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      CommentAuthorAidabaida
    • CommentTimeApr 9th 2018 edited
    Edmund Meinerts wrote
    Aidabaida wrote
    One might make a compilation of the "action music" of Giacchino, Silvestri, and Tyler, and I don't think there would be any telling them apart.

    Any halfway seasoned film music fan ought to have no problem telling them apart.


    I'd agree with you that they do have different styles than could conceivably be separated, but that would require using the word style in conjunction with the name of Brian Tyler.
    Bach's music is heartless and robotic.
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      CommentAuthorThor
    • CommentTimeApr 9th 2018 edited
    Captain Future wrote
    Oh, oh, oh, no love for Korngold, Davis, Goldenthal and Giacchino. Our boats swim in different waters. smile


    Putting that last name in such esteemed company is an offense to Humankind.
    I am extremely serious.
  1. Aidabaida wrote
    Edmund Meinerts wrote
    Aidabaida wrote
    One might make a compilation of the "action music" of Giacchino, Silvestri, and Tyler, and I don't think there would be any telling them apart.

    Any halfway seasoned film music fan ought to have no problem telling them apart.


    I'd agree with you that they do have different styles than could conceivably be separated, but that would require using the word style in conjunction with the name of Brian Tyler.

    Tyler absolutely has a style. (Then again, I'm the guy who can discern reasonably distinct stylistic voices in the scores of people like Djawadi or Balfe or Jackman, so perhaps I'm the wrong person to be debating this with)
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      CommentAuthorAidabaida
    • CommentTimeApr 9th 2018
    Thor wrote
    Captain Future wrote
    Oh, oh, oh, no love for Korngold, Davis, Goldenthal and Giacchino. Our boats swim in different waters. smile


    Putting that last name in such esteemed company is an offense to Humankind.


    this thread is a national treasure
    Bach's music is heartless and robotic.
  2. A Belgium treasure? wink
    Bach's music is vibrant and inspired.
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      CommentAuthorAidabaida
    • CommentTimeApr 9th 2018 edited
    Edmund Meinerts wrote
    Tyler absolutely has a style. (Then again, I'm the guy who can discern reasonably distinct stylistic voices in the scores of people like Djawadi or Balfe or Jackman, so perhaps I'm the wrong person to be debating this with.




    To be fair, you have to have a very high IQ to understand Brian Tyler's music. The composition is extremely subtle, and without a solid grasp of music theory most of the references will go over a typical listener's head. There’s also Tyler's romantic outlook, which is deftly woven into his compositions - his personal philosophy draws heavily from Narodnaya Volya literature, for instance. The fans understand this stuff; they have the intellectual capacity to truly appreciate the depths of these references, to realise that they’re not just beautiful - they say something deep about LIFE. As a consequence people who dislike Brian Tyler truly ARE idiots- of course they wouldn’t appreciate, for instance, the beauty in Brian's trademark power anthem which itself is a cryptic reference to Hans Zimmer's Crimson Tide. I’m smirking right now just imagining one of those addlepated simpletons scratching their heads in confusion as Brian Tyler's genius wit unfolds itself on their spotify accounts. What fools.. how I pity them.



    (I wonder how many people on maintitles are gonna get this one)
    Bach's music is heartless and robotic.
  3. Is there an ignore function here Bregt?
    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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      CommentAuthorAidabaida
    • CommentTimeApr 9th 2018
    FalkirkBairn wrote
    Is there an ignore function here Bregt?


    biggrin
    Bach's music is heartless and robotic.
  4. NP: Pat Garrett & Billy the Kid (1973) - Bob Dylan

    I love. love, love this film despite all its flaws. (Big fan of Peckinpah in general.) Naturally I adore this score.

    Volker
    Bach's music is vibrant and inspired.
  5. NP: The Long Riders (1980) - Ry Cooder

    Great film too and a fine score by Cooder. Lots of traditional stuff that he does great work with. His main theme is a killer.
    Bach's music is vibrant and inspired.
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      CommentAuthorSouthall
    • CommentTimeApr 9th 2018
    Thor wrote
    No doubt Karl Jenkins pioneered that sound (later modulated by the likes of Era, Enigma and so on), but there's no way in Hell they would have used that approach for the scene unless Horner popularized it for AVATAR.

    By the way, a shame it was never used again in the film, because I love that track.


    Some of the action music later in the score sounds like it was probably temped with Avatar. And Silvestri has worked with Cameron before. Hmm, wonder if he’s picked a composer for the Avatar sequels yet.
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      CommentAuthorSteven
    • CommentTimeApr 9th 2018
    Southall wrote
    Thor wrote
    No doubt Karl Jenkins pioneered that sound (later modulated by the likes of Era, Enigma and so on), but there's no way in Hell they would have used that approach for the scene unless Horner popularized it for AVATAR.

    By the way, a shame it was never used again in the film, because I love that track.


    Some of the action music later in the score sounds like it was probably temped with Avatar. And Silvestri has worked with Cameron before. Hmm, wonder if he’s picked a composer for the Avatar sequels yet.


    I don't think he'll ever actually make them, just keep on planning more. But yes, this world be fantastic.
  6. Aidabaida wrote
    PawelStroinski wrote

    Still, even if it was the way you described (which I disagree with), dissonance is not it defining characteristics. It utilizes dissonance, but is not dissonant that much. It's not atonal either, for sure, but it's not as dissonant as parts of, I don't know, Zimmer's Peacemaker or Gladiator's The Battle. It's fairly tame for my standards of "dissonant action", which I agree, in modern athematic scores makes the music meander even more. It's fairly melodic and harmonious.


    I'm actually a big fan of Zimmer's "The Battle", primarily because, although dissonant, it tries something in the waltz quite original, at least as far as film scores go. I can tolerate dissonance for the sake of something clearly ingenious, which is to say I don't think any tools are off limits to a composer. But when music is not just unpleasant to listen to but also anonymous, almost identical to the action music of any other major Hollywood composer, I question what one could find enjoyable. I suppose, enjoyment of frenetic mickey-mouse music may be subjective, but I don't think it's a matter of opinion that it is really just doing the same thing as almost every orchestral action track of the last 20 years. One might make a compilation of the "action music" of Giacchino, Silvestri, and Tyler, and I don't think there would be any telling them apart.


    So am I and the dissonance in The Battle is a testament to the primal brutality of the scene itself. But what I mean is that's what I'd call dissonant (as that doesn't imply non-thematic!) action as opposed to Silvestri's RP1. Same could be even said for Jurassic Park's action music, as that film even plays on disaster/horror tropes sometimes, but still, there I'd make sense. Themes actually can be dissonant in and of themselves.
    http://www.filmmusic.pl - Polish Film Music Review Website
  7. Southall wrote
    Thor wrote
    No doubt Karl Jenkins pioneered that sound (later modulated by the likes of Era, Enigma and so on), but there's no way in Hell they would have used that approach for the scene unless Horner popularized it for AVATAR.

    By the way, a shame it was never used again in the film, because I love that track.


    Some of the action music later in the score sounds like it was probably temped with Avatar. And Silvestri has worked with Cameron before. Hmm, wonder if he’s picked a composer for the Avatar sequels yet.


    There is a fine Adiemus reference in the cue "Stone Language" in Klaus Badelt's Time Machine. It borders on plagiarism though.
    Bach's music is vibrant and inspired.
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      CommentAuthorAidabaida
    • CommentTimeApr 9th 2018 edited
    PawelStroinski wrote
    So am I and the dissonance in The Battle is a testament to the primal brutality of the scene itself. But what I mean is that's what I'd call dissonant (as that doesn't imply non-thematic!) action as opposed to Silvestri's RP1. Same could be even said for Jurassic Park's action music, as that film even plays on disaster/horror tropes sometimes, but still, there I'd make sense. Themes actually can be dissonant in and of themselves.


    I don't disagree with any of your points here. What I find so off-putting about Silvestri's action music (and the action music in most other blockbusters) is not so much its dissonance (which I might be able to respect even if I don't want to listen to it) so much as its anonymous nature. The fact that it involves frenetic dissonance makes it even more unpleasant, but if it was at least doing something different than most pieces of action music, I could forgive that. "The Battle" might be unpleasant or brash, but you can't claim it's anonymous or in-distinctive.

    I would say I have a subjective distaste for frenetic mickey-mousing; I don't enjoy it, others might. But pointing out how common and generic it is, how little it differs from dozens of other scores, is I think a more objective category of criticism, and one I haven't really seen addressed.
    Bach's music is heartless and robotic.
    • CommentAuthorjb1234
    • CommentTimeApr 10th 2018
    I think Silvestri's action music has increasingly homogenized over the years. I went back to Back to the Future the other day and was greatly impressed by the clocktower cue, which had all the freshness I've felt has been missing from the composer's music for ages now.

    (But I can only blame the composer so far. Much like Goldsmith did in the 90s, he's only adapting to the changes in how modern films are being scored. It's actually somewhat remarkable that he's managed to remain marketable.)
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      CommentAuthorAidabaida
    • CommentTimeApr 10th 2018
    jb1234 wrote
    I think Silvestri's action music has increasingly homogenized over the years. I went back to Back to the Future the other day and was greatly impressed by the clocktower cue, which had all the freshness I've felt has been missing from the composer's music for ages now.

    (But I can only blame the composer so far. Much like Goldsmith did in the 90s, he's only adapting to the changes in how modern films are being scored. It's actually somewhat remarkable that he's managed to remain marketable.)


    yeah, that's well put.
    Bach's music is heartless and robotic.
  8. NP: Game Night - Cliff Martinez

    An entertaining synth album but leaving me rather cold as a film score: it's not generating much of an emotional response other than "that's a cool-sounding track", "that's another cool-sounding track", etc.
    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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      CommentAuthorAidabaida
    • CommentTimeApr 10th 2018 edited
    Black Panther

    The more I listen to this score the more I like it. "Waterfall Fight" is exactly the kind of action music I'm looking for in a movie like this.
    Bach's music is heartless and robotic.
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      CommentAuthorThor
    • CommentTimeApr 10th 2018 edited
    FalkirkBairn wrote
    NP: Game Night - Cliff Martinez

    An entertaining synth album but leaving me rather cold as a film score: it's not generating much of an emotional response other than "that's a cool-sounding track", "that's another cool-sounding track", etc.


    I actually agree with you. The album is good enough to be imported into my iTunes collection (as do most Martinez), but when people draw links to THE NEON DEMON, I find that rather offensive on TND's behalf. This is nowhere near that; it's mostly just a lot of unfulfilled ideas, tentative grooves and so on that rarely settle into much.

    Incidentally, the same can be said of LOVE, SIMON by another favourite of mine, Rob Simonsen. Fine album, but again with tentative ideas -- and again I don't think the link to the masterful NERVE is warranted, an "offense" on NERVE's behalf.
    I am extremely serious.
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      CommentAuthorLSH
    • CommentTimeApr 10th 2018
    NP: THE HURRICANE - CHRISTOPHER YOUNG

    Haven’t given this a spin in yonks. But Lordy Lord, this is just gorgeous. shocked
  9. Aidabaida wrote
    To be fair, you have to have a very high IQ to understand Brian Tyler's music. The composition is extremely subtle, and without a solid grasp of music theory most of the references will go over a typical listener's head. There’s also Tyler's romantic outlook, which is deftly woven into his compositions - his personal philosophy draws heavily from Narodnaya Volya literature, for instance. The fans understand this stuff; they have the intellectual capacity to truly appreciate the depths of these references, to realise that they’re not just beautiful - they say something deep about LIFE. As a consequence people who dislike Brian Tyler truly ARE idiots- of course they wouldn’t appreciate, for instance, the beauty in Brian's trademark power anthem which itself is a cryptic reference to Hans Zimmer's Crimson Tide. I’m smirking right now just imagining one of those addlepated simpletons scratching their heads in confusion as Brian Tyler's genius wit unfolds itself on their spotify accounts. What fools.. how I pity them.


    biggrin
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      CommentAuthorAidabaida
    • CommentTimeApr 10th 2018
    I knew someone would get it.
    Bach's music is heartless and robotic.
  10. Shame about the End Credits cue from Ready Player One. I understand there's not always time to write a dedicated suite for the end titles but if it's going to be a copy/paste job, what's the point of putting it on the album? Could have fit onto one CD if not for that.
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      CommentAuthorErik Woods
    • CommentTimeApr 11th 2018
    Edmund Meinerts wrote
    Shame about the End Credits cue from Ready Player One. I understand there's not always time to write a dedicated suite for the end titles but if it's going to be a copy/paste job, what's the point of putting it on the album? Could have fit onto one CD if not for that.


    Silvestri has been doing this for a very long time. Usually he’ll write a fresh cue for the main end credits and then edit together a suite of existing cues for the end title roll. And he’s very, VERY good at it. The edits have a wonderful musical flow.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  11. Erik Woods wrote
    Silvestri has been doing this for a very long time. Usually he’ll write a fresh cue for the main end credits and then edit together a suite of existing cues for the end title roll. And he’s very, VERY good at it. The edits have a wonderful musical flow.
    -Erik-


    Yeah, I wish all scores without dedicated credits suites would do this....I don't always have time to listen to full scores and a 5-10 minute highlight suite created by someone who knows what they're doing is often the perfect way to sample a score. They're also great for homemade compilations!
  12. I guess that's fair enough. Although why would you edit out the Godzilla quote from "Looking for a Truck"? punk
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      CommentAuthorErik Woods
    • CommentTimeApr 11th 2018
    If he had kept it in the music would have been to long for the credit roll.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
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      CommentAuthorSouthall
    • CommentTimeApr 12th 2018
    Tomb Raider: Cradle of Life Alan Silvestri

    Have been going through a few of his scores. This one is a mixed bag but when it's good it's incredibly good ("Pandora's Box" - wow).
  13. Rampage - Andrew Lockington

    I have a soft spot for Lockington but this is the most distressingly generic, wallpapery action music I've ever heard from him. It's missing the melodic heart of the Journey scores and it's not even as pleasantly propulsive as was San Andreas. Still, there are a few worthwhile cues that incorporate some light melancholic choir... "Cornfield", "Requiem" and "Saved." The "Rampage" suite at the end is decent too. But overall, I was disappointed.