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    •  
      CommentAuthorDemetris
    • CommentTimeDec 8th 2007
    BRING IT ON! kill

    biggrin kiss biggrin
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorMarselus
    • CommentTimeDec 8th 2007
    Ehh, I want that shooter icon!
    Anything with an orchestra or with a choir....at some point will reach you
    •  
      CommentAuthorNautilus
    • CommentTimeDec 8th 2007
    I really think AVP2 has prodigious orchestrations, using the most traditional and at the same time the most advanced techniques of composition that reminds me the best of Goldenthal.

    it's an agressive and dissonant score that never loses his weight or his diversity in orchestrations, And with some references to the previous scores that really captives the nostalgic feeling of the listener

    My only real complaintment (well...I will put aside my real complainments that I alreadi said) is the inclusion of some guitar cues that breaks the tone of the music. Im sure it fits well with some teenager scene in the movie ,but if I was Tyler I probably was removed this piece from the realease.

    I really can't wait to see the movie to make a structured listening experience of every track.
    •  
      CommentAuthorTalos
    • CommentTimeDec 8th 2007
    BobdH wrote
    Hehe, me too. Couldn't care less about the film, but it seems it's a pretty big job for Tyler (being a classic film series, et all), so I'm very much looking forward to what he comes up with! AVP2 is a more interesting one for me, though, I just hope it'll be raw, grand and chilling. Got pretty high hopes.

    Is he now in some higher league, instead of previous films like Annapolis? He really has an opportunity to prove his worth with AVP2, it seems, showing he can pull off music in that echoes Horner, Goldsmith or Goldenthal.

    In general, this guy rocks, elevating 'easy adrenaline-listening' to a higher level, while maintaining the rockness of easy listening. And probably one of the very few composers who also looks like a cool dude to boot.


    Yeah he looks cool! Liked the previous clip of AVP2, although its a bit overwhelming. See if the rest of the album will hopefully has some moments of respite, before making any judgements.
    www.budgethotels-hongkong.com LOWEST Hong Kong hotel rates
    • CommentAuthortjguitar
    • CommentTimeDec 8th 2007
    I didn't even notice the guitar cues!


    What tracks?
  1. Nautilus wrote
    I really think AVP2 has prodigious orchestrations, using the most traditional and at the same time the most advanced techniques of composition that reminds me the best of Goldenthal.

    it's an agressive and dissonant score that never loses his weight or his diversity in orchestrations, And with some references to the previous scores that really captives the nostalgic feeling of the listener

    My only real complaintment (well...I will put aside my real complainments that I alreadi said) is the inclusion of some guitar cues that breaks the tone of the music. Im sure it fits well with some teenager scene in the movie ,but if I was Tyler I probably was removed this piece from the realease.

    I really can't wait to see the movie to make a structured listening experience of every track.


    shocked

    Jordi, you pulled out a Jordi. Not in musical change of mind, but in your language skills.

    biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
  2. Talos wrote
    BobdH wrote
    Hehe, me too. Couldn't care less about the film, but it seems it's a pretty big job for Tyler (being a classic film series, et all), so I'm very much looking forward to what he comes up with! AVP2 is a more interesting one for me, though, I just hope it'll be raw, grand and chilling. Got pretty high hopes.

    Is he now in some higher league, instead of previous films like Annapolis? He really has an opportunity to prove his worth with AVP2, it seems, showing he can pull off music in that echoes Horner, Goldsmith or Goldenthal.

    In general, this guy rocks, elevating 'easy adrenaline-listening' to a higher level, while maintaining the rockness of easy listening. And probably one of the very few composers who also looks like a cool dude to boot.


    Yeah he looks cool! Liked the previous clip of AVP2, although its a bit overwhelming. See if the rest of the album will hopefully has some moments of respite, before making any judgements.


    Not many. THere are moments of horror underscore (sadly a whole 13-minute track of it), reminding of Horner's Aliens. There are some lighter fare moments with some simplistic theme.

    For me really, the guitar cues were some of the redeeming values of the score. Perhaps because they were the prettiest.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorNautilus
    • CommentTimeDec 8th 2007 edited
    PawelStroinski wrote
    [

    I really can't wait to see the movie to make a structured listening experience of every track.


    shocked

    Jordi, you pulled out a Jordi. Not in musical change of mind, but in your language skills.

    biggrin


    Thanks! tongue

    You are the second person in 2 days that noticed that!
    •  
      CommentAuthorNautilus
    • CommentTimeDec 9th 2007
    After a lot of listening I noticed the first half of AVP2 is like a score on his own. i mean with all the good tracks concentrated. Then I noticed some track titles from the secon half of the soundtrack has to be in the first half.

    So...Do you think AVP2 has no cronological order in the soundtrack? Is it typical from Tyler?
    •  
      CommentAuthorRalph Kruhm
    • CommentTimeDec 9th 2007 edited
    Nautilus wrote
    So...Do you think AVP2 has no cronological order in the soundtrack?


    I would say Track 4 "Requiem Epilogue" would be a sufficient hint to answer that question yourself. biggrin
    •  
      CommentAuthorNautilus
    • CommentTimeDec 9th 2007
    Ralph Kruhm wrote
    Nautilus wrote
    So...Do you think AVP2 has no cronological order in the soundtrack?


    I would say Track 4 "Requiem Epilogue" would be a sufficient hint to answer that question yourself. biggrin



    Epilogue? it is "prologue" !!!
  3. Look again.
    •  
      CommentAuthorNautilus
    • CommentTimeDec 9th 2007
    I look to my Mp3 version from Itunes and it is "Prologue".

    Anyway, I consider the first 13 tracks a perfect listening, and the rest seems bonus tracks.
    •  
      CommentAuthorRalph Kruhm
    • CommentTimeDec 9th 2007 edited
    Well, amazon.de says "Epilogue", but either way, you´re question is answered. biggrin
    •  
      CommentAuthorDemetris
    • CommentTimeDec 10th 2007 edited
    Christodoulides wrote
    Sorry for popping this up, but i wanted to note down that - for anyone's interested - there's a very long discussion about Tyler in general and AVPR in particular in the NOW PLAYING thread (i.e. the field for all matters wink ) which starts right about here:

    http://www.maintitles.net/forum/discuss … xi/#Item_9

    Input, thoughts, comments are welcome here wave


    And another one at: http://www.maintitles.net/forum/discuss … i/#Item_26 onwards

    Could we ALL (myself included) PLEASE keep further discussion on Brian Tyler in this topic instead? Thanks!
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorMartijn
    • CommentTimeDec 10th 2007
    But what if you're NOW playing a Brian Tyler score?
    Surely it should go into the Now Playing thread...
    Or if you think he wrote the best score of the decade. Then it should go into the Dissection Of A Joke thread... biggrin
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
  4. biggrin
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeDec 10th 2007
    biggrin

    I mean if we're going to go so OFF-track like in the examples above!
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 10th 2007
    Nautilus wrote
    So...Do you think AVP2 has no cronological order in the soundtrack? Is it typical from Tyler?


    I don't think Tyler's albums are chronological. If I'm not mistaken the grand finale track from Darkness Falls is presented near the beginning of the album. And in The Hunted the opening three tracks are for a chase scene half way into the film. Those are only two examples.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  5. Here I copy my large composition (almost a dissertation in forum means biggrin ) from NP thread:

    Demetris, these cranky obsessions let me find a voice of Michael Giacchino and in the end respect him even more than I really loved him after his Williams references called the first MoH scores. After two or three scores and even action tracks I managed to find a style of Marco Beltrami, who I rather dislike except Hellboy and I plan to hear I Am Dina, which I've heard really good opinions of.

    This all happened because people start going over how great Brian Tyler is as a composer in a situation when I can't even define his personality. And a musical personality is something I am looking for. Not homages, temp-track love, but something very distinct. Aside from musical voice there are some things I rate highly with other composers. Michael Giacchino is one of the most intelligent composers working today. With Horner I've had (he lost it recently) a big child going in great emotional diatribes over the drama of the movies, no matter how it screws up the movie sometimes. With Zimmer I have either intelligence or his weird sense of humour, often present in an ironic twist in his most serious dramatic works, like Hannibal and his later "romantic comedy" remark. With Goldsmith I have his intelligent rhythmic patterns and odd meters. Most of today living and writing composers don't have that. They just do their jobs better or worse, sadly, mostly worse. From this generation, I would say Mansell is a very positive difference (for lack of the idiom).

    Tyler loves what he does? Great. But I need something else. I mean, everybody working in the industry except people doing classical music as their main job love what their do. He is passionate perhaps more than anybody else and that has him having lots of fun while doing such a loud and, yes!, admittedly referential work like Alien vs. Predator. But being subtly referential and taking pages from other works, which he does here too, e.g. in a piece I always mention, which is Taking Sides, is something completely different *even* in a largely homage work. If I would write such a referential work, I would take and fully credit a theme from one of the movies and, frankly, I'd take Silvestri's Predator main title rhythm (I think he does actually). I wouldn't take Horner's Main Title, because it's really Gayane's Adagio biggrin . And then work around these basic patterns.

    OK, easy to say for me, but I don't like myself in that matter and I never said I was a rather good composer, because I rip everybody and I know that. That's why I seldom show my own works, really. I had no education *at all* and can't do more than ripping off Zimmer and Horner, now probably I could add Brian Tyler to that matter, because, yes, there is a pattern he does repeat in almost every action score he does, it's very obvious to me in Decimation Proclamation. But many composers feature similar patterns today. That's why I take a lot of modern writing composers above Tyler and him being so praised like he is is something that does annoy me, because for me he is like everybody else from his generation except largely stylish Powell and aggressively percussive Giacchino using sul ponticello tremolo to a great effect, better than anybody else today.

    Do I wish I could write something like AVP myself? Yes and no. Yes, because it is a very complex work outside of my own abilities as a composer. That I don't take away from Tyler, though I really wonder of Elhai's input in Tyler works. Me not having as good equipments wouldn't even let me use half of the effects he uses. No, because I would love to get a very strict compositional identity, without clear influences by other composers and temp-track. I said that many times above. For me, complexity is not enough. I can prefer a very simple work to a complex action piece if I find that work much more inspired and emotional.

    Large rant here, but lack of a very strong identity and musical personality and being somewhat lackluster in his performances, I can't say what's wrong with them, I find the orchestra performs his works somewhat by the numbers always, makes me feel he is a way overrated composer. Partition didn't change my mind in that matter.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorSouthall
    • CommentTimeDec 10th 2007
    Has Tyler become the ultimate temp-track hack? I think he has. What a disappointment.
  6. I was afraid to state that, actually, but it's not far from my opinion.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorErik Woods
    • CommentTimeDec 10th 2007 edited
    Southall wrote
    Has Tyler become the ultimate temp-track hack? I think he has. What a disappointment.


    He and John Debney. Aaron Zigman is getting there to with his Thomas Newman love!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorDemetris
    • CommentTimeDec 10th 2007 edited
    PawelStroinski wrote
    Demetris, these cranky obsessions let me find a voice of Michael Giacchino and in the end respect him even more than I really loved him after his Williams references called the first MoH scores. After two or three scores and even action tracks I managed to find a style of Marco Beltrami, who I rather dislike except Hellboy and I plan to hear I Am Dina, which I've heard really good opinions of.

    This all happened because people start going over how great Brian Tyler is as a composer ina situation when I can't even define his personality. And a musical personality is something I am looking for. Not homages, temp-track love, but something very distinct. Aside from musical voice there are some things I rate highly with other composers. Michael Giacchino is one of the most intelligent composers working today. With Horner I've had (he lost it recently) a big child going in great emotional diatribes over the drama of the movies, no matter how it screws up the movie sometimes. With Zimmer I have either intelligence or his weird sense of humour, often present in an ironic twist in his most serious dramatic works, like Hannibal and his later "romantic comedy" remark. With Goldsmith I have his intelligent rhythmic patterns and odd meters. Most of today living and writing composers don't have that. They just do their jobs better or worse, sadly, mostly worse. From this generation, I would say Mansell is a very positive difference (for lack of the idiom).




    Why do you have to compare him, constantly, with other composers? Isn't it a bit unfair (especially when you compare him with Michael Giacchino, a modern-day genius if you ask me and i am not exaggerating even the slightest, i am dead-serious)? I strongly think that generally, every composer must be given the chance and studied / regarded withing his own frame of work.


    Tyler loves what he does? Great. But I need something else. I mean, everybody working in the industry except people doing classical music as their main job love what their do. He is passionate perhaps more than anybody else and that has him having lots of fun while doing such a loud and, yes!, admittedly referential work like Alien vs. Predator. But being subtly referential and taking pages from other works, which he does here too, e.g. in a piece I always mention, which is Taking Sides, is something completely different *even* in a largely homage work. If I would write such a referential work, I would take and fully credit a theme from one of the movies and, frankly, I'd take Silvestri's Predator main title rhythm (I think he does actually). I wouldn't take Horner's Main Title, because it's really Gayane's Adagio biggrin . And then work around these basic patterns.

    OK, easy to say for me, but I don't like myself in that matter and I never said I was a rather good composer, because I rip everybody and I know that. That's why I seldom show my own works, really. I had no education *at all* and can't do more than ripping off Zimmer and Horner, now probably I could add Brian Tyler to that matter, because, yes, there is a pattern he does repeat in almost every action score he does, it's very obvious to me in Decimation Proclamation. But many composers feature similar patterns today. That's why I take a lot of modern writing composers above Tyler and him being so praised like he is is something that does annoy me, because for me he is like everybody else from his generation except largely stylish Powell and aggressively percussive Giacchino using sul ponticello tremolo to a great effect, better than anybody else today.

    Do I wish I could write something like AVP myself? Yes and no. Yes, because it is a very complex work outside of my own abilities as a composer. That I don't take away from Tyler, though I really wonder of Elhai's input in Tyler works. Me not having as good equipments wouldn't even let me use half of the effects he uses. No, because I would love to get a very strict compositional identity, without clear influences by other composers and temp-track. I said that many times above. For me, complexity is not enough. I can prefer a very simple work to a complex action piece if I find that work much more inspired and emotional.

    Large rant here, but lack of a very strong identity and musical personality and being somewhat lackluster in his performances, I can't say what's wrong with them, I find the orchestra performs his works somewhat by the numbers always, makes me feel he is a way overrated composer. Partition didn't change my mind in that matter.


    Pawel, Tyler's hugely appreciated in the business partly due to his unending enthusiasm and passion for film music which overflows everything and it's impressively fused with absolute professionalism. Very few composers will go excitingly talking out loud and clearly about other composers' works using specific examples and names, almost as "looney" and passionate as we do here and this is something everybody adores in Tyler.

    But that's just a matter of personality and it might not be as important. However, what you have to acknowledge and understand is that Tyler has an evidently enormous musicianship and knowledge of SO MANY DIFFERENT MUSICAL GENRES / INSTRUMENTS that so few other people in the industry actually do, nowadays. The man is SO old school in his approach to film music whilst simultaneously at the peak of technological knowledge and that's something that's clearly evident in his work which in VIOLENT contrast to the plethora of examples of totally ridiculous and amateuristic usage of electronics in film music (Wiseman's FLOOD being a fresh one) he showcases probably the most logical, well fit-in and metered usage of electronics today after JOHN POWELL and HARRY GREGSON WILLIAMS.

    Furthermore, his orchestral writing abilities are undeniably IMPRESSIVE but what's most lovable within Tyler's approach to the movies is that whereas many other composers would quickly step in, do the job without too much hustle, provide something generic and fast to merely serve the movie, TYLER has the time, will and passion necessary to actually sit down and bang the hell out of the musical side of virtually each and every project he writes for; who could have EVER came up with such energetic, dense and rousing stuff for like WAR, TOKYO DRIFT or even AVPR or the crap that is the movie DARKNESS FALLS?! i can assure you, VERY FEW and you know that to be true, there are everyday examples all around us.

    I can wholly respect (as i numerously said in the recent past) your wish not to like him or his music and there are stuff by Tyler i don't like either but you simply can't burn down to the ground everything that's related to his name just because you don't appreciate his work or you can't get into it, imo. I, for one, would deeply wish that half the younger composers working today in the industry actually shared his immerse passion and love for our beloved genre; things could have been SO different; for that alone, i hugely respect him.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorSouthall
    • CommentTimeDec 10th 2007
    Erik Woods wrote
    Southall wrote
    Has Tyler become the ultimate temp-track hack? I think he has. What a disappointment.


    He and John Debney. Aaron Zigman is getting there to with his Thomas Newman love!

    -Erik-


    It's such a shame about Tyler because he had such a promising start to his career. The usual defence against it ("the producer/director made him do it, so you can't blame him!") is OK when you talk about one score or two... but there've been too many now from Tyler for it to be blamed just on that.
  7. I wonder if they don't love it actually. Somehow I can imagine Tyler loving temp-track.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorDemetris
    • CommentTimeDec 10th 2007
    Southall wrote
    Erik Woods wrote
    Southall wrote
    Has Tyler become the ultimate temp-track hack? I think he has. What a disappointment.


    He and John Debney. Aaron Zigman is getting there to with his Thomas Newman love!

    -Erik-


    It's such a shame about Tyler because he had such a promising start to his career. The usual defence against it ("the producer/director made him do it, so you can't blame him!") is OK when you talk about one score or two... but there've been too many now from Tyler for it to be blamed just on that.


    Have you heard AVPR, James?
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeDec 10th 2007
    PawelStroinski wrote
    I wonder if they don't love it actually. Somehow I can imagine Tyler loving temp-track.


    That's SO stretching it and so not cool.
    Love Maintitles. It's full of Wanders.
  8. Christodoulides wrote
    PawelStroinski wrote
    Demetris, these cranky obsessions let me find a voice of Michael Giacchino and in the end respect him even more than I really loved him after his Williams references called the first MoH scores. After two or three scores and even action tracks I managed to find a style of Marco Beltrami, who I rather dislike except Hellboy and I plan to hear I Am Dina, which I've heard really good opinions of.

    This all happened because people start going over how great Brian Tyler is as a composer ina situation when I can't even define his personality. And a musical personality is something I am looking for. Not homages, temp-track love, but something very distinct. Aside from musical voice there are some things I rate highly with other composers. Michael Giacchino is one of the most intelligent composers working today. With Horner I've had (he lost it recently) a big child going in great emotional diatribes over the drama of the movies, no matter how it screws up the movie sometimes. With Zimmer I have either intelligence or his weird sense of humour, often present in an ironic twist in his most serious dramatic works, like Hannibal and his later "romantic comedy" remark. With Goldsmith I have his intelligent rhythmic patterns and odd meters. Most of today living and writing composers don't have that. They just do their jobs better or worse, sadly, mostly worse. From this generation, I would say Mansell is a very positive difference (for lack of the idiom).




    Why do you have to compare him, constantly, with other composers? Isn't it a bit unfair (especially when you compare him with Michael Giacchino, a modern-day genius if you ask me and i am not exaggerating even the slightest, i am dead-serious)? I strongly think that generally, every composer must be given the chance and studied / regarded withing his own frame of work.


    Tyler loves what he does? Great. But I need something else. I mean, everybody working in the industry except people doing classical music as their main job love what their do. He is passionate perhaps more than anybody else and that has him having lots of fun while doing such a loud and, yes!, admittedly referential work like Alien vs. Predator. But being subtly referential and taking pages from other works, which he does here too, e.g. in a piece I always mention, which is Taking Sides, is something completely different *even* in a largely homage work. If I would write such a referential work, I would take and fully credit a theme from one of the movies and, frankly, I'd take Silvestri's Predator main title rhythm (I think he does actually). I wouldn't take Horner's Main Title, because it's really Gayane's Adagio biggrin . And then work around these basic patterns.

    OK, easy to say for me, but I don't like myself in that matter and I never said I was a rather good composer, because I rip everybody and I know that. That's why I seldom show my own works, really. I had no education *at all* and can't do more than ripping off Zimmer and Horner, now probably I could add Brian Tyler to that matter, because, yes, there is a pattern he does repeat in almost every action score he does, it's very obvious to me in Decimation Proclamation. But many composers feature similar patterns today. That's why I take a lot of modern writing composers above Tyler and him being so praised like he is is something that does annoy me, because for me he is like everybody else from his generation except largely stylish Powell and aggressively percussive Giacchino using sul ponticello tremolo to a great effect, better than anybody else today.

    Do I wish I could write something like AVP myself? Yes and no. Yes, because it is a very complex work outside of my own abilities as a composer. That I don't take away from Tyler, though I really wonder of Elhai's input in Tyler works. Me not having as good equipments wouldn't even let me use half of the effects he uses. No, because I would love to get a very strict compositional identity, without clear influences by other composers and temp-track. I said that many times above. For me, complexity is not enough. I can prefer a very simple work to a complex action piece if I find that work much more inspired and emotional.

    Large rant here, but lack of a very strong identity and musical personality and being somewhat lackluster in his performances, I can't say what's wrong with them, I find the orchestra performs his works somewhat by the numbers always, makes me feel he is a way overrated composer. Partition didn't change my mind in that matter.


    Pawel, Tyler's hugely appreciated in the business partly due to his unending enthusiasm and passion for film music which overflows everything and it's impressively fused with absolute professionalism. Very few composers will go excitingly talking out loud and clearly about other composers' works using specific examples and names, almost as "looney" and passionate as we do here and this is something everybody adores in Tyler. But that's just a matter of personality. What you have to acknowledge and understand is that Tyler has an evidently enormous musicianship and knowledge of SO MANY DIFFERENT MUSICAL GENRES / INSTRUMENTS that so few people do in the industry, nowadays. The man is SO old school in his approach to film music whilst simultaneously at the peak of technological knowledge and that's something that's clearly evident in his work which in VIOLENT contrast to the plethora of examples of totally ridiculous and amateuristic usage of electronics in film music (Wiseman's FLOOD being a fresh one) he showcases probably the most logical, well fit-in and metered usage of electronics today after JOHN POWELL and HARRY GREGSON WILLIAMS, imo, today. Furthermore, his orchestral writing abilities is undeniably IMPRESSIVE but what's most lovable within Tyler's approach to the movies is that whereas many other composers would quickly step in, do the job without too much hustle, provide something generic and fast to merely serve the movie, TYLER has the time, will and passion necessary to actually sit down and bang the hell out of the musical side of virtually each and every project he writes for; who could have EVER came up with such energetic, dense and rousing stuff like WAR, TOKYO DRIFT, AVPR or the crap that is the movie DARKNESS FALLS?! i can assure you, VERY FEW and you know that to be true, there are everyday examples all around us.

    I can wholly respect (as i numerously said in the recent past) your wish not to like him or his music but you simply can burn down to the ground everything that's related to his name just because you don't appreciate his work, imo. I, for one, would deeply wish that half the younger composers working today in the industry actually shared his immerse passion and love for our beloved genre; things could have been SO different; for that alone, i hugely respect him.


    I'm supposed to work, but what the hell biggrin

    Really, *now* it looks like the discussion I want to have. One at a time though.

    My comparison to Giacchino went out because of the similar generation. And as we know, aside from the masters, today we deal with this generaton mostly - Giacchino is 40 today, I don't really know how old is Tyler, but I can imagine him beint a bit older or younger. That's where Giacchino hopped out from

    Tyler is a multi-instrumentalist, I know that. I know also that helps a lot in arranging the instruments and, really, it demands passion to perform everything, though that doesn't help me much. Tyler can write for orchestra and he wants to. Great. But being able to is something everybody gets after time or with good collaborators. This is something you can learn in academia, in other stuff. I do respect the fact that the guys has time to be as much a geek as we are with even being a Facebook user. He may be a great guy in person and I don't deny that. But for me, as I said. Orchestral writing and even wanting to do it isn't really everything. I would rather hear his passion in his orchestral performances. Aggression isn't enough. Even really Partition isn't as well-performed as it could be, because the theme has a great potential, not the best tune in the world, but still in a (sorry for giving an extreme example) John Barry-conducted performance it would be rather scoregasmic. He loses some of the passion in his performances. I know he wants to do everything alone, that's kinda commendable.

    He is a fan? Very cool. Though I think it's rather impossible not to be a fan, when you are so deep in the genre (and <rant mode>heard so much temp-track</rant mode>). He's a big fan and let it be. Though I call his references in AVP: Requiem really far from subtle and his nay-sayers won't start to respect him more afterwards, because what's for you a subtle great reference and not a cheap copy, for them will be a cheap copy if they notice Silvestri's rhythmic pattern, Horner's Aliens underscore, as I will always state, rather being ripped than referenced and even a part of teh Gayane Adagio in Alien Awakening. I think it's rather a reworking than a reference, sorry. Tyler is a very referential composer and that's where is my identity problem with Tyler. Giacchino has a style. HGW has a style too, EVEN if it is only present in obvious way with his dramatic string writing. He can use electronics, yes. Like Powell, HGW. Wiseman wasn't a good example, though I found some similarities between Tyler and her action music in Flood, no matter the real quality of Wiseman's work on Flood (and nobody references nobody here, I think it's a stylistical trait of the era), I would rather go with Mansell's Sahara, which was orchestrated by Nick Dodd though. Tyler does rework Rabin's style in Tokyo Drift and this time he mostly reworks Horner. Partition is referential to Barry and sometimes Zimmer, Darkness Falls and his action music has much in common with JNH and Goldsmith. Frailty was for me just cliche in some of its writing, sadly it was his thematic writing there. I won't go on with Greatest Game Ever Played, the only tracks from Children of Dune I remember sound like Goldsmith and Zimmer respectively, War sounds like Powell. Being a fan or working today isn't an explanation to me. I do agree with Southall that he is becoming "the ultimate temp-track hack". And I can imagine him making ever more passionate about it, because he reworks the masters and gets his paycheck for that! I know. That might be harsh. But that's how I feel sometimes.

    Tyler doesn't have very good press in Poland, being compared to lots of composers of today, maybe a bit better orchestrator. I tend to agree with this trend, because his complexity I do find rather messy than using elaborate themes over each other in a very strong pace. I love Neela's Drift though. That's not much, I'd sadly add.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthortjguitar
    • CommentTimeDec 10th 2007
    I don't understand you people and your obsession with the temp track.

    Do you have ethical problems with it? Whats your deal? If you want to get rid of composers falling into the trap of souning similar...then eliminate the temp track altogether. They are paid to do a job, not be creative.

    This is HOLLYWOOD. It's BUSINESS first, and an art second, is this not common sense? We don't have studios cutting films to match music a la Korngold. It's a different time and a different world.


    You can continue to shit on Tyler, but thankfully it will not hinder his hiring for films and I will continue to buy his scores and listen to his music, because I enjoy it, and if it sounds like something else? So what. Chances are I don't have that something else, so why should I care?


    Most of the time, you people and your "that sounds like ____" is such a stretch that you have to do a deep analysis of the music and be looking for it.


    Star Wars sounds like Korngold, I guess we should throw it out too.