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      CommentAuthorMartijn
    • CommentTimeOct 28th 2015
    NP: SPECTRE - Thomas Newman

    Unfortunately I do seem to find myself agreeing with the camp who really can't be bothered with this.
    I think Tim summed it up really properly: "there are some good bits".
    That's about all that's useful to share on this.

    Moving on.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  1. NP: Freud (1962) - Jerry Goldsmith

    The VS Deluxe Edition of 2009 was in the mail today. Well, this is quite something! Modernist intellectual Goldsmith. I saw the film several ages ago. Fantastic music if not an easy listening experience.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorlp
    • CommentTimeOct 28th 2015
    Martijn wrote
    NP: SPECTRE - Thomas Newman

    Unfortunately I do seem to find myself agreeing with the camp who really can't be bothered with this.
    I think Tim summed it up really properly: "there are some good bits".
    That's about all that's useful to share on this.

    Moving on.


    Yeah....
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      CommentAuthorSouthall
    • CommentTimeOct 28th 2015
    Back to the Future II - Al Silv

    "Less of the same" I guess. The best bit is when the BTTF3 theme makes its appearance at the end.
  2. Easily the least of the three.
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      CommentAuthorSouthall
    • CommentTimeOct 28th 2015
    Yes. I'd never heard it outside the film before. I'm glad I only paid for the download and not the eyewatering Intrada price.
  3. Dennis wrote
    I love to put scores in chronological film order
    We can actually make a thread where we discuss this....


    Thor would love that!

    As for me, I generally prefer film music to be presented in the order it appears in the film, so that the music recreates the experience of the film. This really only matters to me if I enjoyed the film, though, which pretty excludes everything Jerry Goldsmith ever scored....

    One score that I think is MUCH better in chronological order than on the album as it was produced is JNH's THE VILLAGE

    NP - La Terre Vue Du Ciel - Armand Amar

    First listen to this 2004 documentary. It's nice!
  4. Spectre - Thomas Newman

    I enjoyed this very much. I actually like how moody and surprisingly subdued much of it is; the piano theme that plays in "Secret Room," "Safe House," and "Out of Bullets" is especially superb and it's classic Newman. I also like that he called back to some of his music from Skyfall, most notably "The Eternal City" and "Tempus Fugit."

    Now I just have to see the movie...
  5. Martijn wrote
    It must be a burden being the measure of all things... wink

    Naahh... I think we all know who has the FACTS on everything...
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      CommentAuthorMartijn
    • CommentTimeOct 29th 2015
    Aye, that would be me, of course.
    Through some weird burp in the Universe I can be technically overruled by Bregt, but we'll let that slide for now.
    We will discuss this at some point in time, in person.

    Then, at a safe distance, Timmer sometimes has the right of it.
    Steven does at occasion not talk nonsense either.
    But that's about it, I guess?

    For the rest I really rather despise all you puny humans.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    • CommentAuthorAnthony
    • CommentTimeOct 29th 2015 edited
    SPECTRE

    The first track showed promise, but this album seems awfully long and awfully bland. It doesn't feel like a Bond score either. Quite generic, and sadly, my least favourite Bond score since Goldeneye. sad
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      CommentAuthorlp
    • CommentTimeOct 29th 2015
    Anthony wrote
    SPECTRE

    The first track showed promise, but this album seems awfully long and awfully bland. It doesn't feel like a Bond score either. Quite generic, and sadly, my least favourite Bond score since Goldeneye. sad


    FWIW, it does sound like a Thomas Newman score. A Bond score, this isn't.
  6. Tempora mutantur: Bond has changed, the music has changed. This score accompanies a Bond film, it has Bond printed on its cover, so yes, this is a Bond score. I'm not crazy about it, I like Skyfall better, but I have yet to see the movie to really make up my mind about Newman's Spectre. Basically I like it.

    Volker
    Bach's music is vibrant and inspired.
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      CommentAuthorThor
    • CommentTimeOct 29th 2015 edited
    I like a lot of what I heard in the film itself (which I saw today), but not sure how it holds up on album. I'll get to that eventually. But whichever way you put it, this is John Powell's seminal BOURNE sound channeled through Thomas Newman -- only not as good as Powell.
    I am extremely serious.
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      CommentAuthorSouthall
    • CommentTimeOct 29th 2015
    Is it? I thought it was the sound of Newman being more confident (or perhaps, being allowed) to be himself this time round, with less of the Arnold-style stuff than in Skyfall (which admittedly wasn't all that much). I don't get the Powell sound from it.
  7. I agree. I perceive Powell's Bourne as something rather different.
    Bach's music is vibrant and inspired.
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      CommentAuthorlp
    • CommentTimeOct 29th 2015
    Captain Future wrote
    Tempora mutantur: Bond has changed, the music has changed. This score accompanies a Bond film, it has Bond printed on its cover, so yes, this is a Bond score. I'm not crazy about it, I like Skyfall better, but I have yet to see the movie to really make up my mind about Newman's Spectre. Basically I like it.

    Volker


    Casino Royale had a different Bond in it and the score is a Bond score, with an Arnold touch. Even Quantum Solace had a Bondian score to backup a revenge seeking Bond. Spectre (and Skyfall) is basically Thomas Newman doing a spy score while being force to jam in a Bond theme. I don't "dislike" the score. I'm indifferent toward it and thinks it's incredibly boring as a "Bond score". It's only better than Eric Serra's score.
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      CommentAuthorSteven
    • CommentTimeOct 29th 2015
    SPECTRE Thomas Newman

    My own edit, if anyone's interested:

    1. Los Muertos Vivos Estan and Vauxhall Bridge (4:08)
    2. The Eternal City (1:47)
    3. Donna Lucia (2:03)
    4. The Pale King and Hinx (1:56)
    5. A Place Without Mercy (1:04)
    6. Tempus Fugit (1:21)
    7. Careless Blindfold (2:11)
    8. Detonation (3:53)
    9. Crows Klinik (1:41)
    10. Snow Plane (5:24)
    11. Westminster Bridge (4:14)
    12. Backfire (4:54)
    13. Out Of Bullets (1:51)
    14. Safe House (3:55)

    40:17

    I think it's an improvement. But then I would say that.
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      CommentAuthorSouthall
    • CommentTimeOct 29th 2015
    Suffragette - Alexandre Desplat

    Has some very good parts.
  8. Captain Future wrote
    Tempora mutantur: Bond has changed, the music has changed. This score accompanies a Bond film, it has Bond printed on its cover, so yes, this is a Bond score.

    That's a bullshit argument. It's meaningless and you can use it to defend any weak or unfitting entry in a franchise. Goldeneye has Bond on the cover but that doesn't make it any less incompetent.
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      CommentAuthorThor
    • CommentTimeOct 29th 2015 edited
    Captain Future wrote
    I agree. I perceive Powell's Bourne as something rather different.


    Plenty of Powell in Newman's Bond scores and SPECTRE, far more so than Arnold (which is another kettle of fish altogether) -- everything from the 16th notes and chord variations to riffs on 'world music vibes'. Not saying that Newman cannot be heard (he definitely can), but it has Bourne all over it, as have most Bond and action films since 2002.
    I am extremely serious.
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      CommentAuthorSouthall
    • CommentTimeOct 29th 2015
    I guess the riffs on world music vibes Newman was doing in the early 90s were also courtesy of John Powell.
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      CommentAuthorSouthall
    • CommentTimeOct 29th 2015
    The Last Boy Scout - Michael Kamen

    No riffs on world music vibes here, and no John Powell. Basically a more film noirish version of Die Hard. Entertaining.
  9. Edmund Meinerts wrote
    Captain Future wrote
    Tempora mutantur: Bond has changed, the music has changed. This score accompanies a Bond film, it has Bond printed on its cover, so yes, this is a Bond score.

    That's a bullshit argument. It's meaningless and you can use it to defend any weak or unfitting entry in a franchise. Goldeneye has Bond on the cover but that doesn't make it any less incompetent.


    Provided one commands the eternal truth about how Bond music ought to sound like. If Bond hadn't changed that way it did the franchise probably wouldn't exist any more. God help Alexandre Desplat scoring Star Wars.
    Bach's music is vibrant and inspired.
  10. Southall wrote
    Is it? I thought it was the sound of Newman being more confident (or perhaps, being allowed) to be himself this time round, with less of the Arnold-style stuff than in Skyfall (which admittedly wasn't all that much). I don't get the Powell sound from it.

    I agree completely. It sounded as if unlike with Skyfall (which I loved), Newman made this score into his own image and style, which I care about infinitely more than whether or not it sounds like a "Bond score."

    By the way, is there a review coming any time soon? smile
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      CommentAuthorThor
    • CommentTimeOct 29th 2015
    Southall wrote
    I guess the riffs on world music vibes Newman was doing in the early 90s were also courtesy of John Powell.


    No.
    I am extremely serious.
  11. Steven wrote
    SPECTRE Thomas Newman

    My own edit, if anyone's interested:

    1. Los Muertos Vivos Estan and Vauxhall Bridge (4:08)
    2. The Eternal City (1:47)
    3. Donna Lucia (2:03)
    4. The Pale King and Hinx (1:56)
    5. A Place Without Mercy (1:04)
    6. Tempus Fugit (1:21)
    7. Careless Blindfold (2:11)
    8. Detonation (3:53)
    9. Crows Klinik (1:41)
    10. Snow Plane (5:24)
    11. Westminster Bridge (4:14)
    12. Backfire (4:54)
    13. Out Of Bullets (1:51)
    14. Safe House (3:55)

    40:17

    I think it's an improvement. But then I would say that.

    No "Madeleine"? No "Eternal City"? And I happened to like the End Titles cue.
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      CommentAuthorSouthall
    • CommentTimeOct 29th 2015
    Kevin Scarlet wrote
    Southall wrote
    Is it? I thought it was the sound of Newman being more confident (or perhaps, being allowed) to be himself this time round, with less of the Arnold-style stuff than in Skyfall (which admittedly wasn't all that much). I don't get the Powell sound from it.

    I agree completely. It sounded as if unlike with Skyfall (which I loved), Newman made this score into his own image and style, which I care about infinitely more than whether or not it sounds like a "Bond score."

    By the way, is there a review coming any time soon? smile


    Yes... maybe at the weekend.
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      CommentAuthorBregt
    • CommentTimeOct 30th 2015
    JUDGE DREDD | alan silvestri

    Among my favourite scores of him. The awesomeness of its main theme, the punding percussion and the great Finale tracks. Fantastic.
    Kazoo
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      CommentAuthorErik Woods
    • CommentTimeOct 30th 2015
    yeah
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