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- CommentAuthorDreamTheater
- CommentTimeAug 25th 2017 edited
Aidabaida wrote
christopher wrote
KARATE KID - James Horner
Wow. I had forgotten how good the second half of "From Master to Student to Master" is. What a cue! I'm enjoying this score more this time than I ever have, I think. And I already thought it was pretty good.
This score has my favorite Horner moment ever. It comes at 1:54 in "I Want to Go Home"
Have you never heard his 80s and 90s scores???"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. -
- CommentAuthorDavid OC
- CommentTimeAug 25th 2017
christopher wrote
Demetris wrote
David OC wrote
Ostwind - Annette Focks
I've become a massive fan of her very classy compositional style lately. And though I've loved everything I've heard of hers to date, this one is admittedly a little dull. It's melodic, certainly, but meanders a lot. Its also 'samey' sounding, a fact that's further hindered by the too excessive run time. I actually didn't quite make it to the end.
My oh my, love this.
I like this score as well. It could be trimmed down, but even without that it's probably my second favorite score from Focks.
What would you put ahead of it Christopher?
So far, I'm especially in love with her animated score The Trip to Panama, and tv score Romy. -
- CommentAuthorCaptain Future
- CommentTimeAug 25th 2017
NP: The Tudors Vol. 4 (2010) - Trevor Morris
Morris's music got ever better during this show. The concluding 5 cues on this final CD are just mesmerizing.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorDavid OC
- CommentTimeAug 25th 2017
Brian Keane - Andy Warhol: A Documentary Film
Very entertaining with every cue fully fleshed to a decent length. Hardly anything under 3 minutes, which gives each composition room to breathe. That being said, though the overall album may be too long but Keane certainly covers quite a few styles. -
- CommentAuthorDemetris
- CommentTimeAug 25th 2017
Aidabaida wrote
christopher wrote
KARATE KID - James Horner
Wow. I had forgotten how good the second half of "From Master to Student to Master" is. What a cue! I'm enjoying this score more this time than I ever have, I think. And I already thought it was pretty good.
This score has my favorite Horner moment ever. It comes at 1:54 in "I Want to Go Home"
Love it too. So melodic. silly movies though
Love Maintitles. It's full of Wanders. -
- CommentAuthorAidabaida
- CommentTimeAug 25th 2017
DreamTheater wrote
Have you never heard his 80s and 90s scores???
Of course. But nothing compares to the wash of strings in that cue.Bach's music is heartless and robotic. -
- CommentAuthorAidabaida
- CommentTimeAug 25th 2017 edited
christopher wrote
That's a lovely moment. I'm curious though as to how it became your favorite Horner moment ever. It's nice, but I can think of so many moments I would put ahead of that one.
It's exclusively a string section, and he uses every instrument, cellos, basses, violins, violas, to its ultimate capacity. There's so much counterpoint and interesting harmonics. It's very conflicted emotionally. I don't know exactly, it's just always felt mysterious, like autumn. Just love it.Bach's music is heartless and robotic. -
- CommentAuthorCaptain Future
- CommentTimeAug 25th 2017 edited
I believe it is often impossible to explain, why a certain moment in music clicks with you. Sure, there are cues - say the Force theme by John Williams - that nearly everyone finds uplifting. You can analyse the cue and its context and explain pretty well why that is so. Yet there also are those individual cues, or moments of music, that just touch you and not necessarily anyone else. That aspect of "withdrawal" (for lack of a better word) is part of the magic of music.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorAidabaida
- CommentTimeAug 25th 2017
Captain Future wrote
I believe it is often impossible to explain, why a certain moment in music clicks with you. Sure, there are cues - say the Force theme by John Williams - that nearly everyone finds uplifting. You can analyse the cue and its context and explain pretty well why that is so. Yet there also are those individual cues, or moments of music, that just touch you and not necessarily anyone else. That aspect of "withdrawal" (for lack of a better word) is part of the magic of music.
Volker
agreed! Same thing with all art. Certain writers (Steven Moffat... Trenton Lee Stewart... ) specifically seem to resonate with me and not many other people.Bach's music is heartless and robotic. -
- CommentAuthorchristopher
- CommentTimeAug 25th 2017
Oh, I agree about certain moments just resonating with you. I like your explanation, Aidabaida. I went back and listened again with that in mind (I don't think it's all strings - there are some french horns in there, unless I'm mistaken), but you're right, there is some awesome stuff going on right there. It is a brilliant little moment. -
- CommentAuthorchristopher
- CommentTimeAug 25th 2017
David OC wrote
christopher wrote
Demetris wrote
David OC wrote
Ostwind - Annette Focks
I've become a massive fan of her very classy compositional style lately. And though I've loved everything I've heard of hers to date, this one is admittedly a little dull. It's melodic, certainly, but meanders a lot. Its also 'samey' sounding, a fact that's further hindered by the too excessive run time. I actually didn't quite make it to the end.
My oh my, love this.
I like this score as well. It could be trimmed down, but even without that it's probably my second favorite score from Focks.
What would you put ahead of it Christopher?
So far, I'm especially in love with her animated score The Trip to Panama, and tv score Romy.
I haven't heard either of those! I'll have to check them out. I think her strongest album (for me at least) is ALLES IST LIEBE. It doesn't have the thematic high points that OSTWIND has, but it does have a lovely, if simply, main theme and a stronger presentation all around, in my opinion. That may be in part due to a shorter running time. -
- CommentAuthorAidabaida
- CommentTimeAug 25th 2017
christopher wrote
Oh, I agree about certain moments just resonating with you. I like your explanation, Aidabaida. I went back and listened again with that in mind (I don't think it's all strings - there are some french horns in there, unless I'm mistaken), but you're right, there is some awesome stuff going on right there. It is a brilliant little moment.
it sounds to me as if Horner wrote it in a few minutes. It's so fluid and natural, as if it just poured from his pen. did he orchestrate his own stuff?Bach's music is heartless and robotic. -
- CommentAuthorchristopher
- CommentTimeAug 25th 2017
J.A.C. Redford orchestrated that score. He frequently orchestrated Horner's scores, starting with DEEP IMPACT and ending with THE AMAZING SPIDER MAN. Redford has also frequently orchestrated for Thomas Newman. Some composers lean on their orchestrators more than others. Some play a tune on the piano and hand it off. Some weigh in a lot more on what parts should be play by which instruments. I'm guess Horner and T. Newman are/were a lot more hands on with orchestrations, since they both have a very identifiable sound regardless of who is orchestrating. -
- CommentAuthorchristopher
- CommentTimeAug 25th 2017 edited
NP - BUSHWICK - Aesop Rock
This is a lot of synth. It's also some of the most unremittingly awful music I've ever heard. I've skipped most tracks after not being able to stand them anymore. Thor, you should check it out
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- CommentAuthorSouthall
- CommentTimeAug 25th 2017
Annabelle Creation Benjamin Wallfisch
Frequently very unpleasant and barely listenable. -
- CommentAuthorDemetris
- CommentTimeAug 25th 2017
Southall wrote
Annabelle Creation Benjamin Wallfisch
Frequently very unpleasant and barely listenable.
I am wondering why do they even release these scores.they mostly don't need releases at all.Love Maintitles. It's full of Wanders. -
- CommentAuthorTimmer
- CommentTimeAug 26th 2017
On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorPawelStroinski
- CommentTimeAug 26th 2017
christopher wrote
J.A.C. Redford orchestrated that score. He frequently orchestrated Horner's scores, starting with DEEP IMPACT and ending with THE AMAZING SPIDER MAN. Redford has also frequently orchestrated for Thomas Newman. Some composers lean on their orchestrators more than others. Some play a tune on the piano and hand it off. Some weigh in a lot more on what parts should be play by which instruments. I'm guess Horner and T. Newman are/were a lot more hands on with orchestrations, since they both have a very identifiable sound regardless of who is orchestrating.
Actually, ironically, I might have a feeling that the moment Aidabaida is talking about sounds a bit Thomas Newman. But since the score it reminds me of is Red Corner, I think that's the kind of Chinese sound they were both going for.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorCaptain Future
- CommentTimeAug 26th 2017 edited
NP: The Lord of the Rings (1978) - Leonard Rosenman
Rosenman isn't for everyone. I have only three of his scores in my collection. To appreciate his LOR score, you have to consider the film it was made for. You especially have to separate this endeavour from everything related to the Jackson / Shore project which is different in just every aspect.
This is a complex, avant-garde composition that isn't always easy to listen to. I think it works exceedingly well in context and it is a rewarding listening experience if you give it its due attention.
What I am listening to is the 1991/2001 copyrighted Fantasy/Universal CD. Although is is marked as AAD, I believe it is a remaster as opposed to the Intrada release that featured the LP master.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorTimmer
- CommentTimeAug 26th 2017
It's a fantastic score which I bought when released as a double lp. The main title is wonderful and uplifting even though it sounds like it was written for a war movie. And Helm's Deep.....WOW! What a track.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSteven
- CommentTimeAug 26th 2017
Troy James Horner
'The Trojans Attack' is one hell of a track. -
- CommentAuthorSouthall
- CommentTimeAug 26th 2017
The Touch Basil Poledouris
Excellent. Or, as th -
- CommentAuthorTimmer
- CommentTimeAug 27th 2017
Southall wrote
The Touch Basil Poledouris
Excellent. Or, as th
Excellent call.
NP : THE TOUCH - Basil Poledouris
A fine score indeed.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorThor
- CommentTimeAug 27th 2017
NP: PROMISED LAND (Danny Elfman)
Beautiful post-minimalism -- as so many of his drama scores since 2005.I am extremely serious. -
- CommentAuthorEdmund Meinerts
- CommentTimeAug 27th 2017 edited
Aidabaida wrote
christopher wrote
That's a lovely moment. I'm curious though as to how it became your favorite Horner moment ever. It's nice, but I can think of so many moments I would put ahead of that one.
It's exclusively a string section, and he uses every instrument, cellos, basses, violins, violas, to its ultimate capacity. There's so much counterpoint and interesting harmonics. It's very conflicted emotionally. I don't know exactly, it's just always felt mysterious, like autumn. Just love it.
Thank you for pointing that moment out as it had somehow always passed me by without paying attention to just how gorgeous it is. I love how it's both identifiably Horner, and also identifiably Chinese-sounding because of the pentatonic melody (and probably some parallel fifths thrown into the harmony, but I'd have to analyze it more closely to figure that out).
Another moment that I love for similar reasons is from Marianelli's Kubo, at 0:52 or so of the cue "Ancestors" (but it really takes off at 1:16). Not quite as incredible as your Horner moment though as it does sort of tail off at the end. But something about that vaguely Oriental harmonic writing married with lush Western symphonic orchestrations really gets to me. -
- CommentAuthorAidabaida
- CommentTimeAug 27th 2017
Edmund Meinerts wrote
Thank you for pointing that moment out as it had somehow always passed me by without paying attention to just how gorgeous it is. I love how it's both identifiably Horner, and also identifiably Chinese-sounding because of the pentatonic melody (and probably some parallel fifths thrown into the harmony, but I'd have to analyze it more closely to figure that out).
Another moment that I love for similar reasons is from Marianelli's Kubo, at 0:52 or so of the cue "Ancestors" (but it really takes off at 1:16). Not quite as incredible as your Horner moment though as it does sort of tail off at the end. But something about that vaguely Oriental harmonic writing married with lush Western symphonic orchestrations really gets to me.
Nice piece. I really like it when western composers incorporate other styles/scales. (Another example: Mummy Returns...)Bach's music is heartless and robotic. -
- CommentAuthorCaptain Future
- CommentTimeAug 28th 2017 edited
NP: Alfred Schnittge Film Music Edition 1 of 4
Rundfunk Sinfonieorchester Berlin, conducted by Frank Strobel. On Carpriccio.
This is absolutely gorgeous music. This CD edition got the German Record Critics' Award 2005 and 2006.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorSouthall
- CommentTimeAug 28th 2017
Starship Troopers BasilP
Wow! Magnificent. One of the last real big, orchestral action scores which has a bag full of memorable themes? -
- CommentAuthorJohn Chambers
- CommentTimeAug 28th 2017
Yep, I just listened to this again last week as well, film music just doesn't get any better! -
- CommentAuthorCaptain Future
- CommentTimeAug 28th 2017
NP: The Living Daylights (1998) - John Barry; A-Ha
Exercise at Gibraltar and Hercules Takes Off are among the Bondiest Bond cues ever!
VolkerBach's music is vibrant and inspired.