral scoring, the old-fashioned way. The Blizzard composer team has rarely disappointed in this domain. They write bold and larger than life pieces for orchestra and choir. For strategy and role-playing games.

    Awesome!
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  2. POLTERGEIST

    The remake score by Streitenfeld.

    Actually scratch that, I'll happily never listen to it, so I'll go ahead with Jerry's masterpiece again.

    Another fine example of an excellent blend of electronics with orchestra. They add another level of creepiness to the already masterful writing. Of course the main element is the powerhouse orchestra with occasional choral backing, but the electronics are very subtle, to the point that I would find a version without them very odd-sounding and a lot less interesting.

    This is without a doubt my favorite Goldsmith. A perfect album too (1997 Turner). Not a minute wasted. I even love the nightmarish ending of Carol Anne's Theme. It provides relief after an hour of pure terror. cheesy

    Also, how many composers these days can write something as stupendously complex and bone-chilling as 'Twisted Abduction' or the whole 'It Knows What Scares You / Rebirth' sequence (which counts as one track in my mind)?

    Yay for revisiting the great classics. cool
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorSteven
    • CommentTimeJan 25th 2016
    DreamTheater wrote
    Also, how many composers these days can write something as stupendously complex and bone-chilling as 'Twisted Abduction' or the whole 'It Knows What Scares You / Rebirth' sequence (which counts as one track in my mind)?


    Probably as many as could back in 1982 (minus the man himself).
    •  
      CommentAuthorThor
    • CommentTimeJan 25th 2016
    NP: LE MAGASIN DE SUICIDES (Etienne Peruchon)

    I'm not sure how many of you caught this animated film & score back in 2012, but in large part it pretty much comes off as a direct sequel to THE NIGHTMARE BEFORE CHRISTMAS in terms of style, tone and sentiment -- in French.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeJan 25th 2016
    I 've seen it, and I'm not sure.
    I kinda get where you're coming from, but while I found the subject matter and casual insertion of the concept of suicide much darker than Nightmare Before Christmas (Does anyone else have this tick where they want to write Nightmare Before Elm Street? I do that TOO often!) , I found the overall tone much lighter and, dare I say it, more childish.

    I enjoyed Nightmare better.
    (A lot better!)
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeJan 25th 2016
    Ah, yeah, I wasn't talking so much about the movie (which I haven't seen) as the score. Seems to be very much in the Kurt Weill-ian mode of NIGHTMARE, with a hint or two of Gilbert & Sullivan thrown in.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeJan 25th 2016
    Thor wrote
    Ah, yeah, I wasn't talking so much about the movie (which I haven't seen) as the score.


    biggrin
    My bad. I should've known.

    Yes, in a purely musical vein I very much agree with you!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeJan 26th 2016
    Star Wars The Force Awakens John Williams

    After a rocky start with not quite knowing what to make of it, then a brief period of inexplicable disappointment, my initial prediction this would become my favourite score of 2015 has turned out to be a good one. It's certainly surpassed Attack of the Clones for me, and seems to be level with Phantom and Sith.

    But it's just so different from the prequel scores, it's difficult to compare. This feels like it was written by a much younger man than he who wrote even The Phantom Menace. Is there a picture of John Williams in his attic looking decidedly frail I wonder?
  9. NP: Pride and Prejudice and Zombies - Fernando Velázquez

    Seems to be all over the place. Ranges from formal music such as minuets right through to the modern percussive action scoring. It only grabs the attention occasionally when Velázquez thinks about writing something more melodic.
    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
  10. Steven wrote
    Star Wars The Force Awakens John Williams

    After a rocky start with not quite knowing what to make of it, then a brief period of inexplicable disappointment, my initial prediction this would become my favourite score of 2015 has turned out to be a good one. It's certainly surpassed Attack of the Clones for me, and seems to be level with Phantom and Sith.

    But it's just so different from the prequel scores, it's difficult to compare. This feels like it was written by a much younger man than he who wrote even The Phantom Menace. Is there a picture of John Williams in his attic looking decidedly frail I wonder?


    Agreed. I doubt this will ever be more than a solid 4 star score for me. It sits between AOTC and ROTS, all those three beneath a superior TPM, and all of them topped by the unbeatable original 3 scores. Don't think that will ever change.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorMartijn
    • CommentTimeJan 26th 2016
    Yep, I think Gilles and Stew have pretty much nailed it.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeJan 26th 2016 edited
    No, they haven't. It will forever remain on my last place, SW-wise, unless Williams returns to the saga once more and once again delivers an equally or more disappointing affair. Still, it's a pretty good score compared to most everything else. I find that combination rather amusing.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeJan 26th 2016
    Thor wrote
    No, they haven't.


    Yes, they have.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeJan 26th 2016 edited
    NP: ONCE UPON A TIME IN AMERICA (Ennio Morricone)

    Although I had seen the movie a few times (it's a favourite of mine), I actually didn't get this soundtrack untill I was spurred by a colleague who picked it as his favourite on a Celluloid Tunes show of mine two years ago. Then I went out and bought a digital download. If memory serves, this is Zimmer's favourite score.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeJan 26th 2016 edited
    NP: THE UNTOUCHABLES (Ennio Morricone)

    Another Morricone classic up my alley (well, mostly, not too hot on the suspense stuff). This is the original album presentation. I often use the staircase sequence in my film lectures.
    I am extremely serious.
  16. Thor wrote
    NP: ONCE UPON A TIME IN AMERICA (Ennio Morricone)

    Although I had seen the movie a few times (it's a favourite of mine), I actually didn't get this soundtrack untill I was spurred by a colleague who picked it as his favourite on a Celluloid Tunes show of mine two years ago. Then I went out and bought a digital download. If memory serves, this is Zimmer's favourite score.


    Yes, it is, though what he calls his favorite theme depends on the situation (it was Schifrin's Mission; Impossible theme back in 2000, then Carpenter's Assault on Precinct 13... I think he once even mentioned the other Once Upon a Time score by Morricone).
    http://www.filmmusic.pl - Polish Film Music Review Website
  17. PawelStroinski wrote
    (it was Schifrin's Mission; Impossible theme back in 2000).

    Well, of course...PR demanded that it would be. wink
    •  
      CommentAuthorlp
    • CommentTimeJan 26th 2016
    FalkirkBairn wrote
    NP: Pride and Prejudice and Zombies - Fernando Velázquez

    Seems to be all over the place. Ranges from formal music such as minuets right through to the modern percussive action scoring. It only grabs the attention occasionally when Velázquez thinks about writing something more melodic.


    I'm kinda looking forward to this. I didn't even know it's been released.
  19. It's a promo version. Release is 12th February
    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
  20. Edmund Meinerts wrote
    PawelStroinski wrote
    (it was Schifrin's Mission; Impossible theme back in 2000).

    Well, of course...PR demanded that it would be. wink


    Yeah, an Assault on Precinct 13 was accidentally mentioned when John Carpenter was in the room wink
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeJan 26th 2016 edited
    PawelStroinski wrote
    Edmund Meinerts wrote
    PawelStroinski wrote
    (it was Schifrin's Mission; Impossible theme back in 2000).

    Well, of course...PR demanded that it would be. wink


    Yeah, an Assault on Precinct 13 was accidentally mentioned when John Carpenter was in the room wink


    Yes, but I don't think Zimmer said it was his FAVOURITE score; only that he really liked ASSAULT. Unfortunately, the clip from the German television show DURCH DIE NACHT MIT..., which featured Carpenter and Franka Potente visiting Zimmer's Remote Control studios in this episode, has been removed from Youtube.

    Zimmer also said he was a huge fan of Moroder's MIDNIGHT EXPRESS when he met up with Moroder in Ghent a couple of years ago. I still remember the moment backstage, when Zimmer bowed humbly and deeply when greeting the Italian electronica pioneer (vice versa, Moroder mentioned Zimmer twice when I interviewed him a few months ago).

    So I think it depends on the moment, who's there and who's asking.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeJan 26th 2016 edited
    NP: LUCY (Eric Serra)

    My favourite film of 2014! Unfortunately, the score isn't quite as strong as the film, and I've been kinda waiting for it to grab me on its own. Especially because I really dig Serra's work. It's not bad or anything, but it isn't really fantastic either. Guess I'll have to wait a bit more.
    I am extremely serious.
  23. Thor wrote
    PawelStroinski wrote
    Edmund Meinerts wrote
    PawelStroinski wrote
    (it was Schifrin's Mission; Impossible theme back in 2000).

    Well, of course...PR demanded that it would be. wink


    Yeah, an Assault on Precinct 13 was accidentally mentioned when John Carpenter was in the room wink


    Yes, but I don't think Zimmer said it was his FAVOURITE score; only that he really liked ASSAULT. Unfortunately, the clip from the German television show DURCH DIE NACHT MIT..., which featured Carpenter and Franka Potente visiting Zimmer's Remote Control studios in this episode, has been removed from Youtube.

    Zimmer also said he was a huge fan of Moroder's MIDNIGHT EXPRESS when he met up with Moroder in Ghent a couple of years ago. I still remember the moment backstage, when Zimmer bowed humbly and deeply when greeting the Italian electronica pioneer (vice versa, Moroder mentioned Zimmer twice when I interviewed him a few months ago).

    So I think it depends on the moment, who's there and who's asking.


    Hans, in that video, was talking about it being his favorite theme smile Asked Carpenter if he can rip it off (which he, kinda, did in The Peacemaker).
    http://www.filmmusic.pl - Polish Film Music Review Website
  24. GODZILLA

    The one by Arnold, huge cojones of brass, woodwinds and strings, and choir for that extra oomph!
    2 hours well spent. Arnold's third best work, after ID4 and Stargate.
    Desplat's version is pretty pathetic compared to this.
    And it's funny, I never noticed before this has quite a bit of James Bond style trumpets making an appearance.
    Only one way to play this which is extremely loud. punk
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorThor
    • CommentTimeJan 26th 2016
    DreamTheater wrote
    GODZILLA

    The one by Arnold, huge cojones of brass, woodwinds and strings, and choir for that extra oomph!
    2 hours well spent. Arnold's third best work, after ID4 and Stargate.
    Desplat's version is pretty pathetic compared to this.
    And it's funny, I never noticed before this has quite a bit of James Bond style trumpets making an appearance.
    Only one way to play this which is extremely loud. punk


    I absolutely adore the promo program of this score, but I hate the 2CD version. Wouldn't call Desplat's take 'pathetic', though. It works quite good in context; it's just shitty listening alone.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeJan 26th 2016 edited
    NP: DEVOTION (Erich Wolfgang Korngold)

    Wolfie used to be my favourite Golden Age composer before I discovered Waxman, and this one has stuck with me. Varied and deeply classical (is there such a thing?). This is the Marco Polo/Stromberg/Moscow re-recording from the 90s.
    I am extremely serious.
  27. I can't sit through the one by Desplat (music only), I can barely stand it in the film.
    Then again I dislike almost everything he has written.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorThor
    • CommentTimeJan 26th 2016
    DreamTheater wrote
    I can't sit through the one by Desplat (music only), I can barely stand it in the film.
    Then again I dislike almost everything he has written.


    We agree there. I still haven't found a single score by Desplat I've really liked. I enjoyed THE GHOST WRITER, but mostly for how the score was spotted, not how it sounded.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeJan 26th 2016
    DreamTheater wrote
    And it's funny, I never noticed before this has quite a bit of James Bond style trumpets making an appearance.


    Those high register Bondian trumpets, which I assume are credited to orchestator Nicholas Dodd, are found in most Arnold action scores. You can also hear them in Saraha, which is credited to Clint Mansell, but you know that score was written by Nicholas Dodd. wink

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  30. NP: Brothers of The Wind - Sarah Class

    Perhaps the first notable score of 2016? Written for a drama about a boy bringing up an abandoned eagle. Class' music soars and, in parts, is quite beautiful.

    https://www.amazon.co.uk/gp/product/B01 … mp;sr=1-64
    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

3421 to 3450 of 3470

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