register

  • Categories

Vanilla 1.1.4 is a product of Lussumo. More Information: Documentation, Community Support.

 

[Closed] Now Playing XLIX

General Discussions » Now Playing XLIX (Posts 631 to 660 of 4548)

  1. <
  2. 1
  3. ...
  4. 18
  5. 19
  6. 20
  7. 21
  8. 22
  9. 23
  10. 24
  11. 25
  12. ...
  13. 152
  14. >
    •  
      CommentAuthorThor
    • CommentTimeMar 21st 2016
    I agree with Volker. I think that's a great cue. But I haven't really played any of the other music from that score.
    I am extremely serious.
    •  
      CommentAuthorLSH
    • CommentTimeMar 21st 2016
    Erik Woods wrote
    Captain Future wrote
    "AvP: Requiem" is probably my most well hated score that is still in my collection. A noisy atrocity.

    Volker


    Agreed! "Decimation Proclamation" is everything that is wrong with modern action scoring! The everything-PLUS-the-kitchen-sink approach doesn't make for good action music. Compare that monstrosity to the brilliant, cleanly orchestrated "Futile Escape" from Aliens.

    -Erik-


    Christ, compare it to most Goldsmith action cues. He was a master in writing simple, captivating ideas for action. Just listen to The Hijacking from Air Force One. It's essentially the same few motifs repeating for over seven minutes... but it never gets boring.
  3. Erik Woods wrote
    "Decimation Proclamation" is everything that is wrong with modern action scoring! The everything-PLUS-the-kitchen-sink approach doesn't make for good action music. Compare that monstrosity to the brilliant, cleanly orchestrated "Futile Escape" from Aliens.

    Holy shit is that ever hyperbolic. "Fury" from Captain America: The Winter Soldier or "Oil Rig" from Man of Steel are "everything that is wrong with modern action scoring", not this. Tyler's cue, while a bit messy and arguably unpleasant at times, is fully orchestral, dense, complicated, incorporates quite a lot of ballsy dissonance (parts of it remind me of Goldenthal's "Toccata and Dreamscapes") and, despite what you might think, does have an underlying structure. It is organized noise, all building towards a fantastic Bishop's-Countdown-up-to-11 finale. I think it's an outstanding cue, and even if you don't, how does all of that add up to "everything that is wrong with modern action scoring"? You must at least acknowledge that it isn't deserving of such sweeping doomsday nonsense. slant
  4. Well, it is my favorite action cue of Tyler's, while I'm still not a fan (though not that much of a hater anymore, which was about my very beginning with MainTitles, really!) of the score. However, what I don't like there is a rather weird adaptation of Silvestri's Predator material. It just somehow doesn't sound right.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSteven
    • CommentTimeMar 21st 2016
    Hyperbolic indeed. I even seem to remember Decimation Proclamation being quite well-received when it first came out. We'd never heard anything orchestrated quite as dense as that track from Tyler before. It may lack artistic merit, in may not be a clever piece of film scoring -- but it's not insipid.
  6. Whatever the case may be, in general I steer clear of Tyler... I've heard too much of him by now that goes in the one ear out the other. I just don't care anymore what comes out with his name on it.

    That is my god-given right, to ignore and not give a shit. moon

    WARLOCK - JERRY G.

    The latest Intrada. Not one of his better ones, that much is certain. But compared to some of the crap that certain composers call music nowadays, this has some true moments of good Goldsmith. At least in these cues: The Weather Vane, Nails, Salt Water Attack.
    "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.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 21st 2016 edited
    Edmund Meinerts wrote
    Holy shit is that ever hyperbolic.


    No, it isn't.

    Edmund Meinerts wrote
    I think it's an outstanding cue, and even if you don't,


    That's super!!!!

    Edmund Meinerts wrote
    how does all of that add up to "everything that is wrong with modern action scoring"? You must at least acknowledge that it isn't deserving of such sweeping doomsday nonsense. slant


    It's a noisy mess. The track is all about volume and nothing more. Again, just because you compose a track that's the equivalent of someone screaming at you at the top of their lungs for 7 straight minutes doesn't mean it's good. There is just TOO MUCH happening in that track for you to get a clear picture of what it's all about. You have Goldenthal screaming horns (same orchestrator), screeching strings, high pitched trumpets, woodwinds blaring away, drums pounding at your head, I'm sure there's electronics in there for good measure, it's poorly mixed - it's a wall of noise and wall of noise is everything wrong with modern day action scoring. I don't give two fucks if it's performed by an orchestra. You hit the nail on the head when you said that the cue was unpleasant and messy!

    Now if you'll excuse me I'm going to listen to a master of action scoring build up the tension without making my ear drums bleed; "Hot Water" from Outland by Jerry Goldsmith

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  8. I'd rather have a piece of music be "too much" than "too little" though. If it was just an off-the-shelf drumloop for seven minutes instead, that would be far worse (even if less "loud").

    Also, I don't really see how it's "everything that's wrong with etc." considering you don't actually hear music like that very often. Yeah, it's not mixed very well and it's wall-of-sound (just like Mad Max Fury Road), but it couldn't sound more different from Mad Max Fury Road if you ask me other than that they're both loud. There's a lot more color and density and structure and nuance and variety to the loudness in Tyler's version.

    DreamTheater wrote
    That is my god-given right, to ignore and not give a shit. moon

    Sure...but there's a difference between that and "hate with a passion".
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 21st 2016
    Edmund Meinerts wrote
    I'd rather have a piece of music be "too much" than "too little" though. If it was just an off-the-shelf drumloop for seven minutes instead, that would be far worse (even if less "loud").


    If I had to choose... anything is better than a drumloop!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorDreamTheater
    • CommentTimeMar 21st 2016 edited
    Well yes, hate is too strong a word. But I passionately dislike the guy's output. If I had to go live on an island and I had to take one score by Tyler I would lovingly break that disc, rip the booklet in 50 pieces, but hold on to the jewel case... because that's actually useful. tongue

    I understand there are much worse composers out there, but it's his monumental output every year of generic crap that offends me. It offends me so much that I almost hate him. wink
    "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.
    •  
      CommentAuthorDemetris
    • CommentTimeMar 21st 2016
    Steven wrote
    Martijn wrote
    Steven wrote
    I don't agree with your conclusions


    Urghhh.
    I can quite imagine myself keeping on typing throughout (listening to) the score towards a sort of apocalyptically berserker rage document. It took quite an effort of will to stop! I shudder to think what my post would have looked like had I typed all the way through these seventy minutes of sheer and utter destruction of any honesty in composing, this bitter, cynical....
    OK, now I'm doing it WITHOUT the score.
    I gotta stop. Seriously. They'll find me dead, foaming at the mouth, behind my keyboard tomorrow morning.


    Why so serious? You're like a dog chasing cars! You just need a little push.

    I am the Batman.


    Nice one biggrin

    I love this score. It's a hallmark in modern film score sound, whether we like it or not. The whole trilogy. Yes, it's loud, very simplistic, but it's so influential and full, i love it. Especially the third installment, and of course i am sure i am positively biased by my love for the Nolan films (and all Nolan films in general). Interstellar also, some of his best scores to date, and one of the best modern scores imo.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeMar 21st 2016
    Steven wrote
    Hyperbolic indeed. I even seem to remember Decimation Proclamation being quite well-received when it first came out. We'd never heard anything orchestrated quite as dense as that track from Tyler before. It may lack artistic merit, in may not be a clever piece of film scoring -- but it's not insipid.


    Love this style of Tyler. I hugely enjoyed his battle:la mode too. Btw where is he lately? he seems to have lost all the focus and interest that came on him around 4-5 years ago with the constant scores and assignments. I like his style. Burnout already?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeMar 21st 2016 edited
    HARRY ESCOTT - Shame

    Wonderful, thoughtful, serene, slow and laid-back. Could easily be the thin red line 2.0 and it's so obvious, but it's so good i don't mind.
    Love Maintitles. It's full of Wanders.
  14. Interstellar is inspired. It had a considerable impact in popular culture here in Germany. For some time that score seemed to be everywhere. Even now you come across certain cues in every second space related story or documentary. It's quite some time since I noticed such a broad reception of current film music.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorLSH
    • CommentTimeMar 21st 2016
    NP: AIR FORCE ONE - Jerry Goldsmith

    Now, this is how I like my action music.

    cool
    •  
      CommentAuthorDemetris
    • CommentTimeMar 21st 2016
    Captain Future wrote
    Interstellar is inspired. It had a considerable impact in popular culture here in Germany. For some time that score seemed to be everywhere. Even now you come across certain cues in every second space related story or documentary. It's quite some time since I noticed such a broad reception of current film music.

    Volker


    It's such a powerful, beautiful score with impact and soul. That huge organ, whenever i play the score, always captivates me. When Zimmer tosses his minions, he usually creates grandeur.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorMartijn
    • CommentTimeMar 21st 2016
    And otherwise we toss our cookies.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeMar 21st 2016
    Demetris wrote
    HARRY ESCOTT - Shame

    Wonderful, thoughtful, serene, slow and laid-back. Could easily be the thin red line 2.0 and it's so obvious, but it's so good i don't mind.


    Yes, it's really good! The film, too.
    I am extremely serious.
  19. Every time I see that film title, I swear I see Harry Escort.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
    •  
      CommentAuthorSteven
    • CommentTimeMar 21st 2016
    Demetris wrote
    Steven wrote
    Hyperbolic indeed. I even seem to remember Decimation Proclamation being quite well-received when it first came out. We'd never heard anything orchestrated quite as dense as that track from Tyler before. It may lack artistic merit, in may not be a clever piece of film scoring -- but it's not insipid.


    Love this style of Tyler. I hugely enjoyed his battle:la mode too. Btw where is he lately? he seems to have lost all the focus and interest that came on him around 4-5 years ago with the constant scores and assignments. I like his style. Burnout already?


    Lost all focus and interest? Burned out? Where on earth did you get those ideas from? uhm
    •  
      CommentAuthorDemetris
    • CommentTimeMar 21st 2016 edited
    No no, not Tyler himself. I didn't put it out correctly. Studios on Tyler. He doesn't get that often assigned anymore. Not as 5 years ago for instance, it's my impression but i might be wrong.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorMartijn
    • CommentTimeMar 21st 2016
    They found Bear, who can do even MORE films and series in a FRACTION of the time it takes Tyler.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  23. Spot Bear the composer in this picture.
    "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
    • CommentTimeMar 21st 2016
    Demetris wrote
    No no, not Tyler himself. I didn't put it out correctly. Studios on Tyler. He doesn't get that often assigned anymore. Not as 5 years ago for instance, it's my impression but i might be wrong.


    Oh, yes, I see. Still, I can't say it's something I've noticed? He has to have a break at some point!
  25. DreamTheater wrote
    Spot Bear the composer in this picture.


    Looks like something invented by John Irving. smile
    Bach's music is vibrant and inspired.
  26. The Twilight Zone: The Movie - Jerry Goldsmith

    I won't feign any expertise on modern action scoring except to say I enjoy the car horn in "It's a Good Life" very much.

    ...on second thought, I will feign expertise and submit "The Rescue" from Baby as a great example.
  27. Steven wrote
    Demetris wrote
    No no, not Tyler himself. I didn't put it out correctly. Studios on Tyler. He doesn't get that often assigned anymore. Not as 5 years ago for instance, it's my impression but i might be wrong.


    Oh, yes, I see. Still, I can't say it's something I've noticed? He has to have a break at some point!

    He only did two and a half scores last year, the lazy so-and-so! angry
    •  
      CommentAuthorSteven
    • CommentTimeMar 22nd 2016
    Gods of Egypt Marco Beltrami

    If a score manages to top this one in 2016, I will be very suprised.
  29. Steven wrote
    Gods of Egypt Marco Beltrami

    If a score manages to top this one in 2016, I will be very suprised.


    There must be (at least) one, or I'll eat my hat.

    Captain Future wrote
    DreamTheater wrote
    Spot Bear the composer in this picture.


    Looks like something invented by John Irving. smile


    That picture could explain how he manages to do so much work. Bear delegates. cheesy
    "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.
    •  
      CommentAuthorDemetris
    • CommentTimeMar 22nd 2016
    Martijn wrote
    They found Bear, who can do even MORE films and series in a FRACTION of the time it takes Tyler.


    And his output is slightly a bit meh lately isn't it ?
    Love Maintitles. It's full of Wanders.

631 to 660 of 4548

  1. <
  2. 1
  3. ...
  4. 18
  5. 19
  6. 20
  7. 21
  8. 22
  9. 23
  10. 24
  11. 25
  12. ...
  13. 152
  14. >