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- CommentAuthorDemetris
- CommentTimeJun 7th 2016
Edmund Meinerts wrote
Warcraft - Ramin Djawadi
It passes the time. It's not interesting but it's rarely outright boring. It even has multiple thematic ideas and there seems to have been at least some effort put in to make it sound a bit like the game scores, especially the guttural choir and percussion and low brass orc stuff. That said, it's also pretty much instantly forgettable and everything feels so half-baked and simplistic. It's like a diet version of the actual Brower/Acree etc scores and it makes me wonder, once again, why the hell they weren't just hired in the first place. Surely the name Djawadi doesn't sell that many more units, Game of Thrones or no Game of Thrones.
I liked it!
Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeJun 7th 2016
Captain Future wrote
NP: The Artist (2011) Ludovic Bource
Tremendous score. I didn't listen to it in a long while. Revisiting it now proves my fond memories right.
Volker
Absolutely gorgeous. Shame he was a one-show-up case so far.Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeJun 7th 2016
DreamTheater wrote
Captain Future wrote
I often wonder what music of the 20th century will stand the test of time. What music will be remembered in - say - 200 years from now.
With regard to classical music there are several obvious names: Shostakovich, Prokofiev, Henze, Walton Williams, Copland among many others.
With regard to pop music I believe that some songs of the Beatles will survive, and other defining classics of rock music, like "Rock around the Clock" or "Beat it".
Now film music? That will depend greatly on what films will be remembered. For pure musical reasons, the greats of the Golden and the Silver Age will survive at least in some of their works.
Volker
Definitely the masters of the symphonic scores. Because orchestral music has endured until now.
Superman and Star Wars and Krull and Star Trek must survive.
IT'S UP TO US ! WE MUST PASS ON WHAT WE HAVE LEARNED.
Posting about it here on this board for future reference is a start.
(Provided we haven't gone back to the stone age.)
That's very likely... the planet will see to that.
Stone age. Or heavy taxation and regulation of everything until people can no longer stand and handle it and revolt. Burn it all down, zero. Start from beginning, thus the modern stone age. But i highly doubt it. I see more and more pictures of modern sad technological slaves, underpaid and unhappy. More fast food life, less happiness and meaning unless you withdraw at some mountains growing trees and vegetables and making your own wine (hehe). As for film music? well, if we all laughed when dubstep came out and now it's practically the norm as a rhythmical - bassy basis in virtually most of the modern / pop etc song genres but also orchestral music as well, i imagine a future of film music dominated by one-man-'band's, do-it-all film 'composers' who handle the electronics pretty well and can do everything themselves. Orchestras gone, everything sounding like Junkie XL hybrids Look at the natural grow, flow and line with the short life of film music so far, since its beginning. Where does it lead to year by year? Love Maintitles. It's full of Wanders. -
- CommentAuthorEdmund Meinerts
- CommentTimeJun 7th 2016
Demetris wrote
Edmund Meinerts wrote
Warcraft - Ramin Djawadi
It passes the time. It's not interesting but it's rarely outright boring. It even has multiple thematic ideas and there seems to have been at least some effort put in to make it sound a bit like the game scores, especially the guttural choir and percussion and low brass orc stuff. That said, it's also pretty much instantly forgettable and everything feels so half-baked and simplistic. It's like a diet version of the actual Brower/Acree etc scores and it makes me wonder, once again, why the hell they weren't just hired in the first place. Surely the name Djawadi doesn't sell that many more units, Game of Thrones or no Game of Thrones.
I liked it!
Oh I didn't dislike it. It's just very average and I doubt I'll spend much time listening to it or thinking about it in the future. -
- CommentAuthorDemetris
- CommentTimeJun 7th 2016
Edmund Meinerts wrote
Demetris wrote
Edmund Meinerts wrote
Warcraft - Ramin Djawadi
It passes the time. It's not interesting but it's rarely outright boring. It even has multiple thematic ideas and there seems to have been at least some effort put in to make it sound a bit like the game scores, especially the guttural choir and percussion and low brass orc stuff. That said, it's also pretty much instantly forgettable and everything feels so half-baked and simplistic. It's like a diet version of the actual Brower/Acree etc scores and it makes me wonder, once again, why the hell they weren't just hired in the first place. Surely the name Djawadi doesn't sell that many more units, Game of Thrones or no Game of Thrones.
I liked it!
Oh I didn't dislike it. It's just very average and I doubt I'll spend much time listening to it or thinking about it in the future.
Same as most of this kind of modern film music anyway?Love Maintitles. It's full of Wanders. -
- CommentAuthorCaptain Future
- CommentTimeJun 7th 2016 edited
NP: COSMOS: A SpaceTime Odyssey (2014) - Alan Silvestri
I obtained the four digital albums back when they were released. A rare occasion of me going for a digital download. I was rather underwhelmed then, perceiving most of the music as auto pilot and repetitive. As so often, watching the actual show has elevated my esteem for the music. Still I don't believe it justifies a four album release.
What I like is that they kept the basic concept of mixing symphonic and electronica styling. While the original soundtrack has become a classic in its own right the vast number of sources does make it eclectic as a listening experience. So, the single composer solution appeals to me. In retrospect I would have wished they had turned to Hans Zimmer whose composer commune seems most qualified for such a mix of genres. In fact it is Silvestri's electronica cues that seem meh and nondescript. His symphonic contributions offer some considerable highlights. Had Silvestri collaborated with, say, Brian Eno or Moby, a well balanced album might have been a terrific experience.
As it is I have compiled a 48 minutes playlist that I think will be my go to version of the score from now on:
1. Cosmos Main Title
2. Come With Me
3. The Cosmos is Yours
4. Giordano Bruno
5. The Staggering Immensity of Time
6. Star Stuff
7. New Year's Eve
8. Genetic Alphabet
9. Tartigrades
10. All there Is or Ever Was or Ever Will Be
11. The Speed of Light
12. August 1684
13. Halley's Comet
14 4,5 Billion Years Old
15 Islands of Light
16 Our Journey is Just Beginning
VolkerBach's music is vibrant and inspired. -
- CommentAuthorErik Woods
- CommentTimeJun 7th 2016
Edmund Meinerts wrote
Demetris wrote
Edmund Meinerts wrote
Warcraft - Ramin Djawadi
It passes the time. It's not interesting but it's rarely outright boring. It even has multiple thematic ideas and there seems to have been at least some effort put in to make it sound a bit like the game scores, especially the guttural choir and percussion and low brass orc stuff. That said, it's also pretty much instantly forgettable and everything feels so half-baked and simplistic. It's like a diet version of the actual Brower/Acree etc scores and it makes me wonder, once again, why the hell they weren't just hired in the first place. Surely the name Djawadi doesn't sell that many more units, Game of Thrones or no Game of Thrones.
I liked it!
Oh I didn't dislike it. It's just very average and I doubt I'll spend much time listening to it or thinking about it in the future.
It's snoozer! Generic, unmemorable, paint by numbers. No thanks. I'll play it on my show this week and never listen to it again. This is the sort of music that is killing film music.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorPawelStroinski
- CommentTimeJun 7th 2016
Maybe not paint by numbers, but unmemorable and trying to sound heavy and epic rather than actually doing so.
And why the hell the theme is so jazzy?!http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorSteven
- CommentTimeJun 7th 2016
Demetris wrote
Edmund Meinerts wrote
Warcraft - Ramin Djawadi
It passes the time. It's not interesting but it's rarely outright boring. It even has multiple thematic ideas and there seems to have been at least some effort put in to make it sound a bit like the game scores, especially the guttural choir and percussion and low brass orc stuff. That said, it's also pretty much instantly forgettable and everything feels so half-baked and simplistic. It's like a diet version of the actual Brower/Acree etc scores and it makes me wonder, once again, why the hell they weren't just hired in the first place. Surely the name Djawadi doesn't sell that many more units, Game of Thrones or no Game of Thrones.
I liked it!
You admonish modern film music trends, but seem to enjoy exactly the sort of score that fits modern trends!
You need Jesus. -
- CommentAuthorThor
- CommentTimeJun 7th 2016
Captain Future wrote
In fact it is Silvestri's electronica cues that seem meh and nondescript. His symphonic contributions offer some considerable highlights. Had Silvestri collaborated with, say, Brian Eno or Moby, a well balanced album might have been a terrific experience.
I think those tracks that more or less purely electronic, like the gorgeous "The Speed of Light", are great and showcase what a wonderful synth composer Silvestri used to be in the 80s and partially 90s. I wish he did more of that once in a while.I am extremely serious. -
- CommentAuthorSouthall
- CommentTimeJun 7th 2016
Alice 2: The Looking Glass - D Elfman
I've been starting to review this for about a week now but still haven't managed to think of anything to say about it. -
- CommentAuthorSteven
- CommentTimeJun 7th 2016
"It's another Elfman score for a Burton production."
Feel free to use that. -
- CommentAuthorJ. Flaherty
- CommentTimeJun 7th 2016
Southall wrote
Alice 2: The Looking Glass - D Elfman
I've been starting to review this for about a week now but still haven't managed to think of anything to say about it.
That doesn't bode well.
Then again, I'd love to read a score review that demolishes the score by eschewing any direct comment on the music, composer, or film. And does it well. That'd be wonderful. -
- CommentAuthorDemetris
- CommentTimeJun 7th 2016
Steven wrote
"It's another Elfman score for a Burton production."
Feel free to use that.
A genre on its ownLove Maintitles. It's full of Wanders. -
- CommentAuthorEdmund Meinerts
- CommentTimeJun 7th 2016 edited
PawelStroinski wrote
Maybe not paint by numbers, but unmemorable and trying to sound heavy and epic rather than actually doing so.
And why the hell the theme is so jazzy?!
Jazzy? Where are you hearing that?
I agree with the "trying to sound etc." comment. Someone on Filmtracks compared it to a six-year-old stomping around the sandbox pretending to be a giant. That's pretty much exactly what this score is. Which can be cute at times, but it doesn't exactly inspire awe, you know? -
- CommentAuthorSouthall
- CommentTimeJun 7th 2016
Warcraft - R Djawadi
It's, um, not exactly memorable. -
- CommentAuthorCaptain Future
- CommentTimeJun 8th 2016 edited
NP: Starchaser: The Legend of Orin (1986) - Andrew Belling
As cheesy as it gets but not without charm. My nostalgia is triggered instantly.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorThor
- CommentTimeJun 8th 2016
NP: RUDY (Jerry Goldsmith)
Warm and fuzzy.I am extremely serious. -
- CommentAuthorDreamTheater
- CommentTimeJun 8th 2016
Southall wrote
Warcraft - R Djawadi
It's, um, not exactly memorable.
So the videogames on which this is based have gotten consistently good scores, some even excellent.
Hollywood steps in and makes it sound generic and bland.
In other words: art is being destroyed by the almighty dollar !
At least Brower, Hayes, Acree, Duke, etc. have given us some really epic music and I'll gladly invest my time in that."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. -
- CommentAuthorDavid OC
- CommentTimeJun 8th 2016
Body Double - Pino Donaggio
The full release of this classic collaboration with Brian DePalma is bliss even if the handful of dated source-like cues are worth ditching for a tighter edit. As usual it's the Herrmann-esque string writing that stands out although the 'Telescope' cue is great and the one that I most vividly remember from the film. -
- CommentAuthorDreamTheater
- CommentTimeJun 8th 2016
For Greater Glory - J.H.
This month is Horner month for obvious reasons, so I'm going through all my favorites by the man.
This was his final one for me."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. -
- CommentAuthorDavid OC
- CommentTimeJun 8th 2016
True Blood - Nathan Barr
One of the best cd's of television scoring I've heard. Wonderful variety and meticulously crafted texture in every cue. -
- CommentAuthorPawelStroinski
- CommentTimeJun 9th 2016
Edmund Meinerts wrote
PawelStroinski wrote
Maybe not paint by numbers, but unmemorable and trying to sound heavy and epic rather than actually doing so.
And why the hell the theme is so jazzy?!
Jazzy? Where are you hearing that?
I agree with the "trying to sound etc." comment. Someone on Filmtracks compared it to a six-year-old stomping around the sandbox pretending to be a giant. That's pretty much exactly what this score is. Which can be cute at times, but it doesn't exactly inspire awe, you know?
I don't know, some of the scales in the theme sounded quite jazzy to me.
And yeah, that's a perfect assessment. The score is, simply, juvenile. Not sure if it's music that is killing film music, as Erik put it. I think the problem is purely the composer's and I wouldn't try to make any judgment on the state of art based on this. It's definitely better than Clash of the Titans, I can give Djawadi that (that said, I like the Perseus track with the exception of what is trying to pass as the main theme of the score, but there is a very nice string theme in there, which is something that he will develop in Medal of Honor, his favorite score of mine).
As I haven't seen the film (not sure I will), I can't really say what it's supposed to do, but at some point we will have to look at film aesthetics and how that influences the genre. Though to be honest, I think the composer who is most influenced by that for the better and worse is Brian Tyler. I think looking at his action scores with their pros and cons would say a lot about the filmmaking of today.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorDemetris
- CommentTimeJun 9th 2016
PawelStroinski wrote
Edmund Meinerts wrote
PawelStroinski wrote
Maybe not paint by numbers, but unmemorable and trying to sound heavy and epic rather than actually doing so.
And why the hell the theme is so jazzy?!
Jazzy? Where are you hearing that?
I agree with the "trying to sound etc." comment. Someone on Filmtracks compared it to a six-year-old stomping around the sandbox pretending to be a giant. That's pretty much exactly what this score is. Which can be cute at times, but it doesn't exactly inspire awe, you know?
I don't know, some of the scales in the theme sounded quite jazzy to me.
And yeah, that's a perfect assessment. The score is, simply, juvenile. Not sure if it's music that is killing film music, as Erik put it. I think the problem is purely the composer's and I wouldn't try to make any judgment on the state of art based on this. It's definitely better than Clash of the Titans, I can give Djawadi that (that said, I like the Perseus track with the exception of what is trying to pass as the main theme of the score, but there is a very nice string theme in there, which is something that he will develop in Medal of Honor, his favorite score of mine).
As I haven't seen the film (not sure I will), I can't really say what it's supposed to do, but at some point we will have to look at film aesthetics and how that influences the genre. Though to be honest, I think the composer who is most influenced by that for the better and worse is Brian Tyler. I think looking at his action scores with their pros and cons would say a lot about the filmmaking of today.
Producers, directors, studio execs, all of them temp these big productions with the same kind of Rc-ish / zimmer-esque sound and ask others to write like that all the time, otherwise they don't consider it a strong selling point, a commercial score, something that will attract the attention of the youngsters and / or modern audiences.Love Maintitles. It's full of Wanders. -
- CommentAuthorPawelStroinski
- CommentTimeJun 9th 2016 edited
Well, that's one part of the equation. But you are surely aware that a 2010 film looks and feels differently than, say, a 1995 film? That not just the camera work, but, particularly (as that is crucial in terms of composition) the editing is different?
Notice how many composers very popular in the 1980s/1990s and who are very well alive don't get work anymore, like Trevor Jones or Robert Folk. Or even younger guys like Edward Shearmur don't do much beyond romantic comedies. Of the masters I can think of two composers who managed to adapt to the new style, one sadly didn't live to the 2010s. While Williams is not doing much now, until his death, Goldsmith still had 3-4 projects going for him every year and unlike, say, Bernstein, they weren't exactly period pieces. I think it also says something.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorDemetris
- CommentTimeJun 9th 2016
PawelStroinski wrote
Well, that's one part of the equation. But you are surely aware that a 2010 film looks and feels differently than, say, a 1995 film? That not just the camera work, but, particularly (as that is crucial in terms of composition) the editing is different?
Notice how many composers very popular in the 1980s/1990s and who are very well alive don't get work anymore, like Trevor Jones or Robert Folk. Or even younger guys like Edward Shearmur don't do much beyond romantic comedies. Of the masters I can think of two composers who managed to adapt to the new style, one sadly didn't live to the 2010s. While Williams is not doing much now, until his death, Goldsmith still had 3-4 projects going for him every year and unlike, say, Bernstein, they weren't exactly period pieces. I think it also says something.
They mostly look and feel like video game sequences any more. (mostly) gone are the characters and storyline.Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeJun 9th 2016
And many composers follow up in order not to stay out of business.Love Maintitles. It's full of Wanders. -
- CommentAuthorDemetris
- CommentTimeJun 9th 2016
Steve Jablonsky - TMNT2
Apart from: "squirrel formation" "tartatuga brothers" "casey jones" "jump!" "just one sip" "brothers" the rest is headache-inducing unlistenable noise.Love Maintitles. It's full of Wanders. -
- CommentAuthorDreamTheater
- CommentTimeJun 9th 2016
PawelStroinski wrote
Well, that's one part of the equation. But you are surely aware that a 2010 film looks and feels differently than, say, a 1995 film? That not just the camera work, but, particularly (as that is crucial in terms of composition) the editing is different?
Notice how many composers very popular in the 1980s/1990s and who are very well alive don't get work anymore, like Trevor Jones or Robert Folk. Or even younger guys like Edward Shearmur don't do much beyond romantic comedies. Of the masters I can think of two composers who managed to adapt to the new style, one sadly didn't live to the 2010s. While Williams is not doing much now, until his death, Goldsmith still had 3-4 projects going for him every year and unlike, say, Bernstein, they weren't exactly period pieces. I think it also says something.
IMO film music as a creative art-form with the purpose of supporting the film AND being a worthwile standalone experience started to die when Jerry passed on.
But what I don't get is that many of the producers nowadays are in their 30s-40s and have grown up with the phenomenal scores in their youth, yet they don't seem to want that in their own productions."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. -
- CommentAuthorPawelStroinski
- CommentTimeJun 9th 2016 edited
Demetris wrote
PawelStroinski wrote
Well, that's one part of the equation. But you are surely aware that a 2010 film looks and feels differently than, say, a 1995 film? That not just the camera work, but, particularly (as that is crucial in terms of composition) the editing is different?
Notice how many composers very popular in the 1980s/1990s and who are very well alive don't get work anymore, like Trevor Jones or Robert Folk. Or even younger guys like Edward Shearmur don't do much beyond romantic comedies. Of the masters I can think of two composers who managed to adapt to the new style, one sadly didn't live to the 2010s. While Williams is not doing much now, until his death, Goldsmith still had 3-4 projects going for him every year and unlike, say, Bernstein, they weren't exactly period pieces. I think it also says something.
They mostly look and feel like video game sequences any more. (mostly) gone are the characters and storyline.
Not sure I would agree. If video games were on the level they are now at that time, that's what you could say about the action classics of the 1980s, but the real problem is something you would never actually deal with in case of a video game - attention span.
The editing got much shorter. You can approach that in two ways. Ignore the editing whatsoever and just develop a cue (which, with some sync point exceptions James Horner did so well, Hans Zimmer realized that's the way to go some time in the mid-90s and works like that ever since) for the length of the sequence or try to think in the old-school way. This is where the pros and cons of Brian Tyler come in, for example. His approach is pretty old-school in terms of how to approach and score a picture, but that means he's getting ADHD at times and, at his action worst, is capable of trying to start a theme and the scene takes him somewhere else... His remedy? Iron Man 3!http://www.filmmusic.pl - Polish Film Music Review Website