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  1. Daniel Pemberton - Birds of Prey

    OK, this one is a tad too weird for my taste (at least incoherent), but this guy is quite something, I have to say. One of the most exciting new names, alongside Nicholas Britell (and yes, I do like Britell quite a lot).
    http://www.filmmusic.pl - Polish Film Music Review Website
  2. Nick Glennie-Smith, Hans Zimmer & Harry Gregson-Williams - The Rock

    In honor of Sean Connery as this was my starting point into my love of film and the music for film. Not the seminal performance of his career by any means, however probably his best on the 1990s on this side of The Hunt for Red October.
    http://www.filmmusic.pl - Polish Film Music Review Website
  3. Also:

    Jerry Goldsmith - Medicine Man

    That film I haven't seen biggrin . Is it really so bad?
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeNov 3rd 2020
    No, it’s OK.
    I am extremely serious.
    • CommentAuthorJoep
    • CommentTimeNov 3rd 2020
    Loek Dikker - Wolfsbergen

    It´s very diferent from most of his music. Very subdued, minimal and short.
  4. PawelStroinski wrote
    Also:

    Jerry Goldsmith - Medicine Man

    That film I haven't seen biggrin . Is it really so bad?


    Yeah, OK movie, and the music makes it much better too
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  5. Austin Wintory - The Pathless

    The only drawback of the score is its 100 minute runtime, but boy it's some REALLY great writing.
    http://www.filmmusic.pl - Polish Film Music Review Website
  6. Hans Zimmer - Interstellar

    The new fuller edition, which features the original suites previously available only on a special 2 CD edition. I have heard the suites earlier, I have to say, and they are some of Hans' most exquisite writing, to the point of me considering getting this one on CD (now via Spotify).

    The score has a special place in my heart, I have to admit. Knowing it would be so, I decided to write my review of the score for my Polish site before it "got to me" so much. Part of it was the fact that I thought that objectively speaking, Grand Budapest Hotel was the best score of the year and I was very happy for the Oscar, which was given to a world-building score. This, however, feels to me like an extension of the philosophical thinking behind The Thin Red Line, if with a more melodramatic scale. And just like that score, Interstellar comes both from a very personal place and a very intellectual one. Which is one of the many connections the film (this time via musical approach) has with Terrence Malick.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeNov 13th 2020
    The score is absolutely amazing - a modern masterpiece. But I'm content with my OST ('trademark phrase').
    I am extremely serious.
  7. If you do streaming at all, do take a listen to the suites, on the Expanded Edition they're tracks 25-29.

    Some of this material does beat what's in the film, really. If they put an album of them alone, I'd buy in an instant.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSteven
    • CommentTimeNov 13th 2020
    PawelStroinski wrote
    Hans Zimmer - Interstellar

    The new fuller edition, which features the original suites previously available only on a special 2 CD edition. I have heard the suites earlier, I have to say, and they are some of Hans' most exquisite writing, to the point of me considering getting this one on CD (now via Spotify).

    The score has a special place in my heart, I have to admit. Knowing it would be so, I decided to write my review of the score for my Polish site before it "got to me" so much. Part of it was the fact that I thought that objectively speaking, Grand Budapest Hotel was the best score of the year and I was very happy for the Oscar, which was given to a world-building score. This, however, feels to me like an extension of the philosophical thinking behind The Thin Red Line, if with a more melodramatic scale. And just like that score, Interstellar comes both from a very personal place and a very intellectual one. Which is one of the many connections the film (this time via musical approach) has with Terrence Malick.


    If there's a better Zimmer score, I've yet to hear it. This is Zimmer at his best, the thing that sets him apart. It's the kind of score you can't imagine anyone else doing anything better.
  8. I had pre-ordered the 2CD expanded Interstellar score as my "soundtrack of the month" to give it another go (as I didn't like the movie (too stressful), so never bought the original soundtrack) and it came in the mail yesterday! I'm looking forward to listening, enjoying, and appreciating it hopefully as much as everyone else does! biggrin
  9. Let us know what you think! For me it's as good as it gets as being the spiritual sequel to The Thin Red Line (while not necessarily always a musical one). I think one cannot underestimate the Malick impact on the film, from early visuals to even casting choices.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeNov 15th 2020
    PawelStroinski wrote
    If you do streaming at all, do take a listen to the suites, on the Expanded Edition they're tracks 25-29.


    Yes, you mentioned that in our meeting yesterday too. I'll check them out.
    I am extremely serious.
  10. Tenet: Ludwig Goransson

    Pfff, this is not for me. People are comparing this to Inception, but this is more Dunkirk than anything else. I found myself getting agitated just by listening to it, I wonder if it would hurt me from enjoying the film (which I haven't seen yet, no surprise there considering this Covid madness). Inception at least had a thundering sense of OMG, mostly when Nolan's visuals and Zimmer's thundering score kept blowing you away. But this OMG feeling is completely gone here. Absolutely disliked it, and I hope it doesn't ruin me from enjoying the film too.

    Mulan: Harry Gregson-Williams

    Saw the film first, then listened to the score. My impression in the film was at first... positive. But now I feel the same of the film as of the score. It's so .... bland. I mean even when the Reflections theme keeps popping up, it does literally nothing to me. This is such a beautiful emotional theme and it's just devoid of every bit of emotion that Goldsmith put into it. Even the action music is basically Prince of Persia, but then weaker. I must be getting old but these are blockbuster scores, and they hardly made an impression whatsoever.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorThor
    • CommentTimeNov 19th 2020
    Both of those are 'duds'. Sorry you had to sit through them.
    I am extremely serious.
  11. I’ve been exploring Interstellar and now I understand what all the hype has been about - it’s simply stunning! The more I listen, the more I love. There are a few tracks that have the high pitched ambient background sound that I can’t stand and which turned me off of it the first time. I think that sound must remind me of a mosquito buzzing in my ear or the ringing my head makes before I’m about to faint, and both of those experiences bring up a strong reaction/emotion of fear - so that’s why I hate when that sound appears in the music, because it puts me on high alert, and all I can focus on is that single irritating sound. It appears most prominently in "Dreaming of the Crash", “Coward", “Detach", "Atmospheric Entry" and others, so I might skip those from now on.

    However, I’m so glad I bought the expanded edition because I think the really fantastic stuff appears on disc two. I was really wowed by "No Time for Caution", the percussion, strings and organ are such an interesting mix there, and I just love them together. And then the following 2 tracks after are just gorgeous: "What Happens Now?", "Who’s They?, then wow, pow, “Murph” happens that blows you away, and "Tick-Tock” is just a dream - intense and gentle at the same time. Those two tracks are definitely the highlights for me - some of Hans’ best work ever I might even say. It’s just dramatic, moving, luscious, uplifting, classical, operatic, modern - all the things! I may just start on disc two from now. The organ-heavy pieces are definitely my favorite.

    Apart from the high-pitched sound I mentioned on several tracks, the music is incredibly relaxing, which I never knew, since I only sampled previously and heard said pitch so I dismissed the score basically. I think it’s such a brilliant and interesting choice to use the pipe organ so prominently, envisioning the mix of an old stone church somewhere and a warm wood and metal pipe organ - something organic, yet cold, cozy and empty - which makes so much sense when (from my memory) the film is about loss, and also about the love of family - the pipe organ really is those two things in music form. I’ve listened through twice, but will be coming back for sure.
  12. I'm glad you loved it and particularly I am happy you love Murph (which I do think is a huge highlight of Hans Zimmer's whole oeuvre).

    It was actually recorded in a church. I need to find the English version of my academic paper on the score.
    http://www.filmmusic.pl - Polish Film Music Review Website
  13. I'm no huge fan of Interstellar (both the film and the music), but I couldn't believe my eyes when I discovered no Time for Caution (the only track that blew me away in the film) was not even on the original CD. Sometimes I just don't understand how that's possible in this day and age.

    Anyway, I will check out this expanded treatment later.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  14. Thor wrote
    Both of those are 'duds'. Sorry you had to sit through them.


    The cruelty of being an member of the IFMCA, we need to listen through the duds to get to the really good scores wink
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
  15. I'm actually really surprised you don't like Tenet, Thor. Strikes me as your kind of thing. Too noisy I guess?

    Agree about Mulan. What a disappointment, I really had hopes for that one considering HGW's past successes with big historical films. It sounds so thin. sad
    •  
      CommentAuthorThor
    • CommentTimeNov 21st 2020 edited
    Yes, too noisy. And no character. I only liked one cue -- the one for the sailboat sequence.
    I am extremely serious.
  16. Thomas Glorieux wrote
    I'm no huge fan of Interstellar (both the film and the music), but I couldn't believe my eyes when I discovered no Time for Caution (the only track that blew me away in the film) was not even on the original CD. Sometimes I just don't understand how that's possible in this day and age.

    Anyway, I will check out this expanded treatment later.


    The cue as heard in film doesn't exist as a separate cue/file. Probably they mixed and mingled several cues into one in post-production. Many people were angered by how the cue as eventually (after high controversy) released on the expanded edition is not the film version.

    Probably it's either an early demo or a hasty attempt at reproducing it.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorJoep
    • CommentTime7 days ago
    Alberto Iglesias - The Dancer Upstairs. His magnus opus.
  17. Fearless: Anne Kathrin Dern

    Excellent theme, though using it a bit too much. And it would have kicked even more ass if it was full blown orchestral.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh