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[Closed] Now Playing XLIX

General Discussions » Now Playing XLIX (Posts 1771 to 1800 of 4548)

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  1. Totally right, but with that comment you now know there was a time I was willing to give the guy a shot. You've learned something that you didn't know about me. That in itself is worth posting. smile

    And be serious dude... 3 millionth time? Because my postcount says something different. tongue
    "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.
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      CommentAuthorMartijn
    • CommentTimeMay 13th 2016
    Oh, lc'mon, et's grant Gilles extolling his pet hate. I mean it's no different from what many of us do in the Hans Zimmer thread. Or MOST of us do with Holkenborg....
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  3. True, true, I guess the only difference is that the people who hate Tyler are a minority, whereas with JXL the minority are those who who like him.

    Why can't everyone just toe the party line and like the same things? crazy wink
  4. My pet hate. It makes little sense but I like the sound of that. cool

    Besides we need some sort of equilibrium for all the people that are into Tyler. Let me be the negative side of that balance. Even if it's one against many, I don't mind the extra counterweight. I can take it... Because you all know I'm also on the positive side for a great many other things.
    "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.
  5. Edmund Meinerts wrote
    "Through the Wormhole" is mine. Great buildup, and evidence that even back in 2003 Tyler had a knack for integrating electronic elements into largely orchestral music. There's some solid action scoring in Timeline as well ("Battle of La Roque"), but I feel as though it's still a bit unpolished and lacks the fluidity of his later action music (say from 2007 onwards).

    I'm not really sure how anyone could see the Goldsmith score as being "unlistenable", though? confused


    Interesting, I think that post-2007, up to somewhere near Iron Man, fluidity was far from Tyler's forte. And I think that early in his career (especially stuff like Darkness Falls which is cool, even if it seems to try too hard at times, ah, the perks of being young) he had more of it and lost it when he became one of the go-to-action-guys. It went a bit downhill from there. Except Eagle Eye the most "fluid" score of his I'd call Battle: LA, but there not only the score feels sameish (I have a similar problem with Thor 2, especially as opposed to Iron Man 3, but the theme of Thor is that much better than Battle's), but is also a post-Batman/Transformers ostinato galore at times.

    So yeah, I'd say that after 2008 he lost some of his fluid approach, because he had a bit of ADHD in terms of thematic development (it's not where the themes are weak or strong here, mind you, it's about the fact that he could ditch a thematic statement to go wherever the scene would take him), then started to be a bit more subtle in his orchestration in Expendables 2 (try finding any other score in his oeuvre in 2008-2011/2012 where he would have an action cue led purely by low strings for a while) and got his fluidity back and endorsed his Goldsmithian structural sense (a bit lost since Eagle Eye) in Iron Man 3, where just one or two bars from the theme just serves the purpose about right.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorLSH
    • CommentTimeMay 14th 2016
    NP: The Legend Of Butch & Sundance - Basil Poledouris

    One of my recent re-discoveries. God this is good.

    cool
  7. THE FELLOWSHIP OF THE RING

    Utterly fantastic film score. The first of three. Sadly not the fourth of six.
    "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.
  8. PIETRO MENNEA: LA FRECCIA DEL SUD - Paolo Vivaldi

    This is one of my favorite scores from last year. It wasn't talked about by many people, but I really liked it. There's some bad 80s saxophone in the second track, but other than that I really like this score. The themes are good, and presented in some nice variations. It's an inconsequential score in some ways, but I'll probably return to it more often than almost everything else written in 2015.
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      CommentAuthorDemetris
    • CommentTimeMay 16th 2016
    Paolo Vivaldi composes excellently. A surname certainly not wasted smile
    Love Maintitles. It's full of Wanders.
  10. Indeed!
  11. NP: Inside Out (2015) - Michael Giacchino

    Lyrical. Lovely.
    Bach's music is vibrant and inspired.
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      CommentAuthorSteven
    • CommentTimeMay 18th 2016
    The Matrix Revolutions Don Davis

    My second favourite Matrix score. 'Neodammerung' is, I suspect, people's favourite track from this mighty score, but I'd have to go for 'Saw Bitch Workhorse'. Those horns. Present me a cue since then with better horn writing, and you'll have made a new best friend.
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      CommentAuthorDemetris
    • CommentTimeMay 18th 2016
    That trilogy, man, the time where such scores were the norm was surely underrated by us. We didn't fully realize its significance at the time as we lived through it. Now, in comparison, such writing, such scores, only seem like a far-away wet dream (For the time being).
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSteven
    • CommentTimeMay 18th 2016
    I'm all for rejoicing the past, but let's not forget the crap that came with it. I don't think anyone considered The Matrix scores 'normal'. If they were, we'd have many more examples from that period. (People will be using the same argument in 10 years' time using The Force Awakens as an example. Probably Dreamtheater's son.)
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2016
    ..actually, probably not given his reluctance on that score.
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      CommentAuthorDemetris
    • CommentTimeMay 18th 2016
    I don't know if it's as simple as that. Don't get me wrong, terrific scores do come out, but the overal nature of film scoring and general sound has changed drastically. That purely symphonic approach a la Don Davis, Goldenthal (man, Final Fantasy!), has almost vanished entirely.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorSteven
    • CommentTimeMay 18th 2016
    Yeah, I think you've got a point there. This sort of score is largely unheard of today. I just wouldn't go as far to say it was the 'norm' back in 2003. Maybe the 'ideal', but not the norm.
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2016 edited
    ENNIO MORRICONE - Correspondence - La Corrispondenza

    Splendidly romantic, flowingly melodic, gorgeous. My God, this man's the numero uno Legend now or not (at same position with John Williams imo, it's a tie!)
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2016
    Steven wrote
    Yeah, I think you've got a point there. This sort of score is largely unheard of today. I just wouldn't go as far to say it was the 'norm' back in 2003. Maybe the 'ideal', but not the norm.


    it certainly wasn't the norm but they did came out frequently and i think back then we didn't fully realize their greatness (for the medium) and true value, but only with all that time which has passed, and the inevitable comparisons.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2016 edited
    My love of The Matrix scores has remained steady ever since I first heard them. My appreciation has certainly grown, but that's more a case of spending time with them than reminiscing about a golden age of film music. I just don't buy that 2003 was this magical time of constant quality film scores being written. But if I'm wrong, I'd love to be proved so.
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      CommentAuthorDemetris
    • CommentTimeMay 18th 2016 edited
    Not 2003 in particular. I'd say 2000 until inception (including), i.e. 2010.
    Love Maintitles. It's full of Wanders.
  22. The Matrix scores were most certainly not any sort of "norm" in their own time. And scores like that did not, do not and never have come out "frequently". They are absolutely outstanding and would be outstanding no matter what age of film music they would come out in.

    kill love <-- death to rose-tinted spectacles
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      CommentAuthorSteven
    • CommentTimeMay 18th 2016
    Wait, so... the 00's were a special period of excellence? confused Now I'm confused. dizzy

    Still, if your contention is that, in general, the 00's included better scores than the current teens, I'm still not convinced. Many of my now-favourite scores were written in the last 6 years.
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      CommentAuthorSteven
    • CommentTimeMay 18th 2016
    Edmund Meinerts wrote
    kill love <-- death to rose-tinted spectacles


    yeah
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      CommentAuthorDemetris
    • CommentTimeMay 18th 2016 edited
    In 00's we saw great scores coming out, talking about modern scoring. But also the 90's of course. Since the inception-ization and tron-ization of film music from 2010 onwards, things have changed.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2016
    Demetris wrote
    In 00's we saw great scores coming out, talking about modern scoring. But also the 90's of course. Since the inception-ization and tron-ization of film music from 2010 onwards, things have changed.


    I'm sure if you trawled through the incredibly interesting film music posts of the 00's, people would be making similiar arguments in relation to the 90's. I don't think this is because quality declines with each decade, only that people get old, and reminisce about the past.

    That said, I think certain mainstream trends have shown a decline in quality. So I'm sort of on the fence on this one. Fuck it, I don't know. All I know is that great scores are still being written, despite the crap.
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2016 edited
    I don't think many people were bitching much pre-inception, pre-batman, pre-tron wink
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2016
    Then your memory betrays you.
    •  
      CommentAuthorDemetris
    • CommentTimeMay 18th 2016 edited
    REINHOLD HEIL / JOHNNY KLIMEK / TOM TYKWER - A hologram for the king


    Huge sucker for their PERFUME-ish style of writing. That opening title, Mr.Clay, is nothing short but amazing! Shame the rest of the score doesn't hold up.
    Love Maintitles. It's full of Wanders.
  30. Steven wrote
    'Neodammerung' is, I suspect, people's favourite track from this mighty score, but I'd have to go for 'Saw Bitch Workhorse'. Those horns.


    For me it's a tie between "Woman Can Drive," "Kid Fried," "Trinity Definitely," and "Spirit of the Universe."
    "Neodammerung," surprisingly, has paled with time for me a bit. That said, I'll never forget the first time I heard it. Knocked my socks off.

    I've been intermittently attentive to the film score world since 2005 but, yes, in my opinion, a certain Zimmery cloud seems to have had negative environmental side effects. To my ears anyway.

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