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  1. It is a pretty great recording. But Zimmer has done far, far better action music (both before and after).
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      CommentAuthorThor
    • CommentTimeApr 19th 2017
    Edmund Meinerts wrote
    It is a pretty great recording. But Zimmer has done far, far better action music (both before and after).


    Maybe THE ROCK. Otherwise, this is the best he ever did in that genre. Were you even born when CRIMSON TIDE came out?
    I am extremely serious.
  2. I was three years old, so if my parents snuck me into the theater to see a submarine thriller at that tender age, I don't remember it. tongue

    I have seen the film since though, which is excellent, and Zimmer's score is excellent in it. But it's the kind of movie that calls for action music of the tense, low-key variety, and on album, that simply isn't as engaging for me as the flashier fare you hear in The Rock, The Peacemaker, Broken Arrow, the Pirates of the Caribbean scores (barring that shitty fourth one) and any number of others.
  3. In my Excel list The Rock is filed with Nick Glenny-Smith. Did he not compose the bulk of the score?

    smile Volker
    Did you see anything out there? No. Why? What happened? The ship just got herpes.
    •  
      CommentAuthorThor
    • CommentTimeApr 19th 2017
    NP: LIVING IN THE AGE OF AIRPLANES (James Horner)

    It's a bit all over the place, and only a handful of the tracks bear the unmistakable Horner mark, but almost every single track is fine to one degree or another.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeApr 19th 2017 edited
    Captain Future wrote
    In my Excel list The Rock is filed with Nick Glenny-Smith. Did he not compose the bulk of the score?

    smile Volker


    Yes, more or less. But the score's strenghts lie in Zimmer's main themes and their application thereof, IMO. For me, this has always been more Zimmer than NGS, Don Harper, HGW and whoever else participated on the score.
    I am extremely serious.
  4. Captain Future wrote
    In my Excel list The Rock is filed with Nick Glenny-Smith. Did he not compose the bulk of the score?

    smile Volker

    True, but I was referring to mid-90s MV scores in general, not just those by Zimmer himself. I could easily have included Twister, Speed 2, Armageddon etc. as well.
  5. NP: Batman & Superman (2016) - Hans Zimmer, Junkie XL

    Some cues of this album are kind of crescendo in perpetuum, and I find that tiresome. On the other side there are some genuinely fine moments, especially in the quieter moments. Also I like the refferences to Man of Steel. You are grateful for any kind of thematic continuity these days. Those abrupt cue endings I find irritating.
    I wait for the film to end up on free TV or in the bargain bin.

    Volker
    Did you see anything out there? No. Why? What happened? The ship just got herpes.
  6. Thor wrote
    Captain Future wrote
    In my Excel list The Rock is filed with Nick Glenny-Smith. Did he not compose the bulk of the score?

    smile Volker


    Yes, more or less. But the score's strenghts lie in Zimmer's main themes and their application thereof, IMO. For me, this has always been more Zimmer than NGS, Don Harper, HGW and whoever else participated on the score.


    Actually, it's less of a Zimmer-themed score as it's a Zimmer-arranged score. Hans contributed essentially two themes to it, both of the more dramatic variety (that would be the "hymn" that marks the opening credits and the shower massacre, and that little trumpet dirge that shows up a few times). The action themes are all Nick Glennie-Smith. Bulk of Hans' work on the project was actually rearranging the NGS score.

    Harry Gregson-Williams was on the team from the beginning, being the main additional guy for Glennie-Smith, as I was told. When told about Don Harper getting a credit (that would be Hybrid Soldier's research, BTW) for the Chase track, Hans was shocked as, it turns out, in the middle of writing it, Harper just took a vacation and Harry Gregson-Williams had to salvage it.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeApr 20th 2017
    Captain Future wrote
    NP: Batman & Superman (2016) - Hans Zimmer, Junkie XL

    Some cues of this album are kind of crescendo in perpetuum, and I find that tiresome. On the other side there are some genuinely fine moments, especially in the quieter moments. Also I like the refferences to Man of Steel. You are grateful for any kind of thematic continuity these days. Those abrupt cue endings I find irritating.
    I wait for the film to end up on free TV or in the bargain bin.

    Volker


    I've made my own 38-minute playlist of this score, which actually makes it really great. Try it out if you get the chance:

    1. Beautiful Lie
    2. The Red Capes are Coming
    3. Day of the Dead
    4. Is She With You?
    5. This is My World
    6. Men Are Still Good (Batman Suite)
    I am extremely serious.
  7. I'll give that try next, Thor. I never gave that score a listen because everyone hated it so much. I heard it in the film and didn't feel any desire to check it out after that. This playlist looks like a good way to sample it.

    NP - ULL PER ULL (EYE FOR EYE) - Marc Vaillo

    This is really good! I don't remember anyone ever talking about this, but someone must have because I wrote it down on a list of things to listen to back in 2010. I'm just now getting around to it and I'm just amazed by how good this is. And it's for a violent Spanish tv mini-series. It's just not at all what I was expecting. It's got a big orchestral sound. It's dramatic, it's melodic, parts are lovely, parts are intense (but still very listenable). I'm only 11 tracks in, but I'm dumbfounded that I haven't heard more people talking about this. Was it talked about more back in 2010 when it came out? It's on spotify. If you haven't heard it, give it a listen. If the first two tracks don't hook you there's something wrong with you.
  8. Edmund Meinerts wrote
    I was three years old, so if my parents snuck me into the theater to see a submarine thriller at that tender age, I don't remember it. tongue

    I have seen the film since though, which is excellent, and Zimmer's score is excellent in it. But it's the kind of movie that calls for action music of the tense, low-key variety, and on album, that simply isn't as engaging for me as the flashier fare you hear in The Rock, The Peacemaker, Broken Arrow, the Pirates of the Caribbean scores (barring that shitty fourth one) and any number of others.


    I would place Crimson Tide and Broken Arrow above The Rock and The Peacemaker, as far as awesomeness goes and of the Pirates I only like the third one.
    "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.
  9. Hellraiser - Chris Young

    There is something eerily chilling but also incredibly beautiful about this music. Hellraiser is a gorgeous romantic horror score. Something of a bygone age.
    "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.
  10. Crimson Tide - Hans Zimmer

    Yes it really is the ultimate badass Zimmer action score.*
    The louder it's played, the better... cheesy







    * At least 1 of 2 (possibly 3)
    "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.
    •  
      CommentAuthorThor
    • CommentTimeApr 20th 2017
    NP: FIRELIGHT (Christopher Gunning)

    Haven't played this in ages, but it's one of the better 'blind buys' I did, I think. Way back in the 90s.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeApr 20th 2017
    • CommentAuthorTimmer
    • CommentTimeApr 21st 2017
    Thor wrote
    NP: FIRELIGHT (Christopher Gunning)

    Haven't played this in ages, but it's one of the better 'blind buys' I did, I think. Way back in the 90s.


    Such a good composer. A shame the powers that be have cloth ears and don't hire this man for bigger projects.
    thor 2? fuck thor! ~ Thor
  11. The Perfect Storm - Mr. Horner

    Aside from the fact that this is just one hell of a composition, it's IMO also an example of a perfect score album. Filled to the brim with one great cue after another (not a minute wasted), 80% of the cues written in the suite format (which I adore, because Horner excelled in writing long uninterrupted tracks), and rounding off with an excellent song too.

    In short: a flawless presentation, a perfect score! Love this one deeply !! smile
    "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.
  12. I have two favourite Horner periods. One comprising the late 70s and and the first half of the 80s, the other being the late 90s and the 00s. Scores like The Perfect Storm, Deep Impact, Titanic, Enemy at the Gates and Avatar belong to my favourite scores by the maestro. Titanic is my personal treasure but Avatar is probably the consummate score of that phase.

    Volker
    Did you see anything out there? No. Why? What happened? The ship just got herpes.
    •  
      CommentAuthorThor
    • CommentTimeApr 21st 2017 edited
    Captain Future wrote
    I have two favourite Horner periods. One comprising the late 70s and and the first half of the 80s, the other being the late 90s and the 00s. Scores like The Perfect Storm, Deep Impact, Titanic, Enemy at the Gates and Avatar belong to my favourite scores by the maestro. Titanic is my personal treasure but Avatar is probably the consummate score of that phase.

    Volker


    Interesting. My main or favourite Horner period is the mid 80s to mid 90s -- so basically everything you left out! But obviously lots of great stuff outside that as well.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeApr 21st 2017
    My favourite Horner period, in terms of his film music, was 1979-2015.
  13. Captain Future wrote
    I have two favourite Horner periods. One comprising the late 70s and and the first half of the 80s, the other being the late 90s and the 00s. Scores like The Perfect Storm, Deep Impact, Titanic, Enemy at the Gates and Avatar belong to my favourite scores by the maestro. Titanic is my personal treasure but Avatar is probably the consummate score of that phase.

    Curious what scores from the 70s by Horner you have heard? I didn't think any of them had been released...

    I would say Horner is a rare composer who never had a weak period. I can't even say that about Williams or Goldsmith. Certainly not about Zimmer.
    • CommentAuthorTimmer
    • CommentTimeApr 21st 2017
    Southall wrote
    My favourite Horner period, in terms of his film music, was 1979-2015.


    Agree! He did great scores throughout his career, the few bummers were always bookended by better scores.
    thor 2? fuck thor! ~ Thor
  14. Yes but I have a soft spot for his Star Trek style scores and for pretty much everything from Legends of the Fall onwards.

    And, yes, the earliest Horner I know is Battle Beyond the Stars, so that would indeed be 1980. (Which is 70s mathematically but not otherwise.)

    smile Volker
    Did you see anything out there? No. Why? What happened? The ship just got herpes.
    •  
      CommentAuthorSouthall
    • CommentTimeApr 21st 2017
    Guardians of the Galaxy 2 Tylerbates

    I remember nothing about the first one other than it was entertaining, so I've no idea if any of it is reprised here. It is entertaining, but I shall remember nothing of it.
  15. Will there again be a deluxe edition featuring the the score on CD?
    Did you see anything out there? No. Why? What happened? The ship just got herpes.
    • CommentAuthorDavid OC
    • CommentTimeApr 22nd 2017
    Elle - Anne Dudley

    Dark, probing, never less than fascinating score that, strangely, didn't register at all when I saw the film last year. I wonder if all of this music actually made the final cut? Regardless, it's brilliant and has echoes of early Howard Shore in terms of underscoring the psychology of characters in a very particular way. This may sit alongside American History X as Dudley's finest after a few more listens.
    • CommentAuthorDavid OC
    • CommentTimeApr 22nd 2017
    Thor wrote
    David OC wrote
    Jasper Jones - Antony Partos

    A really fine new score from one of our best current composers here in Australia. The themes are subtle and the general tone low-key but it's never dull.


    I really liked Partos' (and Lisa Gerrard's) music for TANNA last year -- especially the latter part. The film is quite good too. I have a promo, but I think it should be a commercial release.




    Agree about Tanna, Thor, that's excellent as has been much of Partos's recent output. I particularly love his superb score for for the documentary Sherpa.
    •  
      CommentAuthorThor
    • CommentTimeApr 22nd 2017
    David OC wrote
    Elle - Anne Dudley

    Dark, probing, never less than fascinating score that, strangely, didn't register at all when I saw the film last year. I wonder if all of this music actually made the final cut? Regardless, it's brilliant and has echoes of early Howard Shore in terms of underscoring the psychology of characters in a very particular way. This may sit alongside American History X as Dudley's finest after a few more listens.


    My favourite film of the year (it's a 2017 release in Norway, although I saw it at the Cannes premiere last year, with Verhoeven in attendance). I also like the score, more as it works in the film than on album. Personally, I got a lot of Goldsmith in BASIC INSTINCT/HOLLOW MAN mode here; a kind of 'sleasy sensuality' reminscent of 90s erotic thrillers. I'm sure that's not accidental.
    I am extremely serious.
    • CommentAuthorDavid OC
    • CommentTimeApr 22nd 2017
    There's definitely a sensual element to Elle but with a much more serious, harder edge than those Goldsmith scores ever had I think.


    Realive - Lucas Vidal

    Haven't heard much of Vidal's music but this score for a Spanish (?) sci-fi film is a revelation - one of haunting, ethereal beauty.