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 4111 to 4140 of 4548)

  1. <
  2. 1
  3. ...
  4. 134
  5. 135
  6. 136
  7. 137
  8. 138
  9. 139
  10. 140
  11. 141
  12. ...
  13. 152
  14. >
    •  
      CommentAuthorThor
    • CommentTimeJan 9th 2017 edited
    Captain Future wrote
    NP: Man of Steel (2013) - Hans Zimmer

    It's a really good score. When it was first released it's reception IMO was damaged by two things:
    - The absolute ridiculous promotion campaign surrounding it.
    - The looming shadow of Williams' '78 score that determined what people expected to listen to, consciously or not.

    Volker


    Sadly, yes.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeJan 9th 2017
    I was going to post

    "Plus what hurt it also was that it wasn't a really good score."

    ...but I thought better of it.
    I'm a much better person than to continue to flog that horse that has been lying in the streets like so much disposed garbage. Long dead, putrefying, decaying, stinking. Without merit, worth or point. Disgusting, vomit-inducing.

    Not unlike....
    Ahem.
    Well.
    Anyway.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  3. Thor wrote
    NP: MAN OF STEEL (Hans Zimmer)

    I love this score; the big and bombastic (with these HUGE interval leaps), but especially the more intimate, reflective material. A hundred times more appealing than the noisefest that was Bats vs. Supes (although I managed to boil that down to a very good, 38-minute listening experience too).


    I agree with the "boil that down" part. Boiling is clearly the solution here.
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
  4. NP - LA CORRISPONDENZA - Ennio Morricone

    First listen. This is a 2016 score, I think, but I haven't heard anyone mention it. Anybody heard it yet? Any thoughts. I'm only one track in, but the first track is really lovely. Delicate piano, mostly, with some strings.
    •  
      CommentAuthorThor
    • CommentTimeJan 10th 2017
    NP: SUMMER IN FEBRUARY (Benjamin Wallfisch)

    Last one before bedtime....one of my favs of 2012.
    I am extremely serious.
    •  
      CommentAuthorBregt
    • CommentTimeJan 10th 2017
    ARRIVAL | johann johannson

    Great moodsetter in the movie, and quite creepy at the same time! I don't like it that much on album, perhaps not varied enough? The weird sounds and scapes are defenitely unique, except for the one in First Encounter, which reminded me of Glass' Kundun. biggrin
    Kazoo
  7. THE LIGHT BETWEEN OCEANS - Desplat

    Just finished my second listen and I was disappointed not to have enjoyed it as much as the first time. Most of it is very low-key with an unsettling ambiance. The first and last tracks remain my favorite on the album, but I don't know that I'll return to even those.
  8. SMS FUR DICH - Annette Focks

    This is a pleasant little score, but not very noteworthy. Most of the tracks are short and none of them are very memorable. The recurring motifs get a little old by the end of the not-very-long album. The highlights for me are "Dur Kuss" and "Happy End." Both are nice and both are under two minutes long.
    •  
      CommentAuthorThor
    • CommentTimeJan 10th 2017
    christopher wrote
    THE LIGHT BETWEEN OCEANS - Desplat

    Just finished my second listen and I was disappointed not to have enjoyed it as much as the first time. Most of it is very low-key with an unsettling ambiance. The first and last tracks remain my favorite on the album, but I don't know that I'll return to even those.


    I also don't understand what the big deal is. Didn't care for it (then again, that's hardly surprising given my stance on Desplat). After my colleagues slaughtered the film after a festival screening, I'm also hesitant about seeking out the film.
    I am extremely serious.
  10. I'm not a big fan of Desplat either, though he's written some things I enjoy. I just don't connect with his music very often.

    My brother and his wife hated THE LIGHT BETWEEN OCEANS. From the sound of most critical reviews, I think it's definitely one to skip.

    NP - THE JUNGLE BOOK - Debney

    That wolves theme is VERY John Barryish, and very nice!
    • CommentAuthorTimmer
    • CommentTimeJan 10th 2017 edited
    christopher wrote


    NP - THE JUNGLE BOOK - Debney

    That wolves theme is VERY John Barryish, and very nice!


    The arrangement of Scarlett Johansson's Trust In Me is very John Barryesque too.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  12. True!

    I also noticed some similarities this time between those climactic tracks at the end of JUNGLE BOOK and some of Jerry Goldsmith's big expansive themes from the 90s. Debney has always been really good at sounding like other composers smile
  13. NP: Transformers (2007) - Steve Jablonsky

    This isn't symphonic complexity but rather easy listening. I believe it is one of the best scores ever made in that particular style.

    Volker
    Bach's music is vibrant and inspired.
  14. NP: Jonathan Livingston Seagull (1973) - Neil Diamond; Lee Holdrige

    It's good, in certain moments it's breathtaking.
    Bach's music is vibrant and inspired.
  15. christopher wrote
    I also noticed some similarities this time between those climactic tracks at the end of JUNGLE BOOK and some of Jerry Goldsmith's big expansive themes from the 90s. Debney has always been really good at sounding like other composers smile

    One of Jerry Goldsmith's big expansive themes from the 90s in particular, I think you'll find...
  16. His ST Voyager theme?
  17. Captain Future wrote
    NP: Transformers (2007) - Steve Jablonsky

    This isn't symphonic complexity but rather easy listening. I believe it is one of the best score ever made in that particular style.

    Volker


    MV/RC at his best smile
    And to think there wasn't a soundtrack of it at first.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorThor
    • CommentTimeJan 11th 2017 edited
    Brilliant score indeed (even if it's 95% pastiche of Zimmer and Newman). Jablonsky is one of the best composers to come out of RC.
    I am extremely serious.
  19. The Newman bits don't make much sense in the story, but I learnt to enjoy the tracks.

    I haven't seen the film (nor do I intend to, really), but the worst Thomas Newman temptrackitis had to be... wait for it, the fifth Final Destination.

    What is American Beauty doing in of all things a horror score/film (in one case it's actually not used for its quirkiness, but the low-key dramatic piano wriitng even!) still escapes me. And Tyler is very happy to actually indulge whoever put that in the temp!
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSteven
    • CommentTimeJan 11th 2017
    Star Trek Beyond Michael Giacchino

    Thanks to the new release, and a bit of magic from our resident album producer, this is fantastic. Like the year before it, Giacchino absolutely owned 2016. I can't wait for his Apes and Spiderman scores.
  21. Steven wrote
    Star Trek Beyond Michael Giacchino

    Thanks to the new release, and a bit of magic from our resident album producer, this is fantastic. Like the year before it, Giacchino absolutely owned 2016. I can't wait for his Apes and Spiderman scores.


    Yeah!
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorBobdH
    • CommentTimeJan 11th 2017 edited
    BRIMSTONE - Tom Holkenborg

    Tom Holkenborg told tonight on a Dutch talk show about how heavily his Brimstone score is influenced by a certain Bach piece, which he used throughout his work - so no, it's not Barber's Adagio as so many seem to recognize, it is literally Bach you're hearing and Tom is very open about how he incorporated it as a theme. Nay, as the theme, since the work is quite sparse in its melodies.

    This basically tells you Brimstone is more of a work of orchestration than it is of composition, since all Holkenborg is doing is alternating Bach's elegy with enough moments of brooding suspense until his audience is ready again for that Bach piece without getting sick of it. And yes, this gives us a rather fine work of strings, violin and the occasional outburst of choir, really lovely passages, and I'm not going to complain about it needing more color because the chosen palette of strings and choir gives a welcome solemn and brooding mood in the Howard Shore tradition (Martin Koolhoven's original choice, by the way), but if you don't combine this with solid thematic development, it does not sustain an hour and a half listening experience.

    Within this there's a fine, but not particularly memorable hour long score, once again falling prey to that damning practice that is ruining film music of stuffing too much on its album.
    •  
      CommentAuthorThor
    • CommentTimeJan 11th 2017 edited
    Agreed. It's definitely MUCH too long. I say there's a smokin' good 45-50 minute album in there somewhere. But it's still a superb score that I suspect will stay in my top echelon throughout the year.

    Thanks for the context, Bob!
    I am extremely serious.
    •  
      CommentAuthorBobdH
    • CommentTimeJan 11th 2017 edited
    Yes, true, pick the right tracks and you get a great mood piece of strings, violin and choir, with some great stand out passages.

    By the way, Holkenborg also talked elaborately about using an organ for the film - apart from a single moment I seem to have missed it completely? It certainly would have fit into it if he had used it more pronounced (especially because of the main theme of religion in the film, which also inspired Tom of using Bach to begin with - or should I say *allowed* him, since he'd been hoping to use that Bach piece in his work for quite some time and was glad Brimstone finally gave him the opportunity).
  25. NP: Gone With The Wind (1937) - Max Steiner

    The album Charles Gerhardt developed in collaboration with the late composer. I'm an admirer of Steiner but not a devotee. Much of his music is too massive for my taste. This score I love and the Gerhardt album is my favourite version.

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeJan 11th 2017
    When Steiner goes all mickey-mousey or references a myriad of existing compositions, I tend to go nuts. But when he's on, he's on. And GONE is one I rarely tire of.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeJan 11th 2017
    NP: MORIBITO: GUARDIAN OF THE SPIRIT (Naoki Sato)

    Fantastic score, in my runner-ups this year. A bit on the long side, album-wise, but the music is so varied and gorgeous, it sustains it.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeJan 12th 2017
    Thor wrote
    NP: MORIBITO: GUARDIAN OF THE SPIRIT (Naoki Sato)

    Fantastic score, in my runner-ups this year.


    You have runner ups already? Impressive.
  29. NP: Seven - Howard Shore

    The final 20 minutes of this score is such a powerful build up to one of the great climaxes and melding of music and image on film.
    The views expressed in this post are entirely my own and do not reflect the opinions of maintitles.net, or for that matter, anyone else. http://www.racksandtags.com/falkirkbairn
    • CommentAuthorJoep
    • CommentTimeJan 12th 2017
    Thor wrote
    Agreed. It's definitely MUCH too long. I say there's a smokin' good 45-50 minute album in there so

    The cd release ´corrects´ that

4111 to 4140 of 4548

  1. <
  2. 1
  3. ...
  4. 134
  5. 135
  6. 136
  7. 137
  8. 138
  9. 139
  10. 140
  11. 141
  12. ...
  13. 152
  14. >