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  1. How long was it? smile
    http://www.filmmusic.pl - Polish Film Music Review Website
  2. There's the 34 track 'extended edition' that runs to 65 minutes. That's the version that's easiest to find on Amazon and Bandcamp. I haven't seen a shorter regular version.

    Obviously, I don't know what form the promo version takes.
    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
    •  
      CommentAuthorThor
    • CommentTimeSep 9th 2021
    Not sure about running time, but it has 21 tracks.
    I am extremely serious.
  3. FalkirkBairn wrote
    There's the 34 track 'extended edition' that runs to 65 minutes. That's the version that's easiest to find on Amazon and Bandcamp. I haven't seen a shorter regular version.

    Obviously, I don't know what form the promo version takes.


    The shorter version is streaming. Thor listened to that one, so I presume that's the one IFMCA got.
    http://www.filmmusic.pl - Polish Film Music Review Website
  4. Hans Zimmer - The Thin Red Line

    Happy birthday, Hans smile
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeSep 14th 2021
    NP: UNA BREVE STAGIONE (Ennio Morricone)

    The ominous guitar plucking and occasional odd instrumentation notwithstanding, this 1969 Morricone is a fav primarily because of the sweet love theme and the wonderful display of baroque jazz melancholy.
    I am extremely serious.
  5. Battlefield 2042 (Hildur Guðnadóttir and Sam Slater)

    I don't get the love for this female composer, and this ??music?? will not change this.
    Mood, intensity, rawness, it's all good to a certain degree. But if you leave out what makes music interesting or compelling (themes, melodies or even just rhythm or power) all you get is a continuation of the Chernobyl sound

    that slightly musical final track (theme) doesn't change that

    I for one loath it.
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
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      CommentAuthorThor
    • CommentTimeSep 15th 2021 edited
    NP: CONDEMNED (Daniel Davies & Sebastian Robertson)

    Back in 2015, synth/darkwave was riding high and mighty as the next, new thing (it's now more established). This great horror score was part of that, although it's more textural and explorative. Refreshingly free of stingers, and just an envelopping sound world to enter. A definite highlight of 2015.Cody Carpenter, John's son, participates on a couple of tracks -- one of them a jazz number.
    I am extremely serious.
    • CommentAuthorJoep
    • CommentTimeSep 16th 2021
    Kenji Kawai - Avalon

    Heaven.
    •  
      CommentAuthorThor
    • CommentTimeSep 16th 2021 edited
    NP: LA COCINERA DE CASTAMAR (Ivan Palomares)

    Two whole volumes of music from a new Spanish series I'm not familiar with. I hung out a bit with Palomares during a film music festival in Croatia a few years back. Nice fella. This is suave, quasi-classical music that reminds me of the glory days of fellow Spaniards Banos, Velazquez, Navarrate etc. before they got swallowed up by mainstream tropes. Quite impressive.
    I am extremely serious.
  6. Cry Macho (Mark Mancina)

    Clint Eastwood's soundtracks are usually very subdued, minimal use of instruments. But you wish it's ... bigger when you suddenly realize Mark Mancina does another score. Ah well
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorThor
    • CommentTimeSep 16th 2021
    I kinda like it. It's Mancina doing Ry Cooder.
    I am extremely serious.
  7. Thor wrote
    I kinda like it. It's Mancina doing Ry Cooder.


    It's just sad we hear so few of him anyway, like so many "forgotten" composers
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorRalph Kruhm
    • CommentTimeSep 17th 2021 edited
    NP: Dune (Hans Zimmer)

    Magnificent. Truly magnificent. Say what you want about its accessability outside the movie, but it enhances the theatrical experience like it should. We're talking about music for an unimaginably far away era. And it exceeds my expectations in ways that are as incomprehensible as breathtaking. This is not music. This is something else entirely.
  8. Ralph Kruhm wrote
    NP: Dune (Hans Zimmer)

    Magnificent. Truly magnificent. Say what you want about its accessability outside the movie, but it enhances the theatrical experience like it should. We're talking about music for an unimaginably far away era. And it exceeds my expectations in ways that are as incomprehensible as breathtaking. This is not music. This is something else entirely.


    Don't know if I should be looking forward to this or not, based on what you're saying here Ralph?
    Dunkirk was as its movie experience quite the thrill ride itself, but completely uninteresting as a musical experience.

    So somehow I'm thinking this will be the same?
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh
    •  
      CommentAuthorThor
    • CommentTimeSep 17th 2021
    Had my first listen now, and absolutely LOVING it. I'm so relieved that most of the "loudness war" tracks have been weeded out by Zimmer himself, so that it's now a wonderful, exotic, moody, otherworldly concept piece. Just as I had hoped for. Not sure I need that much whittling, after all.
    I am extremely serious.
  9. Thor wrote
    ...it's now a wonderful, exotic, moody, otherworldly concept piece...

    But done in a way that's almost completely devoid of much entertainment. The entertainment factor for this score is the complete and utter over-blown bollocks that's already been spouted about this!

    IMO
    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
    •  
      CommentAuthorThor
    • CommentTimeSep 17th 2021
    Entertainment, schmentertainment. wink
    I am extremely serious.
  10. FalkirkBairn wrote
    Thor wrote
    ...it's now a wonderful, exotic, moody, otherworldly concept piece...

    But done in a way that's almost completely devoid of much entertainment.

    That changes the moment you've seen the movie.

    I wasn't too impressed with the tracks preleased as well as the concept album, but after seeing Dune, it somehow clicks and becomes more comprehensible - and definitely entertaining! - on a certain level.
  11. Ralph Kruhm wrote
    This is not music. This is something else entirely.

    A PR quote worthy of Hans himself! wink
  12. Just finished my own first listen to Dune. For all that we're going to be inevitably inundated with talk of how innovative and different and experimental this score is, it sounds exactly how I would have expected it to based on this particular teamup of composer, director and source material. With the exception of "Leaving Caladan", which weirdly sounds like Broken Arrow.

    It has its moments, but I don't think I'll need to return to more than 20 minutes of this. Though I will check out the Sketchbook at some point to see how that compares.
  13. Hans Zimmer - Dune

    Well, frustratingly enough, and I KNOW that this will be necessary to fully assess the score, the movie doesn't come out here until October 22nd, so my remarks will be based on the music apart from the film. That said, I've had numerous listens to the sketchbook (the whole 100 minutes of it) and am on the fifth full listen to the soundtrack album.

    I can't comment on the narrative, but I can already see that this might be one of Hans' most misunderstood works. I am not necessarily said that understanding the score, mind you, will lead to liking it. This is an acquired taste, which has to take one's opinion on Villeneuve's filmmaking and his musical preferences (which I have a lot of respect for and I think I am on record stating that Arrival was my favorite score of the year it came out in, I also like Prisoners and Sicario a lot; Blade Runner 2049 less so). I also am of the opinion that both albums are too long. I think the sketchbook should be as long as the film soundtrack and the soundtrack would be optimal at 50-55 minutes. It's quite oppressive music. Which leads to what, to me, is the most interesting about the project.

    In a funny way, this score is one of paradox and this is a paradox that is, perhaps, pretty much at the heart of Hans Zimmer's oeuvre in the last 15+ years. I dubbed this late Romantic ambient. There is a certain sprawling, operatic quality to the music which is very interesting considering that this is a huge atmosphere builder. If I was to compare it to Hans' body of work, I'd say it's a return to the Ridley Scott mode of thinking that he hasn't employed to this extent maybe since even they stopped collaborating. It harkens at the most atmospheric pieces he wrote for Scott, so no The Battle or even Tribal War here. I'd look at the opening of Gladiator's Progeny. I'd look at one of my favorite Zimmer tracks, the completely overlooked Black Hawk Down's Ashes to Ashes, which very subtly creates a sense of nightmarish paranoia with very sparse instrumentation (a synth drone, solo electric violin, sounding somewhat ethnic, then percussion and rhythmic Arabic guitar-like motif kicks in, creating a very compelling sense of entrapment).

    At the same time, the emotional quality and the ambience it creates is very much contemporary, closer to previous Villeneuve films (Jóhannsson would sometimes harken at a certain sense of nostalgia, perhaps a bit of what the German Romanticism called Sehnsucht, which translates to longing/yearning, cf. the most accessible parts of Sicario, Hans does it, perhaps, more often). So there is an internal paradox (closer to dialectical approach, ie. they actually complete each other) of being at once "old-school" and very much contemporary on an emotional level.

    Without the movie, what the score does is create a world. One that is quite complete. This world wouldn't function without its references and the scores it references are actually an interesting amalgam. So there is quite a bit of Gladiator/Peacemaker (compare one of the main themes to Commodus' theme in Gladiator, which itself takes from The Thin Red Line's ominous "march" for Colonel Tall, which takes after The Peacemaker), there is some of the Black Hawk Down ambience (much more tonal though, however). The atmosphere building in the lighter parts actually hint at Man of Steel which, whether we like it or not, informed a lot of Hans Zimmer's recent atmosphere building (and these cues I never had a problem with, more the action music), even Interstellar. Edmund's catch was a good one. But if you replaced the 90s drum samples with something else (live or sampled orchestral toms) one'd actually think of Man of Steel (my original association, really), which itself has a passing reference to Broken Arrow in the best action cue of that score: If You Love These People (cf. the harmony, the guitar writing).

    This is by no means an easy listen. Wasn't ever meant to be one, of course. The ambitious scope of creating a coherent new world (by no means reinventing the wheel or creating another scoring gamechanger, the latter always happens by accident, though) is a noble one. I think this one reveals itself with more listens and the consequence and care put into creating that world, sometimes awesome in its original sense (as in, full of awe), sometimes downright oppressive, is something I like about the score for sure. And in its best moments? It's really captivating.
    http://www.filmmusic.pl - Polish Film Music Review Website
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      CommentAuthorRalph Kruhm
    • CommentTimeSep 19th 2021 edited
    PawelStroinski wrote
    A lot.

    So basically, it's cool, right? biggrin

    No, really, thx for taking the time to put your thoughts into words. A great read, for sure.

    And indeed, it gets even better with every listen, especially if you change back and forth between sketchbook and score.
  14. Edmund Meinerts wrote
    Ralph Kruhm wrote
    This is not music. This is something else entirely.

    A PR quote worthy of Hans himself! wink

    I live to serve.
    •  
      CommentAuthorThor
    • CommentTimeSep 19th 2021
    Good post, Pawel - a distilled version of the things we talked about in the Zoom chat on Friday. I'm sure you'll be back with further evaluations once you've seen it. I like the 'subdued operatic' part of your argument -- an approach that was also used by Toto and Lynch in the 84 version (slightly more melodic in that case, of course).
    I am extremely serious.
  15. I think that the new score is even more firmly established in the late Romantic tradition than the Toto one (which is not argument against Toto's, of course). In a funny way, this is somewhat closer to the kind of dark gothic flow Badalamenti would bring to Lynch's work. Completely different musical setting, of course, and not an inspiration for Hans. But this kind of operatic ambience of sorts (though much more "romantic" in the popular sense of the world, cf. Mulholland Drive) is closer to the new Dune than the Toto one for sure.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorBobdH
    • CommentTimeSep 19th 2021 edited
    Finally some intelligent and open minded Dune talk! The other boards keep complaining about missing music, it being too long, and the music being different than the sketchbooks. What did you want, a repetition of material?! I’m telling you, the stupidity within this community…
    •  
      CommentAuthorThor
    • CommentTimeSep 19th 2021
    BobdH wrote
    The other boards keep complaining about missing music


    The scourge of the contemporary film music discussion climate.
    I am extremely serious.
  16. If there's really a fuller version of the Atreides theme in the film, that one I'd like to have.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorBobdH
    • CommentTimeSep 19th 2021
    Well, there’s still one more album coming…