[Closed] Now Playing XXXVII

Can't recommend this enough, as well; modern film / tv music rarely gets any better. It's stunning.

i'm really looking forward to the other seasons. what i also like about the score cds are the booklets. lots of information and fun to read.

Er...bagpipes?

The perfect instrument choice for the Adama and his son!

-Erik-

Yes, this was one of the biggest surprises of my entire music purchasing history. I was hoping to find it merely not-too-obnoxious, but instead it's one of my favorite scores of 2009, I absolutely love it.

There's an extra 40 minutes in the "Abbey Road Mixes" release on iTunes.

I'll throw my vote behind it. It's good stuff.

Oh, it's a fantastic show once you enter it Timmer! Brilliant acting, top notch effects and a fabulous score by McCreary! It was a great ride over those five exciting years!

Oh, right, NP: The Lost Man - Quincy Jones & songs

No idea what the film is about, but the score is one funky soul delight!
There's a great groove motif running through the score tracks, culminating in the superfunky swinging Main Squeeze track.
I generally dislike songs on a soundtrack album, but I find very little problem here, if only because it's all of the same sultry black funk cut. Highly enjoyable!

Well, the rest of it was rather uninteresting.

-Erik-

Still not my cup of tea after repeated listening ...

I keep looking to see whether I should buy the complete Battlestar Galactica on DVD. Maybe an ideal request for Christmas?

That's not saying much. This is below average material but I can see why the producers of the game went in this direction. But the score really has nothing to say, it sounds just like any other ordinary, mind-numbing, color by numbers MV/RC score.

-Erik-

NP : MONSIGNOR - John Williams



I have no intention of ever watching the film ( I've heard it's dreadful ), I just want to enjoy this fantastic score and never have it tainted.

Yes, this *is* a fact, but if there is a place where I would accept the sound with no issue today it's this particular genre of computer games. This is Media Ventures and Remote Control returning to their very roots.

To compare, I would use Sean Murray's score to Call of Duty: World at War (the immediate precedessor to Zimmer/Balfe's score). Murray has some nice/cool themes, especially the Russian anthem, which is a darker twist on the typical Russian cliche. Darker is the key word to the game. It aims at the biggest possible realism. Playing Russians and Americans on the Pacific (*not* a popular theater in gaming and sadly movies), you see that the authors pulled no stops. Dismemberment, using flamethrowers (one mission features the player with a flamethrower and his job is to clear three mortar pits). To this a huge sense of disillusionement (word?). The briefing monologue by nobody else than Kiefer Sutherland as Sgt. Roebuck (in fact, I thought I was in a 24 world for a while, because one of the token screams of Sutherland's is the legendary "dammit!") is rather hopeless ("We're gonna get dirty. Flamethrowers. We'll burn them out"). To that (in the American side of things) add banzai charges (you have to stab them before they stab you) and things like that. Russian missions have Gary Oldman as your leader and feature an order to execute the wounded in Berlin.

What Murray does with that? The score has good and bad sides. Good side is that he uses a nice batch of atonality, if I had to compare to any game scores I know, I would say that it's a restrained companion to the first (Giacchino, that is) score to Call of Duty. Violent, atonal, bleak. On the other hand sometimes he does something annoying and anachronistic by including a *techno beat* in some missions, mostly when you are on a vehicle. That's where the score starts being annoying.

On the other hand... We have the type of game dealing with modern tactics, warfare. Why do I recommend the sound of Remote Control there? And why is it so good for THIS kind of games (and nowhere else?). Look at Zimmer's output in mid-90s when his popularity skyrocketed. Aside from the 1994 Oscar for an animation, his major output were: a submarine thriller (Crimson Tide), two nuclear theft actioners (Broken Arrow and The Peacemaker) and an action movie about biological warfare taken over by rogue Marines (The Rock). Modern tactical games resort to that kind of world and that's the only place where this particular style belongs. And I'd dare to say, musically Ramin Djawadi did this the best.