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ANDREW LOCKINGTON

General Discussions » ANDREW LOCKINGTON (Posts 121 to 150 of 154)

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      CommentAuthorSteven
    • CommentTimeAug 22nd 2013
    Subjectively, Arnold is one of my favourites. Objectively, I think Arnold is one of the very best for integrating synth with orchestra, up there with Powell. In fact, I struggle to think of any other composers that are better for a seamless integration of synth and orchestra?
  2. I am also a big fan. Whatever is meant by a "distinctive voice" - I find his music fairly recoginzable. As distinct as Beethoven's music is from Mozart's or Schuhmann's.
    Bach's music is vibrant and inspired.
  3. I could probably tell the difference between Beethoven and Arnold. Probably.
    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
    •  
      CommentAuthorScribe
    • CommentTimeAug 22nd 2013 edited
    I don't know why people don't think Lockington has a distinctive voice. I finally listened to Percy Jackson and its full of Lockingtonisms like the flute flourishes and the racing strings that are halfway in between Zimmer and Arnold.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorScribe
    • CommentTimeAug 22nd 2013
    Has anyone else heard his score to Saint Ralph? Its only available as a promo. Some of it is pretty standard filler but the climax, heard in the 6 minute track where the first half is an acapella version of the wonderful song "Hallelujah", is one of the most beautiful sports-climax musics I've ever heard. The way the score banters back and forth with the song is sublimely moving. Between the acapella singing and the instrumental parts, its overall one of my favorite pieces of music ever.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 22nd 2013
    Scribe wrote
    I don't know why people don't think Lockington has a distinctive voice. I finally listened to Percy Jackson and its full of Lockingtonisms like the flute flourishes and the racing strings that are halfway in between Zimmer and Arnold.


    lol

    Sorry, but that made me chuckle.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  7. Erik Woods wrote
    Scribe wrote
    I don't know why people don't think Lockington has a distinctive voice. I finally listened to Percy Jackson and its full of Lockingtonisms like the flute flourishes and the racing strings that are halfway in between Zimmer and Arnold.


    lol

    Sorry, but that made me chuckle.

    I think it's a pretty good description. Just because you can't hear something doesn't mean it's not there.
    • CommentAuthorTimmer
    • CommentTimeAug 23rd 2013
    FalkirkBairn wrote
    I could probably tell the difference between Beethoven and Arnold. Probably.


    biggrin

    To be fare, that would be both Malcolm and David. wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 23rd 2013 edited
    Edmund Meinerts wrote
    Erik Woods wrote
    Scribe wrote
    I don't know why people don't think Lockington has a distinctive voice. I finally listened to Percy Jackson and its full of Lockingtonisms like the flute flourishes and the racing strings that are halfway in between Zimmer and Arnold.


    lol

    Sorry, but that made me chuckle.

    I think it's a pretty good description. Just because you can't hear something doesn't mean it's not there.


    That's not what was funny. Saying that a composer has a distinct voice and then saying that his music sounds like Arnold and Zimmer is contradictory and is what I found hilarious.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  10. Erik Woods wrote
    Edmund Meinerts wrote
    Erik Woods wrote
    Scribe wrote
    I don't know why people don't think Lockington has a distinctive voice. I finally listened to Percy Jackson and its full of Lockingtonisms like the flute flourishes and the racing strings that are halfway in between Zimmer and Arnold.


    lol

    Sorry, but that made me chuckle.

    I think it's a pretty good description. Just because you can't hear something doesn't mean it's not there.


    That's not what was funny. Saying that a composer has a distinct voice and then saying that his music sounds like Arnold and Zimmer is contradictory and is what I found hilarious.

    Something can be distinct and at the same time similar enough to warrant comparisons, though. You can compare Giacchino's Medal of Honor scores to Williams and yet still hear his own voice in them, no?
    •  
      CommentAuthorScribe
    • CommentTimeAug 23rd 2013
    Erik Woods wrote
    That's not what was funny. Saying that a composer has a distinct voice and then saying that his music sounds like Arnold and Zimmer is contradictory and is what I found hilarious.
    -Erik-


    That's not what I said. I said a specific element of Lockington's music sounds like a blend between an element that frequently appears in Zimmer's music and an element that frequently appears in Arnold's music.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 23rd 2013
    You have to really dig deep to find the Giacchino that we know now in any of his first three Medal of Honor scores.

    Concerning Lockington - a flute flourish and racing string aren't devices that's going to make him stand out from the rest of the group.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 23rd 2013
    Ultimately what matters, to me at least, is whether the music is good or not. Personally, Lockington doesn't excite me. He has written a few solid cues during the course of his short career and one damn fine theme (Theme from Journey 2) but I find the majority of his work to be rather... ordinary. Nothing special. But I will give him points for keeping the traditional symphonic score alive in modern day film and if I had a choice between Lockington's approach or Zimmer's approach to scoring films, I'd go with Lockington all the way.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorScribe
    • CommentTimeAug 23rd 2013
    Erik Woods wrote
    Concerning Lockington - a flute flourish and racing string aren't devices that's going to make him stand out from the rest of the group.
    -Erik-


    He does those things in a way that I've never heard from anyone else in my 1000+ album score collection. That, by definition, gives him a distinctive musical voice, even if it's one that's not particularly interesting to you. Its fine if he doesn't excite you but I get excited every time he has a new project.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 23rd 2013
    Curious. Where are these unique flute flourishes that gets you all excited?

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorScribe
    • CommentTimeAug 23rd 2013
    You can hear them from 0:53 to 1:00 in "Cursed Blade Shall Reap" in Percy Jackson. Or used in a different way in the first minute of "The Center of the Earth" from Journey. Its nothing revolutionary, just one of those little things that usually allows me to subconsciously recognize the music as being Lockington's even if I don't know what I'm hearing.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 23rd 2013
    And you've never heard a composer use the flute in that way ever?

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorScribe
    • CommentTimeAug 24th 2013 edited
    Its a subtle thing. The sounds that define composers' distinctive voices aren't usually drastically unique. I can't even actually describe exactly what defines John Williams' or Alan Silvestri's voices. I would surely sound like an idiot if I tried. I just know it when I hear it. I only came up with these examples for Lockington because of the discussion on here about his genericness so I was specifically listening for devices that I recognize as common in most/all of Lockington's scores.

    I do recognize that there are is a good deal of completely generic music in Lockington's scores, but he does seem to more to have his "own voice" than someone like John Debney, who can intermittently sound like John Williams or Lisa Gerrard or Generic RomCom Composer #37.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorErik Woods
    • CommentTimeAug 24th 2013
    Scribe wrote
    Its a subtle thing. The sounds that define composers' distinctive voices aren't usually drastically unique.


    But being distinctive is being unique or different. Lockington, at least to me, isn't doing anything new or different with his music... minus the occasional odd track or two.

    Again, I just want to stress the point that not having a unique voice isn't necessarily a BAD thing. It's the quality of the music itself that I look for. For instance, someone like Talgorn really doesn't have a distinct voice of his own as he apes Williams to a tee (sometime even better than the man himself) but the quality of the music is exemplary.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  20. Erik Woods wrote
    Again, I just want to stress the point that not having a unique voice isn't necessarily a BAD thing. It's the quality of the music itself that I look for. For instance, someone like Talgorn really doesn't have a distinct voice of his own as he apes Williams to a tee (sometime even better than the man himself) but the quality of the music is exemplary.

    And what "qualities" do you think Lockington's music is missing, then?
    •  
      CommentAuthorScribe
    • CommentTimeAug 24th 2013
    Erik Woods wrote
    But being distinctive is being unique or different. Lockington, at least to me, isn't doing anything new or different with his music... minus the occasional odd track or two.
    -Erik-


    I get what you're saying. I don't think Lockington is doing anything specifically new either...but I do think the combination of musical devices he frequently employs makes him a unique composer. Like the way I can wear a unique outfit without actually buying any new clothes, just by combining my existing clothes differently.
    I love you all. Never change. Well, unless you want to!
  22. Ellchris Music has just released a couple of Lockington's scores in the digital format:

    I'll Follow You Down (2013) - http://www.amazon.co.uk/Follow-Down-Mus … p;sr=301-3

    Siddharth (2013) - http://www.amazon.co.uk/Siddharth-Music … p;sr=301-2

    I've not heard Siddharth but I'll Follow You Down is not a particularly exciting nor interesting listen.
    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
  23. shocked shocked

    Glad to see these get a release. Even if they don't end up being amazing listens I'm always willing to hear a composer I love branch out. Excellent! smile
    •  
      CommentAuthordgoldwas
    • CommentTimeApr 2nd 2014
    Last year, composer Andrew Lockington recorded his score for Percy Jackson: Sea of Monsters, the sequel to the hit 2010 film, Percy Jackson & The Olympians: The Lightning Thief. Directed by Thor Freudenthal, the music for the film was recorded at Fox's Newman Scoring Stage, the film opened on August 7, 2013, and grossed over $200 million worldwide. Now, ScoringSessions.com is excited to bring our readers the exclusive photos from the sessions!

    http://www.scoringsessions.com

    Enjoy!
    I consider a project a success when Thor says he won't buy it
  25. My review of Pirate's Passage, which I loved.
    www.synchrotones.wordpress.com | www.synchrotones.co.uk | @Synchrotones | facebook | soundcloud | youtube
    •  
      CommentAuthorSouthall
    • CommentTimeMay 18th 2015
    •  
      CommentAuthorSteven
    • CommentTimeMay 18th 2015
    I would like to contend you on something, but I'm boring and agree with everything you wrote. I'm not keen on goats though, so there's that?

    That's a lie. Goats are great. They make good cheese.
    • CommentAuthorTimmer
    • CommentTimeMay 18th 2015 edited
    ...and better curries. lick
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
  29. Nice to see you finally liking a Lockington score a bit there, James. smile

    I'm a little surprised, though, because both Journey 2 and Percy Jackson: Sea of Monsters are better scores, IMO, and you rated them less...oh well. dizzy
  30. Review of Pirate's Passage
    waaaaaahhhhhhhh!!! Where's my nut? arrrghhhhhhh

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