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[Closed] Now Playing XLVIII
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- CommentAuthorPawelStroinski
- CommentTimeJul 31st 2015
John Powell - I Am Sam
I forgot how pretty and heartfelt this one is.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeJul 31st 2015
NP: MISSION IMPOSSIBLE: ROGUE NATION (Joe Kraemer)
It's OK, by all means, but I don't get what all the big deal is? Sounds like a pretty standard action score. Personally, I'll take ten DAWN PATROLs over this.I am extremely serious. -
- CommentTimeJul 31st 2015
^ You don't saaaaaaaaaay.....
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorPawelStroinski
- CommentTimeJul 31st 2015
Just finished with Rogue Nation.
It's a quite good score, which I prefer to Giacchino's M:I-3, but it's not as good (though close) as Ghost Protocol. I like that it's a throwback score and I really, really like how he involves the Schifrin material. In terms of expression this score sometimes makes one wonder what would happen had Lalo Schifrin been hired for one of the Bond films.
I'll have to listen more into it, but it's definitely an interesting score. Nice throwback and it's nice that a popular franchise took this way, really. If the film is successful, it will allow more legitimacy back into this kind of throwback scoring. Could it be better? I'll have to see, but I guess I don't know much about Joe Kraemer to pass this kind of judgment. My only exposure to him was Jack Reacher, which I really liked though.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeJul 31st 2015
Just finished FANTASTIC FOUR (Beltrami/Glass)
So I guess we don't know exactly who worked on which cues or how collaborative the process was? I was expecting the score to sound a little more like Glass, but I don't hear much of what I consider his sound in this music. Which is fine - his sound isn't really what I would imagine for a superhero score anyway. After just one listen, my impression is that it's very competently composed, but not very memorable. There was a theme in there (best heard in the End Titles piece, which was my favorite on the album), but I can't remember it. And I just stopped listening to it a few minutes ago.
Just started M:I - ROGUE NATION (Kraemer) -
- CommentTimeAug 1st 2015 edited
PawelStroinski wrote
John Powell - I Am Sam
I forgot how pretty and heartfelt this one is.
I really love this one too, and it's one of those scores that I chance upon very rarely but always feels so fresh. -
- CommentAuthorPawelStroinski
- CommentTimeAug 1st 2015
Danny Elfman - The Kingdom
It wasn't very popular at the time, was it?
I actually like it quite a bit, though perhaps Elfman could have gotten more desperation out of it. The controlled chaos really works though.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeAug 1st 2015
I've always enjoyed that one. The opening title music (does Elfman have it in his contract to write title music!?) is excellent. Elfman has an uncanny ability to remain modern without losing any integrity. I realise I'm in the minority on this one, but I think his Avengers music is another testament to that.
Oh. And I'm extremely drunk. My spelling is imakulete. -
- CommentAuthorTimmer
- CommentTimeAug 1st 2015
Imaqulete.
Idiot!On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentTimeAug 1st 2015
christopher wrote
Just finished FANTASTIC FOUR (Beltrami/Glass)
So I guess we don't know exactly who worked on which cues or how collaborative the process was? I was expecting the score to sound a little more like Glass, but I don't hear much of what I consider his sound in this music.
On first listen, I'm confident that Glass wrote the Prelude and all the thematic material introduced therein. The rest of the album sounds like Beltrami writing material around Glass' themes with a few of Glass' stylistic traits thrown in. -
- CommentTimeAug 1st 2015
PawelStroinski wrote
Danny Elfman - The Kingdom
It wasn't very popular at the time, was it?
I actually like it quite a bit, though perhaps Elfman could have gotten more desperation out of it. The controlled chaos really works though.
I loved it from the moment it came out -- especially the post-rock vibe it nurtured (a particular obsession of director Peter Berg)!I am extremely serious. -
- CommentAuthorPawelStroinski
- CommentTimeAug 1st 2015
Steven wrote
I've always enjoyed that one. The opening title music (does Elfman have it in his contract to write title music!?) is excellent. Elfman has an uncanny ability to remain modern without losing any integrity. I realise I'm in the minority on this one, but I think his Avengers music is another testament to that.
Oh. And I'm extremely drunk. My spelling is imakulete.
I love how Clemmensen says that the score does not sound like Elfman at all. Then how do the bass synths in Main Title or Attack on the Compound sound? Like Max Steiner?http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorPawelStroinski
- CommentTimeAug 1st 2015
Thor wrote
PawelStroinski wrote
Danny Elfman - The Kingdom
It wasn't very popular at the time, was it?
I actually like it quite a bit, though perhaps Elfman could have gotten more desperation out of it. The controlled chaos really works though.
I loved it from the moment it came out -- especially the post-rock vibe it nurtured (a particular obsession of director Peter Berg)!
Could you give me specific traits or tracks? I've heard like two Sigur Ros albums in my life and when I asked the guy who introduced them to me to help me out with it (as he's a film score fan as well), he never replied. I've wanted to review the score for some time, since I saw the film.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeAug 1st 2015 edited
Well, it basically has to do with lofty, ethereal textures -- often with strumming guitars -- that eschew the big 'pop melodies' in favour of something a little more introvert. Sigur Ros, Tortoise, Mogwai, Explosions in the Sky (with whom Berg collaborated on FRIDAY NIGHT LIGHTS).
'Post-rock' is a bit of a misleading term, as it's very much an organic continuation of the indiepop- and rock scene of the 80s and 90s, but it also takes to task the 'riff'-oriented aspects of traditional rock -- hence 'post-rock' implied a rebellion of sorts (even though the genre is well-established by now).
Elfman employed this style in THE KINGDOM most prominently, due to director Berg's fascination for the genre, but there are also traces of it in THE NEXT THREE DAYS as well as some other recent scores -- probably because of his new-found interest in Glass-ian minimalism (with which post-rock identifies).I am extremely serious. -
- CommentAuthorPawelStroinski
- CommentTimeAug 1st 2015
Ah, so you mostly mean tracks like Waiting, Friendship or Finale, rather than the action/suspense stuff? Most of the action stuff is not that ethereal of course and, frankly, I do think that Elfman could have taken the desperation of the action music a bit further, even if only by mixing the brass a bit louder or making the strings more expressive (which deals not really with changing the arrangement, but rather performance details).http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentTimeAug 1st 2015 edited
Yeah, mostly the downtempo tracks, although the action tracks sound a bit like upbeat post-rock; or alternatively post-rock with an extra rhytmic/electronic vibe. It's been ages since I saw the film, so I can't remember much of it in context. But I dig the album -- severely underrated.I am extremely serious. -
- CommentTimeAug 1st 2015
NP: eXistenZ - Howard Shore
One of my favourite Shore scores. I love it when he's in this mode.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 -
- CommentTimeAug 1st 2015
Really? I never could stand Shore in Cronenberg mode. Too droney. But it's been quite a few years since I came to that conclusion, so it might be ripe for a re-evaluation.I am extremely serious. -
- CommentTimeAug 1st 2015
Thor wrote
Really? I never could stand Shore in Cronenberg mode. Too droney. But it's been quite a few years since I came to that conclusion, so it might be ripe for a re-evaluation.
I think that you might just find it still a bit too "droney."
NP: Looking For Richard - Howard Shore
Another excellent score from Shore's '90s.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 -
- CommentTimeAug 1st 2015
Thor wrote
Really? I never could stand Shore in Cronenberg mode. Too droney. But it's been quite a few years since I came to that conclusion, so it might be ripe for a re-evaluation.
Just thinking about the various aspects of Shore's scoring in the late-eighties/nineties, there's lots of little devices that Shore uses, including what I presume Thor would call "droney". The Fly, eXistenZ, The Game, Silence of the Lambs and Looking For Richard are all quite similar in a way.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 -
- CommentTimeAug 1st 2015
NP: Gremlins (1984) - Jerry Goldsimth
The recent release of Gremlins 2 by Varese arrived with the mail this morning. To put it into perspective I decided to first revisit the FSM release of the preceding score. Goldsmith scored such films so well, so intelligent and flamboyant. I have listened to very little Goldsmith lately. Time to revisit him more frequently again.
VolkerBach's music is vibrant and inspired. -
- CommentTimeAug 1st 2015
FalkirkBairn wrote
Thor wrote
Really? I never could stand Shore in Cronenberg mode. Too droney. But it's been quite a few years since I came to that conclusion, so it might be ripe for a re-evaluation.
Just thinking about the various aspects of Shore's scoring in the late-eighties/nineties, there's lots of little devices that Shore uses, including what I presume Thor would call "droney". The Fly, eXistenZ, The Game, Silence of the Lambs and Looking For Richard are all quite similar in a way.
Yeah, except LOOKING FOR RICHARD, which I always thought was more open and classical in sound? And I've been meaning to check out THE FLY again, due to its operatic nature (a romantic sense of darkness, which I can enjoy).I am extremely serious. -
- CommentAuthorEdmund Meinerts
- CommentTimeAug 2nd 2015 edited
Thor wrote
Too droney.
Thor wrote
Too droney.
THOR!!?!!! wrote
Too droney. -
- CommentTimeAug 2nd 2015
NP: The Sign of Four (1983) - Harry Rabinowitz
on YouTube. Now this is a score that I would love to see released on CD. Since this was a TV production it probably won't happen.
VolkerBach's music is vibrant and inspired. -
- CommentTimeAug 2nd 2015
Thor wrote
FalkirkBairn wrote
Thor wrote
Really? I never could stand Shore in Cronenberg mode. Too droney. But it's been quite a few years since I came to that conclusion, so it might be ripe for a re-evaluation.
Just thinking about the various aspects of Shore's scoring in the late-eighties/nineties, there's lots of little devices that Shore uses, including what I presume Thor would call "droney". The Fly, eXistenZ, The Game, Silence of the Lambs and Looking For Richard are all quite similar in a way.
Yeah, except LOOKING FOR RICHARD, which I always thought was more open and classical in sound? And I've been meaning to check out THE FLY again, due to its operatic nature (a romantic sense of darkness, which I can enjoy).
Looking For Richard certainly does have more of an "open" feel overall, but there are elements in there that are related to the other titles I mentioned.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 -
- CommentTimeAug 2nd 2015
What is Cronenberg mode? A concise explanation will do. -
- CommentTimeAug 2nd 2015
Jim Ware wrote
What is Cronenberg mode? A concise explanation will do.
Drones in the lower register.I am extremely serious. -
- CommentTimeAug 3rd 2015
NP: NOUVELLE VAGUE: CHANSONS ET MUSIQUES DE FILMS (Various)
What a brilliant 3CD set this is -- a thorough and representative selection of all the great New Wave scores (well, most of them anyway). Smooth and melodic jazz, as opposed to the disjointed and/or static nature of the films (many of which I also love, btw).I am extremely serious. -
- CommentTimeAug 3rd 2015
Toy Story - Randy Newman
The new edition. Man, this is great. So warm and joyful, a masterpiece really, though I know these things aren't everyone's cup of tea.
Newman's liner notes are genuinely hilarious, the funniest few paragraphs of text I've read in a very long time. -
- CommentTimeAug 4th 2015
The Red House Rozsa
I love this Intrada rerecording, The crystal clear recording really lets you luxuriate in the fantastic orchestrations.