[Closed] Now Playing XLIX

the opening and end credits of the first 2 episodes at least say so. sadly on youtube you will find just all episodes of season 2. but there you can see, that powell didnt write music for the whole season. the final epsiode for example was scored by christopher tyng.

Tyng did more. The IMDb page reflects all the credits that could be gleaned from the youtube loads.

NP: Suffragette

I've been on a good Alexandre Desplat kick recently. I haven't seen the film though. On first listen, I was surprised the music wasn't more hopeful sounding, but then when I read the IMDB summery, it makes more sense.

I've been listening to some 2017 scores this morning.

I started with L'EMPEREUR (Cyrille Aufort). Looks like another documentary about penguins. The music is pleasant, but never veers into beautiful territory.

Then I tried out FIFTY SHADES DARKER (Danny Elfman). It's pretty dull. An hour of nothing, basically.

Now I'm giving THE GREAT WALL (Ramin Djawadi) a first listen. I'm only a few tracks in, but it has a big sound to it that is effective enough. Haven't heard anything that's really grabbed me yet.

Oh, I love the score to Interstellar and I think it is quite different stylistically from Arrival. The latter one I would rather compare with Price's Gravity.

NP: Beneath the Planet of the Apes - Leonard Rosenman

Certainly a cousin to Goldsmith's original, Rosenman's 'sound' seems to be reined in somewhat.

Why don't we have "like" button here?

I after I listened to this one I went on a YouTube hunt to find footage that featured the planes attacking Pearl Harbour. I still marvel at all these planes actually being physical entities and all the effects being physical effects. It's so much more impressive knowing that it actually happened as physical effects.

NP: SUPERMAN: THE MOVIE (John Williams)

Up to this in my Williams walkthrough -- the ol' Warner CD, of course. Not my favourite Williams by a long shot, and I think my relationship has soured somewhat due to the insane fan culture around it (especially over at FSM), but there's no question it's a great score.

Whenever there's a massive majority drooling over something, and hardly allows for any criticism, all my alarm clocks go off. It's been that way with the SUPERMAN music ever since the Blue Box, and it irks me. But no worries....the Warner album and the score is one of my earliest Williams CDs and it will always have a place in my heart. As will the film for nostalgic reasons, warts and all.

Well, the Blue Box release is magnificent. I am also very fond of the Varese re-recording of SUPERMAN.

THE FURY - John Williams

Frist ever listen. Wow, this plays like a saner, more stylish prequel to Christopher Young's Hellraiser*.

*Yes, I'm well aware The Fury came first, but the similarities of its main theme are striking - and then that carousel at the end. If someone will ever make a film about Pinhead's childhood, I imagine the score to sound like this.

So, they climb out of their bubble into yours? We may have to hire a British nanny for all this shaking!

Says the Williams completist. If ever a composer was "made holy" then it's him, no?

You aren't making any sense. Who cares how popular something is? If you like it, you like it; if you don't, then don't. The fact that Superman's popularity has actually had a negative impact on your opinion of the music is just sad, to me.

The Island theme is more prominent in this expanded version, which alone elevates the album over the original release. Add the extra action/tense music, and, as you say, it's a revelation. My top re-release from last year.