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      CommentAuthorRalph Kruhm
    • CommentTime6 days ago edited
    Aidabaida wrote
    Golden Compass

    The intrusion of Serafina's theme 1:00 into Desplat's "Battle With the Tarters" may be my favorite moment of his ever. Wow.

    Maybe not my favourite now, but then, it absolutely was, or maybe the second appearance about a minute later cause it's longer and even more triumphant. I could cry tears about the fact he never got to give us the sequel scores he so obviously prepared so well with the groundwork given here.
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      CommentAuthorThor
    • CommentTime6 days ago edited
    NP: THE DARK TOWER (Junkie XL)

    I'm not one to listen to big, boisterous and epic action music these days, but somehow JXL makes the cut for me. Happened with MAD MAX, happened with this. Could be because of the gorgeous, more ethereal moments of the score that are squished in between the more aggressive stuff.
    I am extremely serious.
  1. Words can't even begin to describe how disappointing that score is to me as a big fan of the books. And I only read them a few years ago; I can't imagine how I'd feel if I'd been waiting for a Dark Tower film and score for decades, like most Stephen King fans. And it's not even that the score is outright awful - it isn't. But these novels deserve, nay demand, so much more than what Tom Holkenborg is capable of delivering. Especially from a narrative standpoint.

    For starters: a Dark Tower score with no Western influence whatsoever is not worth the lint in Roland's jeans pockets.
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      CommentAuthorThor
    • CommentTime6 days ago edited
    I've never read the books (as a Stephen King fan, it's been on my list forever, but I've never gotten around to it), but I'm seeing the movie on Monday. Curious to see how the wonderful score works in context.
    I am extremely serious.
  2. As Thor, I too have no knowledge of the books or the film. I just have a superficial knowledge of what the books are about. So from my gut I would have expected something in the vein of Kilar or Goldenthal. The music by J XL out of context I find rather good in contrast to most here.
    EDIT: OK, if there is a Western influence, Bruce Broughton?

    Volker
    "Did you see anything out there?" - "No. Why? What happened?" - "The ship just got herpes."
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      CommentAuthorCaliburn
    • CommentTime6 days ago
    I stopped reading books when I got a TV in my bedroom ages ago. I now started to dabble into audio books and that REALLY works for me. I am now in my second Dark Tower book. I missed Stephen King, he was my favorite writer when I stopped reading.
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      CommentAuthorThor
    • CommentTime6 days ago edited
    NP: RARITIES (John Williams)

    76 tracks of various odd'n'ends (most of them unreleased) that I've gathered together over the years.
    I am extremely serious.
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      CommentAuthorAidabaida
    • CommentTime6 days ago
    Does anyone have any recommendations for gothic, English, early-19th century style scores?
    Bach's music is heartless and robotic.
  3. The style of the First Viennese School is utilized in film music rather seldom me thinks. Film makers tend to use original works rather.

    Volker
    "Did you see anything out there?" - "No. Why? What happened?" - "The ship just got herpes."
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      CommentAuthorAidabaida
    • CommentTime6 days ago
    ...b...b..but muh First Viennese School sad
    Bach's music is heartless and robotic.
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      CommentAuthorSouthall
    • CommentTime5 days ago
    Aidabaida wrote
    Does anyone have any recommendations for gothic, English, early-19th century style scores?


    If Thor can describe The Dark Tower as "big, boisterous and epic" then he can probably find something in Junkie XL's catalogue that fits your need.
    • CommentAuthorRoy
    • CommentTime5 days ago
    Aidabaida wrote
    Does anyone have any recommendations for gothic, English, early-19th century style scores?


    Mary Reilly, From Hell ?
  4. Southall wrote
    Aidabaida wrote
    Does anyone have any recommendations for gothic, English, early-19th century style scores?


    If Thor can describe The Dark Tower as "big, boisterous and epic" then he can probably find something in Junkie XL's catalogue that fits your need.


    Wasn't he rather saying that he is not looking for "big, boisterous and epic" music these days and that he enjoys the ambient parts of the score?

    Volker
    "Did you see anything out there?" - "No. Why? What happened?" - "The ship just got herpes."
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      CommentAuthorSteven
    • CommentTime5 days ago
    Southall wrote
    Aidabaida wrote
    Does anyone have any recommendations for gothic, English, early-19th century style scores?


    If Thor can describe The Dark Tower as "big, boisterous and epic" then he can probably find something in Junkie XL's catalogue that fits your need.


    biggrin
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      CommentAuthorAidabaida
    • CommentTime5 days ago
    Southall wrote
    Aidabaida wrote
    Does anyone have any recommendations for gothic, English, early-19th century style scores?


    If Thor can describe The Dark Tower as "big, boisterous and epic" then he can probably find something in Junkie XL's catalogue that fits your need.


    You win maintitles for the week.
    Bach's music is heartless and robotic.
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      CommentAuthorBobdH
    • CommentTime5 days ago edited
    Roy wrote
    Aidabaida wrote
    Does anyone have any recommendations for gothic, English, early-19th century style scores?


    Mary Reilly, From Hell ?


    George Fenton's Le Vampire Symphony? (his rejected Interview with the Vampire).

    And, yes, From Hell is a masterpiece.
    Procrastinate now. Don't put it off.
  5. NP: Valerian And the City of a Thousand Planets (2017) - Alexandre Desplat

    Jon Broxton wrote
    For me, it joins The Golden Compass at the very top of the list in terms of his career works to date, and it is the first bonafide five-star masterpiece of 2017. In fact, it’s so good, the only thing I can see possibly de-throning it as Score of the Year is a certain score by a certain Mr. Williams set in a galaxy far, far away; and, even then, he’s going to have his work cut out.


    This. A sparkling masterpiece.

    Volker
    "Did you see anything out there?" - "No. Why? What happened?" - "The ship just got herpes."
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      CommentAuthorDemetris
    • CommentTime5 days ago edited
    PawelStroinski wrote
    You do know that perhaps Thor is comparing it to the first Haugen score and NOT to the Poledouris original?


    true. Absolutely loved the first haugen score. Wasn't talking about poledouris, but the age of conan first Haugen score...beautiful and addictive. Then the rest of his spinoff scores weren't half up there with his first score.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTime5 days ago
    Southall wrote
    All the King's Men James H

    Years since I listened to this. Much stronger than I remembered (but the Braveheart bit is one of those Horner lifts that seems less forgivable than most).


    So addictively beautiful, love this score.
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTime5 days ago
    BobdH wrote
    Ha, I actually attended a live performance by Philip Glass and his assemble played to picture for Koyaanisqatsi about a year ago. The work didn't specifically do anything to me on an emotional level up till then, but that night, it clicked. Especially Prophecies was near transcendental. I frequently revisit that piece now late at night, or just when depressed.


    Koyaanisqatsi is a phenomenally good score. Very influential too, on modern minimalist composers.
    Love Maintitles. It's full of Wanders.
  6. Interstellar comes to mind, among others.
    "Did you see anything out there?" - "No. Why? What happened?" - "The ship just got herpes."
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      CommentAuthorDemetris
    • CommentTime4 days ago
    Captain Future wrote
    Interstellar comes to mind, among others.


    yes, and glass in general, if you slow him down enough, and add a bit of sentiment in that writing, you get richter, olafur arnalds, etc smile
    Love Maintitles. It's full of Wanders.
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      CommentAuthorDemetris
    • CommentTime4 days ago
    n.p. elliot goldenthal - titus

    seriously, if you have never heard this so far, please do yourself a favor, go find a good sound system or great headphones' set, put it on, turn the volume up and ... marvel:)
    Love Maintitles. It's full of Wanders.
  7. Demetris wrote
    Captain Future wrote
    Interstellar comes to mind, among others.


    yes, and glass in general, if you slow him down enough, and add a bit of sentiment in that writing, you get richter, olafur arnalds, etc smile


    Never thought of the modern minimalism like that.
    http://www.filmmusic.pl - Polish Film Music Review Website
  8. Richter reminded me of Glass immediately.


    NP: War for the Planet of the Apes (2017) - Michael Giacchino

    Tremendous score. Fantastic choral writing, that sometimes seems to take some inspiration from Morricone. I liked Doyel's score for the first film (Rise) a lot and was initially a bit let down by Giacchino's entry for the successor film (Dawn) but loved the concluding two cues. The current score (War) I love throughout. I will now try to make a playlist from all three scores for my audio player.

    Volker
    "Did you see anything out there?" - "No. Why? What happened?" - "The ship just got herpes."
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      CommentAuthorSteven
    • CommentTime4 days ago
    For Greater Glory James Horner

    I hated this score when it was released. Quite fervently. Was I in a foul mood I wonder? Because this is wonderful, re-used themes and all.
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      CommentAuthorThor
    • CommentTime4 days ago
    NP: POLLYANNA (Christopher Gunning)

    Lovely and breezy.
    I am extremely serious.
  9. Yesterday I had a listen to:

    Junkie XL - The Dark Tower

    Not as bad as many people claim, but that doesn't mean it's good. The lyrical/more emotional music has a lot of potential, but then you have the main theme which sounds like a bad John Powell parody done on... not such a great synthesizer. I assume that this probably is a feeble attempt by Holkenborg to actually write something in the Western idiom.

    And as much as pretty the low-key dramatic themes are, there is the thing that shows how lackluster the man's technique is. A little piece of advice. If you are an EDM creator getting into serious film scoring, that's fine, but, by God, don't you ever try to be ANY close to Elliot Goldenthal's action writing. The action music is sometimes just ridiculous early on the album.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorThor
    • CommentTime3 days ago edited
    I don't think there's any Goldenthal attempts in it, that I can hear, anyway. Rather, he's brilliant at using the kind of aggressive writing that harkens more to rock than symphonic music (most evident in the brilliant MAD MAX, but also in this). None of it is terribly complex, but all of it has this forward momentum and visceral "rawness" that I don't often find in action scores by more traditional composers these days.

    But it's the big Melancholy of the subtler tracks that really sold me on this. He's very good at that kind of unadulterated, melodic sound, like with BRIMSTONE earlier this year.
    I am extremely serious.
  10. It's a bit more low-key than Brimstone, isn't it?

    It's not about complexity. He attempts at something far more dissonant here than he did in Mad Max, which works as a kinda raw, tribal-like, apocalyptic-to-post-apocalyptic score. It's the stuff that he does with dissonant brass that is kinda Goldenthalish (trying something between horror and action, kinda-sorta) that simply shows that his orchestral capabilities are quite limited. Same with the trumpet parts in the main title cue. Close but no cigar, I'm afraid.

    It takes a while to grow into a new idiom and this fails at quite a few things he tried to achieve, mostly because he doesn't think that way. Whether he is capable of that kind of thinking or not, only time will tell.
    http://www.filmmusic.pl - Polish Film Music Review Website