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  1. Thor wrote
    NP: THOR: RAGNAROK (Mark Mothersbaugh)

    Sorry, but this is just....meh. I'm not quite sure what people see or hear in it. Lots of loudness, percussive hits, blaring brass and some choir thrown in. Very little dynamic range. Some of the more electronic elements are cool, though -- wish he'd explored that more, in a more purified way. It reminds me of the hooplah surrounding Beltrami's GODS OF EGYPT a couple of years ago, another score that did nothing for me.


    Why are there only five cues on Spotify?

    This is solid handicraft, if rather generic. I agree with Thor, the electronic elements are nice.
    Why do they still hire composers for this. By know there must be tons of library music of this kind.

    Volker
    Bach's music is vibrant and inspired.
  2. Though there are enjoyable moments, I have to say I sort of agree with you, Thor (note the time and date!). I feel like the score is reacting to the picture rather than adding to it, there doesn't seem to be much structure, just orchestral/choral gloop without much in the way of style or voice. There are no standout themes or setpieces. The synth bits are indeed nice but they don't really define the score like they could have. It's not bad really, just sadly forgettable and bland.

    Gods of Egypt was a far better score than this, though!
    •  
      CommentAuthorMartijn
    • CommentTimeOct 21st 2017
    Captain Future wrote
    Timmer wrote
    Thor wrote
    PawelStroinski wrote
    I'm a more pastoral guy myself. Give me The Robe/The Greatest Story over The Lord's Prayer anyway. I'm quite sensitive to mystical thought anyway.


    Actually, both of those contain elements of MY "religious sound". It contains elements of both pastoral writing and "psalm" chords.


    yeah


    You guys should be great fans of the national anthem of the Netherlands. I am. smile


    Heh. Nice twist. smile I approve.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorThor
    • CommentTimeOct 21st 2017
    NP: SKUMRINGSLANDET (Johannes Leonard Rusten)

    Nice score for this 2014 historical epic from Norway, although it's heavily influenced by Zimmer's THIN RED LINE. This is a 20-minute promo.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeOct 21st 2017
    NP: SOMEWHERE IN TIME (John Barry)

    cool
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeOct 21st 2017
    DreamTheater wrote
    THE FINAL CONFLICT - Goldsmith

    A fitting finale for The Omen trilogy, with equally strong themes but more entertaining underscore.
    For the longest time I gave this 4 stars but now it gets bumped to 4 and a half.
    Goosebumps galore from an almost sublime score. cool


    Why not 5? This is a five star score if ever there was one.
    • CommentAuthorTimmer
    • CommentTimeOct 21st 2017
    Steven wrote
    DreamTheater wrote
    THE FINAL CONFLICT - Goldsmith

    A fitting finale for The Omen trilogy, with equally strong themes but more entertaining underscore.
    For the longest time I gave this 4 stars but now it gets bumped to 4 and a half.
    Goosebumps galore from an almost sublime score. cool


    Why not 5? This is a five star score if ever there was one.


    Fucking A

    This one is second only to Star Trek TMP in my favourite Goldsmith scores. A true, SUBLIME 5 star score.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorAidabaida
    • CommentTimeOct 22nd 2017
    The Amazing Spider-Man - Horner

    easily in the top 5 superhero scores ever, by my estimation. each track is filled with so many interesting ideas.
    Bach's music is heartless and robotic.
  3. NP: Blood From The Mummy's Tomb - Tristram Cary

    Very much an atmospheric score. Every now and then there's passages that hint at the Egyptian origins of the plot but overall Cary tries to give the score an unsettling feel.
    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
  4. NP: ¿Quién Puede Matar A Un Niño? - Waldo de Los Ríos

    aka Would You Kill a Child?, de los Ríos' score is full of dissonance and avant-garde influences save for a melody for one of the main characters.
    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
  5. NP: Carrie - Pino Donaggio

    This score builds and builds until everything comes crashing down for Carrie and those around her. A great score.
    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
  6. Steven wrote
    DreamTheater wrote
    THE FINAL CONFLICT - Goldsmith

    A fitting finale for The Omen trilogy, with equally strong themes but more entertaining underscore.
    For the longest time I gave this 4 stars but now it gets bumped to 4 and a half.
    Goosebumps galore from an almost sublime score. cool


    Why not 5? This is a five star score if ever there was one.


    Because there are still some Goldsmiths that I reckon are slightly better and those get the full 5 stars.
    "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.
  7. NIGHT CROSSING - Goldsmith

    Another one that just barely misses the highest mark, so not 5 stars either. Brilliantly entertaining, with enough energetic cues and breathtaking melodies. The kind that are so hard to come by nowadays.
    "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.
    •  
      CommentAuthorSteven
    • CommentTimeOct 22nd 2017
    DreamTheater wrote
    Steven wrote
    DreamTheater wrote
    THE FINAL CONFLICT - Goldsmith

    A fitting finale for The Omen trilogy, with equally strong themes but more entertaining underscore.
    For the longest time I gave this 4 stars but now it gets bumped to 4 and a half.
    Goosebumps galore from an almost sublime score. cool


    Why not 5? This is a five star score if ever there was one.


    Because there are still some Goldsmiths that I reckon are slightly better and those get the full 5 stars.


    Would you still rate it as a 4/4.5 if you hadn't heard those other scores?
    •  
      CommentAuthorSteven
    • CommentTimeOct 22nd 2017
    FalkirkBairn wrote
    NP: ¿Quién Puede Matar A Un Niño? - Waldo de Los Ríos

    aka Would You Kill a Child?, de los Ríos' score is full of dissonance and avant-garde influences save for a melody for one of the main characters.


    But which part did Hans Zimmer compose?
  8. Steven wrote
    FalkirkBairn wrote
    NP: ¿Quién Puede Matar A Un Niño? - Waldo de Los Ríos

    aka Would You Kill a Child?, de los Ríos' score is full of dissonance and avant-garde influences save for a melody for one of the main characters.


    But which part did Hans Zimmer compose?

    crazy
    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
    •  
      CommentAuthorSteven
    • CommentTimeOct 22nd 2017
    Return of the Jedi John Williams

    The Empire Strikes Back is arguably the best Star Wars score, but this is probably my favourite. It's very hard to choose between the two. I've always preferred the sequels scores over the first. The first is definitely more camp, more corny, more Korngold (Korny?). But Empire and Jedi are very much their own thing with less of the Errol Flynn and more of the sci-fi; these define what Star Wars sounds like to me.

    Sorry to talk about Star Wars again.
  9. Steven wrote
    Return of the Jedi John Williams

    The Empire Strikes Back is arguably the best Star Wars score, but this is probably my favourite. It's very hard to choose between the two. I've always preferred the sequels scores over the first. The first is definitely more camp, more corny, more Korngold (Korny?). But Empire and Jedi are very much their own thing with less of the Errol Flynn and more of the sci-fi; these define what Star Wars sounds like to me.

    Sorry to talk about Star Wars again.


    Hear! Hear! This one speaketh truth.

    smile Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorMartijn
    • CommentTimeOct 22nd 2017
    Steven wrote
    The first is definitely more camp, more corny, more Korngold (Korny?).


    What? uhm
    Empire and Jedi make more of an effort to create an overall musical universe (which makes sense, when it became clear Lucas could go that way). Star Wars certainly has the musical sense of a classic adventure score (which, again, makes perfect sense as that is exactly what Lucas was aiming for), but camp? Corny?

    I don't even know where to start!
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  10. Maybe he meant that in the sense of "epigonal" as opposed to "original"?
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorMartijn
    • CommentTimeOct 22nd 2017
    Epigonal? How many corners is that?
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeOct 22nd 2017
    Martijn wrote
    Steven wrote
    The first is definitely more camp, more corny, more Korngold (Korny?).


    What? uhm
    Empire and Jedi make more of an effort to create an overall musical universe (which makes sense, when it became clear Lucas could go that way). Star Wars certainly has the musical sense of a classic adventure score (which, again, makes perfect sense as that is exactly what Lucas was aiming for), but camp? Corny?

    I don't even know where to start!


    Yes. Camp. There's camp in all of them I suppose, but the Imperial theme has no match for campness as far as the other scores are concerned. It's not a bad thing, I just prefer the more serious tone of Empire and (parts of) Jedi.

    The first film is just such a different film to its sequels, so Williams responds accordingly. (I'm not the biggest fan of the first film, but the second is as about as good as it gets.)
    • CommentAuthorjb1234
    • CommentTimeOct 22nd 2017
    Music from the Edge - John Corigliano

    This is marvelous music. Shore's effort was solid but Corigliano outmatches him in pretty much every way. The suspense and action music sounds a lot like the composer's concert work (and is excellent) but it's the beautiful use of the main theme that sticks with me, especially in the closing cue. I'll come back to this score often.
  11. NP: Shock Waves - Richard Einhorn

    This is quite an abrasive score. Some of the synth choices are on the verge of ear-splitting. Overall, quite an unpleasant soundtrack.
    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
  12. NP: Exorcist II: The Heretic - Ennio Morricone

    "Regan's Theme" is a typically lovely theme from the composer. But the rest of the album seems to be a confused mix of ideas: perhaps reflecting the movie?
    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
  13. NP: Halloween - John Carpenter

    Less is definitely more here. What's to say except that it's a great example of its type. This is the 20th Anniversary Edition so it's spoilt somewhat by the inclusion of dialogue and effects.
    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
  14. NP: Halloween III: Season of the Witch - John Carpenter & Alan Howarth

    There's something about this particular Halloween score that makes it stand out as one of the best of Carpenter's work. Some great 'action' scoring as well as more emotionally charged pieces too.
    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
    •  
      CommentAuthorMartijn
    • CommentTimeOct 23rd 2017
    Steven wrote

    Yes. Camp. There's camp in all of them I suppose


    Brother, I neither see nor hear it: to be honest that qualification confuses the hell out of me when used with regards to Star Wars.
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  15. I'm with Martijn on this one, camp? Corny? I just don't see it!
  16. It's a juvenile, cocky, hilarious adventure story, expertly compiled from various sources. So is the music. While the models (Korngold, Stravinsky, Wagner) are obvious, that doesn't diminish the utter quality of the composition. In contrast to Steven I am a big fan of film and score. But I agree, that with the sequel scores Williams comes into his own. The first one was the big nod towards the old masters.

    Volker
    Bach's music is vibrant and inspired.