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      CommentAuthorThor
    • CommentTimeOct 11th 2018
    NP: FLY AWAY HOME (Mark Isham)

    There's a repetitive figure here that is kinda grating, but other than that, fine score indeed.
    I am extremely serious.
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      CommentAuthorSouthall
    • CommentTimeOct 11th 2018
    Thor wrote
    Edmund Meinerts wrote
    I'd imagine a score like Crash would be right up your alley though!


    You imagine right. CRASH is not only my favourite Isham, but also in my Top 10 list of (primarily) electronic scores. IN THE VALLEY OF ELAH is in a similar territory, but not QUITE as good.


    Indeed, I love them both.

    Other favourites (though nothing like them) are Fly Away Home and Quiz Show.

    Black Dahlia is absolutely my favourite by him, but given that it sounds like nothing else he's ever done I have to say I am a little suspicious as to its authorship.
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      CommentAuthorSouthall
    • CommentTimeOct 11th 2018
    And October Sky. That one's a beauty.
  1. Racing Stripes is a lot of fun too, especially that final race track. Isham is pretty hit or miss for me in general, seems to write two or three mediocre scores for every good one, but at the same time it's impressive how versatile he is, even if you look at just the good stuff.
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      CommentAuthorBobdH
    • CommentTimeOct 12th 2018 edited
    BAD TIMES AT THE EL ROYALE - Michael Giacchino

    A fun 50 minute score, trapped inside the body of a 75 minute album. For future reference, let’s say your score only warrants such a long presentation if you can back it up with enough thematic material. For every ten minutes, an original theme? Would that be reasonable?

    This might work a little better:

    1. The Suite at the El Royale
    2. A Room with an Entrez-Vous
    3. Rough Around the Ledger
    4. Mirror Mortals
    5. When Push Comes to Hoover
    6. My Memory, My Memory
    7. I Spy with my Little FBI
    8. Voyeur in so much Trouble
    9. Clinging in the Rain
    10. A Bang Up Robbery
    11. A Blaze of Allegory
    12. The Wages of Flynn
    13. Billy Lee is Not My Lover
    14. Absolution Presents Itself
    • CommentAuthorTimmer
    • CommentTimeOct 12th 2018 edited
    NP : FIRST MAN - Justin Hurwitz



    The track, The Landing is superb! A sort of hybrid of John Barry, Trevor Jones and Hans Zimmer. I saw the film earlier and thought it was brilliant.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
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      CommentAuthorBobdH
    • CommentTimeOct 12th 2018 edited
    Timmer wrote
    NP : FIRST MAN - Justin Hurwitz

    The track, The Landing is superb! A sort of hybrid of John Barry, Trevor Jones and Hans Zimmer. I saw the film earlier and thought it was brilliant.


    Yes, highlight of the score, for sure!

    FIRST MAN - Justin Hurwitz

    Great score, horrible presentation.

    I came prepared this time and deleted all tracks that were under a minute beforehand. Some tracks in the first half still felt rather like samples than actual cues, but unlike El Royale, this never felt dull. The album still has a good flow, also probably due to the more atmospheric, dramatic nature, and a clear (easy to grasp) thematic development. I really like the way Hurwitz incorporated the theremin into the fabric of the score, while walking a well balanced line between organic instrumentation and electronic ambiance. Well done, and I can imagine it suits the film like a T.
  2. Timmer wrote
    NP : FIRST MAN - Justin Hurwitz



    The track, The Landing is superb! A sort of hybrid of John Barry, Trevor Jones and Hans Zimmer. I saw the film earlier and thought it was brilliant.


    The brass writing is some of the best stuff John Barry never wrote, right?
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorErik Woods
    • CommentTimeOct 13th 2018
    Timmer wrote
    NP : FIRST MAN - Justin Hurwitz



    The track, The Landing is superb! A sort of hybrid of John Barry, Trevor Jones and Hans Zimmer. I saw the film earlier and thought it was brilliant.


    That track (and MANY others) is full of temptrackitis. It's Last of the Mohicans mixed with United 93.

    -Erik-
    host and producer of CINEMATIC SOUND RADIO | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorThor
    • CommentTimeOct 15th 2018
    NP: BLACK DAHLIA (Mark Isham)

    Very unusual Isham (big and bold and orchestral and dark), but he can do anything, really.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeOct 15th 2018
    As for FIRST MAN, I didn't care for it -- neither film nor score. Still waiting for that Hurwitz score to impress me, I guess.
    I am extremely serious.
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      CommentAuthorThor
    • CommentTimeOct 15th 2018
    NP: RETURN TO PARADISE (Mark Mancina)

    Gorgeous, perhaps his very best score.
    I am extremely serious.
  3. Avatar Horner

    Haven’t listened to this in ages, absolutely brilliant!
  4. John Chambers wrote
    Avatar Horner

    Haven’t listened to this in ages, absolutely brilliant!


    The sequels will definitely not be the same without this quality music. I hope someone can use the themes and make it his / her own sound. I don't want a paste job of someone who has to mimic it.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
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      CommentAuthorSteven
    • CommentTimeOct 15th 2018
    I think James Newton Howard would be the ideal choice. His style, a mix of ethno, synths and traditional, is well suited to the world of Avatar. (Parts of Avatar even sound JNH-esque.)

    The next best choice would be John Powell.
  5. That whole affair sounds like Cameron is producing a mini series to be shown in cinemas. That's a very different approach than that being taken with other franchises.

    Volker
    Bach's music is vibrant and inspired.
  6. Steven wrote
    I think James Newton Howard would be the ideal choice. His style, a mix of ethno, synths and traditional, is well suited to the world of Avatar. (Parts of Avatar even sound JNH-esque.)

    The next best choice would be John Powell.

    Amen to all of that.

    Howard fits best, if he manages to keep the thematic material intact (and wants to do that), although I've always preferred his more subtle stuff to his bombast, and I'm afraid he'd feel inclined to use the latter for something as big as Avatar. But if he gets more melodic, I love him immensely. The themes in his recent "bigger" movies were all absolutely fantastic.

    And Powell? Yeah, sure.
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      CommentAuthorThor
    • CommentTimeOct 16th 2018
    NP: TABOO (Max Richter)

    Where is season 2 already??
    I am extremely serious.
  7. Thor wrote
    NP: TABOO (Max Richter)

    Where is season 2 already??


    As of September, I don't think that they have even started filming yet. Looks like we won't be seeing anything until well into 2019.
    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
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      CommentAuthorSteven
    • CommentTimeOct 16th 2018
    Ralph Kruhm wrote


    Howard fits best, if he manages to keep the thematic material intact (and wants to do that), although I've always preferred his more subtle stuff to his bombast, and I'm afraid he'd feel inclined to use the latter for something as big as Avatar. But if he gets more melodic, I love him immensely. The themes in his recent "bigger" movies were all absolutely fantastic.


    I think his score to, appropriately enough, The Last Airbender (aka Avatar: The Last Airbender) would be a fine candidate for the world of Pandora. In fact his reverent Shyamalan mode, a bit of his Disney side, plus militiristic action music would be my instructions as the director.

    Of course it won't go to JNH, it'll go to Lorne Balfe. Or Junk XL.
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      CommentAuthorThor
    • CommentTimeOct 16th 2018 edited
    FalkirkBairn wrote
    Thor wrote
    NP: TABOO (Max Richter)

    Where is season 2 already??


    As of September, I don't think that they have even started filming yet. Looks like we won't be seeing anything until well into 2019.


    Figures. It's like with LES REVENANTS, where so much time passed between the first and second seasons (several YEARS) that I had forgotten practically everything of season 1, and was totally confused by all plot points in season 2. Seems like they have the same strategy for season 3.
    I am extremely serious.
  8. True Grit Burwell

    Forgot how good this was, absolutely joyous at times!
    • CommentAuthorDavid OC
    • CommentTimeOct 20th 2018
    Sicario 2 - Hildur Gudnadottir

    Haven't heard any of her previous work but by the sound of this she'll be a new voice to follow. Impressively channels both a 'masculine' sound to meet the musical needs of the gritty and bleak Sicario world as well as meshing perfectly with Johann Johannsson's dark masterpiece.
    • CommentAuthorDavid OC
    • CommentTimeOct 20th 2018 edited
    Happy New Year, Colin Burstead - Clint Mansell

    His recent work has been exceptional. High Rise is close to the best score he's ever written, whilst the very different Loving Vincent was nearly as good. This new score for Ben Wheatley is a bit of a disappointment however. It's small scale, melodic (a few cues have a strangely Celtic feel), but there's no real hook. It's all a bit drab to be honest.
    • CommentAuthorDavid OC
    • CommentTimeOct 22nd 2018
    One Strange Rock - Daniel Pemberton

    Gets better every time I hear it. Hypnotic, mostly electronic soundscapes to match Darren Aronofsky's visually stunning Earth documentary series. The ethereal retro sound Pemberton employs works brilliantly; the emotionally engaging cues like 5,6 and 11 are especially good. The only downside is that there's no CD release. Only digital and vinyl, damnit.
    • CommentAuthorDavid OC
    • CommentTimeOct 22nd 2018
    Le Grand bain - Jon Brion

    Wonderful stuff. Even better than his score for Wilson last year. That main theme is terrific - and so utterly Brionesque!
    • CommentAuthorDavid OC
    • CommentTimeOct 22nd 2018
    The Death of Stalin - Christopher Willis

    Still one of the year's very best scores. Part pastiche but so thrillingly brilliant in its own right (as is the movie). At just under 30 minutes it begs to be played again.
  9. I just finished Naoki Sato's MILLION DOLLAR MAN.

    It's rare for one of his scores to make it onto Spotify, so I was very happy to find it there. Unfortunately, it's one of the least interesting things I've ever heard from him. Many of the cues stay in the same place (and not a very interesting place) doing the same little thing over and over.
  10. NP: The Secret of NIMH (1982) - Jerry Goldsmith

    I don't think I ever saw this film. Since the score is popular among the crowd I obtained it. Great music! The choral parts sound very classic Hollywood, like those 50s epic films. I wouldn't have expected that in an animation score.

    Volker
    Bach's music is vibrant and inspired.
  11. I cannot recommend NIMH enough. Both the movie and the score. And there's a BluRay coming out in Germany this November, hopefully including the English version.