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[Closed] Now Playing XIX

General Discussions » Now Playing XIX (Posts 1411 to 1440 of 2001)

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    • CommentAuthorTimmer
    • CommentTimeApr 11th 2009
    BhelPuri wrote
    keky wrote
    Just finished:

    The Passion of the Christ - Debney
    Since my first listen 5 years ago I've been struggling to find that extraordinary something in this score that everybody is raving about but so far I haven't been successful. From the 15 tracks there are only 6 that I find good, the other 9 is just brooding strange Middle-Eastern instruments without the slightest sign of a melody of any kind (and MELODY is a keyword for me in music!) If I had to choose a score for a film about Jesus I would choose King of Kings by Rozsa over this any time. The truth is, I am really curious what James Horner would have come up with had he been given the chance to score this movie.


    Man, this would have been an awesome project for Marco Frisina! sad
    And while on religious themed scores do check out Paulo Buonvino's fantastic score for Padre Pio. There's a youtube video from Passion of the Christ set to Buonvino's music. I love it- http://www.youtube.com/watch?v=TFQ9e8LZHUE

    I'll have a listen soon, in the meantime I'm playing this fantastic near 14 minute piece....


    NP : Bolerish - Ryuichi Sakamoto from FEMME FATALE



    cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorBhelPuri
    • CommentTimeApr 11th 2009
    Timmer wrote
    I'll have a listen soon, in the meantime I'm playing this fantastic near 14 minute piece....


    NP : Bolerish - Ryuichi Sakamoto from FEMME FATALE



    cool


    Awesome! Love that piece and the way it was used in the movie. punk
    • CommentAuthorTimmer
    • CommentTimeApr 11th 2009
    NP : LE TRAIN - Philippe Sarde



    This whole score is only 18 minutes long but not a moment is wasted, crisp orchestrations that breathe and a dynamic punchy'ness to some tracks. This score easily enters my all time top 50, I absolutely adore it. cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorStavroula
    • CommentTimeApr 11th 2009
    I wanted something dakr, something passionate and stormy. What better from an eternal,cursed love?
    NP:Dracula ~ Wojciech Kilar
    Whatever you gaze rests on,do not use your vision, but the eyes of your soul...She knows better...
    • CommentAuthorTimmer
    • CommentTimeApr 11th 2009
    Stavroula wrote
    I wanted something dakr, something passionate and stormy. What better from an eternal,cursed love?
    NP:Dracula ~ Wojciech Kilar



    ^
    Another score that easily enters my top 50 cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorLSH
    • CommentTimeApr 11th 2009
    NP: Carnivàle - Jeff Beal

    First listen and I like it very much. Quite dramatic and atmospheric.
    •  
      CommentAuthorSteven
    • CommentTimeApr 11th 2009
    Hancock John Powell

    I can completely understand why some people find most of this score a little lacking, I know Demetris only likes a few cues. I had much the same reaction to it when I first listened to it. But having watched the film a couple of times, I've really grown to like this in its entirety. The last two tracks are the obvious highlights, and I agree Powell does better things with fewer instruments at his disposable. (Or, perhaps, more enjoyable.)
    •  
      CommentAuthorWilliam
    • CommentTimeApr 11th 2009
    NP: The Musketeer - David Arnold

    Loving it, so far! Very epic. cool
    • CommentAuthorAnthony
    • CommentTimeApr 11th 2009
    William wrote
    NP: The Musketeer - David Arnold

    Loving it, so far! Very epic. cool


    I can't say I'm a fan of that one I'm afraid. Too generic.
    •  
      CommentAuthorLSH
    • CommentTimeApr 11th 2009
    Anthony wrote
    William wrote
    NP: The Musketeer - David Arnold

    Loving it, so far! Very epic. cool


    I can't say I'm a fan of that one I'm afraid. Too generic.


    You're too generic. moon


    Oh, and... so's your... mom.
    •  
      CommentAuthorSteven
    • CommentTimeApr 11th 2009 edited
    I used to think that too, and I admit it is a very typical sounding Arnold-Dodd affair. But it's a very good typical Arnold-Dodd affair, with typically catchy themes and motifs (and some blisteringly good action).

    I just played it. And I can confirm that, yet again, I am right.

    wink
    • CommentAuthorAnthony
    • CommentTimeApr 11th 2009
    LSH wrote
    Oh, and... so's your... mom.


    Damn it, that was going to be my comeback! angry biggrin
    •  
      CommentAuthorSteven
    • CommentTimeApr 11th 2009
    Afrika Wataru Hokoyama (Yes, I have to look it up each time for the spelling... what of it?)

    This and Lair rank as my favourite game scores to listen to on CD (or hard drive in my case). They aren't typical game scores in any sense whatsoever. There's a clear musical narrative in both, and both come to a very satisfying end.

    Here comes that phrase again, but a very underrated score from last year.
    •  
      CommentAuthorNautilus
    • CommentTimeApr 12th 2009 edited
    NP:Lost (Giacchino)

    I have a real dilema about wich Lost score I like most : season 1 or season 3.

    While season 3 is richer in themes, Season 1 has a better soundscapes (Specially to the Synthetiser and the solists)

    It's a little bit like choose between the seasons. Season 1 was a better drama, but season 3 had all the ingredients together (the others, hatches, drama, Sci Fiction...)
    • CommentAuthorTimmer
    • CommentTimeApr 12th 2009
    NP : VERTIGO - Bernard Herrmann



    Simply stunning cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorMiya
    • CommentTimeApr 12th 2009
    NP: Chiken Little - John Debney

    uhmmm. Boring.
    Labels are for cans, not people. - Anthony Rapp
    •  
      CommentAuthorAtham
    • CommentTimeApr 12th 2009
    Timmer wrote
    NP : VERTIGO - Bernard Herrmann



    Simply stunning cool


    That's the word I would use too. "Stunning"! cool
    • CommentAuthorPanthera
    • CommentTimeApr 12th 2009
    Miya wrote
    NP: Chiken Little - John Debney

    uhmmm. Boring.


    Chicken Little music + video of my kittens on youtube = not boring.
    •  
      CommentAuthorMiya
    • CommentTimeApr 12th 2009
    Link please? I'd love to see it! smile cat
    Labels are for cans, not people. - Anthony Rapp
    • CommentAuthorAnthony
    • CommentTimeApr 12th 2009
    Nautilus wrote
    NP:Lost (Giacchino)

    I have a real dilema about wich Lost score I like most : season 1 or season 3.

    While season 3 is richer in themes, Season 1 has a better soundscapes (Specially to the Synthetiser and the solists)

    It's a little bit like choose between the seasons. Season 1 was a better drama, but season 3 had all the ingredients together (the others, hatches, drama, Sci Fiction...)


    3 - easily. The echo-y synths sound crap (although The Eyeland uses them perfectly).
    •  
      CommentAuthorThomas
    • CommentTimeApr 12th 2009
    Anthony wrote Too generic.


    How can you like so many Brian Tyler scores then? tongue
    •  
      CommentAuthorDemetris
    • CommentTimeApr 12th 2009 edited
    Passion of the Christ is considered as such 'cause of its unrestrained power, pathos and melody. It's full of rich thematic material which is deeply effective and constantly flowing. It doesn't suffer from the usual cases of weak connecting underscore 'cause even in those cases in the movie when such bridges are needed, Debney chooses to do that via actual themes and beautiful melodies while he's at it, instead of the usual way via series of plain chords thrown all over the place 'till something more important starts to happen.

    The choral and percussion work is breathtaking at places and the same applies to Lisbeth Scott's vocals which make up for one of the very few exceptions where they actually have a meaning of existence and are away from cliches.

    Passion of the Christ, for various reasons - and i suspect religious focus on behalf of the composer, as well, is one of the most inspired, well-written and outstandingly-performed pieces of modern film music. Either way ones tries to see it, it shines in all aspects, especially when compared with the general outcome of the last 9 years or so, and particularly with what has been "dressing" musically movie of similar magnitude since then; very few cases of modern film music come close to the philosophy behind POTC's music and the way it was done. It carries a grace and philosophy from the film music gloriy days of the past where themes, melodic coherency and meaning actually mattered, all filtered through the modern musical scope of the genre.

    I truly believe that if people watch its functions within the movie but also sit down and listen to it on CD neutrally (as in without trying to find "what's the fuss about") it's impossible not to understand the magnitude of this work.


    n.p. HANS ZIMMER - the last samurai

    Very impressive work by Zimmer, and wholly enjoyable.
    Love Maintitles. It's full of Wanders.
    • CommentAuthorAnthony
    • CommentTimeApr 12th 2009
    Thomas wrote
    Anthony wrote Too generic.


    How can you like so many Brian Tyler scores then? tongue


    I don't have that many. tongue

    AVPR
    Eagle Eye
    War (selected tracks)
    Greatest Game Ever Played
    Tokyo Drift
    Fast & Furious
    Bug
    •  
      CommentAuthorSteven
    • CommentTimeApr 12th 2009
    Christodoulides wrote
    Passion of the Christ is considered as such 'cause of its unrestrained power, pathos and melody. It's full of rich thematic material which is deeply effective and constantly flowing. It doesn't suffer from the usual cases of weak connecting underscore 'cause even in those cases in the movie when such bridges are needed, Debney chooses to do that via actual themes and beautiful melodies while he's at it, instead of the usual way via series of plain chords thrown all over the place 'till something more important starts to happen.

    The choral and percussion work is breathtaking at places and the same applies to Lisbeth Scott's vocals which make up for one of the very few exceptions where they actually have a meaning of existence and are away from cliches.

    Passion of the Christ, for various reasons - and i suspect religious focus on behalf of the composer, as well, is one of the most inspired, well-written and outstandingly-performed pieces of modern film music. Either way ones tries to see it, it shines in all aspects, especially when compared with the general outcome of the last 9 years or so, and particularly with what has been "dressing" musically movie of similar magnitude since then; very few cases of modern film music come close to the philosophy behind POTC's music and the way it was done. It carries a grace and philosophy from the film music gloriy days of the past where themes, melodic coherency and meaning actually mattered, all filtered through the modern musical scope of the genre.

    I truly believe that if people watch its functions within the movie but also sit down and listen to it on CD neutrally (as in without trying to find "what's the fuss about") it's impossible not to understand the magnitude of this work.


    I think your point kinda gets lost in a sea of hyperbolic descriptions, but yes I see where you're coming from.
  25. Can you guys please NOT call Passion PotC? bunny
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeApr 12th 2009
    NP : UNTIL SEPTEMBER - John Barry



    Oh man love cool
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 12th 2009 edited
    Steven wrote
    Christodoulides wrote
    Passion of the Christ is considered...

    The rest of Demetris' description.


    I think your point kinda gets lost in a sea of hyperbolic descriptions, but yes I see where you're coming from.


    We all have tendencies to go overboard when describing our favorite scores but there is something about Demetris' reviews that suck the fun out of it all.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeApr 12th 2009
    If I'm describing something, like a score for example, I tend to write the sentence and then go back to see if I can reduce it to its smallest possible size. It has more impact that way, so long as the point gets across.

    I'm all for passionate semantics, don't get me wrong - but when it sounds like it was written by a thesaurus (dino), it's not as endearing as one might hope.

    No offense.
    •  
      CommentAuthorSteven
    • CommentTimeApr 12th 2009
    Also, the page done broke.
    • CommentAuthorTimmer
    • CommentTimeApr 12th 2009
    Honey, Erik's shrunk us all spin
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt

1411 to 1440 of 2001

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