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[Closed] Now Playing XLIV

General Discussions » Now Playing XLIV (Posts 1711 to 1740 of 2996)

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    •  
      CommentAuthorThor
    • CommentTimeApr 9th 2013
    I believe that you don't exist, Martijn.
    I am extremely serious.
    •  
      CommentAuthorMartijn
    • CommentTimeApr 9th 2013 edited
    - pop -
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorErik Woods
    • CommentTimeApr 9th 2013
    James Horner
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  4. Martijn wrote
    No, you BELIEVE the premise to be true that induction shows that the riff is based on an ostinato. But that doesn't mean it IS! Or, for that matter, ISN'T.


    Sorry. I'm stuck in the religion thread.
    Somebody, help!


    biggrin
    Bach's music is vibrant and inspired.
  5. Lincoln - John Williams

    This has really grown on me. It's a good companion to War Horse.
    •  
      CommentAuthorScribe
    • CommentTimeApr 10th 2013
    Kevin Scarlet wrote
    Lincoln - John Williams

    This has really grown on me. It's a good companion to War Horse.


    Blasphemy! War Horse is in a whole different category of awesome!
    It are a fact!
    Actually, its just my very strongly held opinion. I am still a rather disappointed in Lincoln. Its a fine score but it sounds like it belongs in a (very high production value) BBC documentary. Not what I wanted from potentially Williams' last score.
    I love you all. Never change. Well, unless you want to!
    •  
      CommentAuthorScribe
    • CommentTimeApr 10th 2013 edited
    Demetris wrote
    Yes, Vangelis did use ostinati a lot, usually accompanied by percussion as well but there usage has nothing to do with zimmer's ostinati. Powell's have similarities, but what we are hearing today in the inception and tron sound, is clearly Zimmer's and Balfe's with Inception from 2010.


    I feel like I hear an even progression from 2004 to 2010 from King Arthur / Bourne Supremacy (where Zimmer and Powell almost simultaneously began using ostinati in the same way) to the mid 2000s with The Da Vinci Code and then the Batman films where the idea of an ostinato being the "top layer" of the piece of music seemed to initiate with the Joker theme as well as some of the action stuff in TDK. I feel like Inception was the natural evolution from that and that the Tron stuff took it to the extreme that we have now, but that its been the same concept the whole time. The Vangelis similarity just made me wonder if Zimmer and Powell started writing like that of their own accord or if they were listening to similar music while working on those early ostinato-heavy scores.

    I feel this way because in 2004 I thought the ostinatos as used in King Arthur especially were the coolest thing ever, and I was so happy to hear them return in Da Vinci Code and Batman and start to be used by other composers as well....so I always pay attention to them...but amusingly 9 years later I'm starting to get pretty tired of them too. They are used a bit too much and at the expense of actual themes.
    I love you all. Never change. Well, unless you want to!
    • CommentAuthorJosh B
    • CommentTimeApr 10th 2013
    Starting a complete listening of the Star Trek movie scores. Should be exciting as there isn't a clunker in the bunch.

    Star Trek: The Motion Picture - Jerry Goldsmith

    Aside from the obvious highlights (and there are many), I really think the La-La-Land presentation of this score is too much. A lot of the Steiner cues aren't very interesting.
    • CommentAuthorTimmer
    • CommentTimeApr 10th 2013
    Josh B wrote
    Starting a complete listening of the Star Trek movie scores. Should be exciting as there isn't a clunker in the bunch.

    Star Trek: The Motion Picture - Jerry Goldsmith

    Aside from the obvious highlights (and there are many), I really think the La-La-Land presentation of this score is too much. A lot of the Steiner cues aren't very interesting.


    You have a valid point but I'm still glad to have it and the Unused score cues are fantastic.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    • CommentAuthorJosh B
    • CommentTimeApr 10th 2013
    Timmer wrote
    Josh B wrote
    Starting a complete listening of the Star Trek movie scores. Should be exciting as there isn't a clunker in the bunch.

    Star Trek: The Motion Picture - Jerry Goldsmith

    Aside from the obvious highlights (and there are many), I really think the La-La-Land presentation of this score is too much. A lot of the Steiner cues aren't very interesting.


    You have a valid point but I'm still glad to have it and the Unused score cues are fantastic.


    Definitely agreed. That early draft of Enterprise is a fascinating work of art.

    Star Trek II: The Wrath of Kahn - James Horner

    Delightful, one of the rare full scores that really works (for me) as a listening experience.
    •  
      CommentAuthorThor
    • CommentTimeApr 10th 2013
    Scribe wrote
    I feel like I hear an even progression from 2004 to 2010 from King Arthur / Bourne Supremacy (where Zimmer and Powell almost simultaneously began using ostinati in the same way) to the mid 2000s with The Da Vinci Code and then the Batman films where the idea of an ostinato being the "top layer" of the piece of music seemed to initiate with the Joker theme as well as some of the action stuff in TDK. I feel like Inception was the natural evolution from that and that the Tron stuff took it to the extreme that we have now, but that its been the same concept the whole time.


    Although I'm not sure about the KING ARTHUR thing, I agree with your basic description of the evolution there.

    If there's any Vangelis influence in INCEPTION or similar fare, it's obviously in tracks like "Old Souls", where the texture's the thing.
    I am extremely serious.
    •  
      CommentAuthorScribe
    • CommentTimeApr 10th 2013
    Don't comment on King Arthur unless it used to be one of their favorite scores and thus they listened to it an absurd amount of times and know it intimately wink
    I love you all. Never change. Well, unless you want to!
  13. NP: Heat - Elliot Goldenthal; Kronos Quartet; Einstürzende Neubauten ...

    Goldenthal's score is superb and so are the other ingredients here! Great score and soundtrack!

    Volker
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorThor
    • CommentTimeApr 10th 2013
    Fantastic concept album, that....perfect blend of score and source cues. The benchmark on how to do it.
    I am extremely serious.
  15. To me Heat is the ultimate urban soundscape score. I even manage to handle the Einsturzende Neubauten track, which I hate standalone.

    James Newton Howard - The Village

    It was in the mail today. One of my favourite scores of the 2000s hands down. Pure beauty. Is it only me or do I hear some RWV there? Timmer?

    My favourite Shyamalan score for sure finally joined the ranks of CDs owned by me. I also own Unbreakable (which I remarkably got for free biggrin ) and Lady in the Water (which was a review copy). There is just *something* to the scores JNH writes for the guy. Why are they better than most of his output escapes me, but they just are. The only notable exception in this kind of sound (so we can leave things like Waterworld out of the equation, though actually I do prefer the SHyamalans and the one I'll mention to that one) is Snow Falling on Cedars which to me is beyond words amazing. Even with the Arvo Part quotes.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeApr 10th 2013
    Totally overt usage of Arvo Part in Snow Falling On Cedars, one of the few times JNH was getting as much flak on film music forums for stealing as James Horner usually does wink

    And yes, JNH is definitely channelling RVW in The Village, again, this was mentioned in a number of forums but I don't hear any direct lifts from RVW, just influence.


    I like both of those scores a lot.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeApr 10th 2013
    PawelStroinski wrote
    To me Heat is the ultimate urban soundscape score.


    BLADE RUNNER gets that award for me, but HEAT is pretty damn close.
    I am extremely serious.
  18. Blade Runner is a bit too... I don't know how to put it, but I'd pick Heat if I want something more realistically showing a city, if you know what I mean.

    Blade Runner is ultimately very poetic, Heat has a lot of grit, even without the Goldenthal tracks.
    http://www.filmmusic.pl - Polish Film Music Review Website
    •  
      CommentAuthorThor
    • CommentTimeApr 10th 2013
    I know what you mean, and I agree. I still prefer BLADE RUNNER, though (but then again, it's no. 9 on my alltime favourite score list).
    I am extremely serious.
  20. Yeah, Blade Runner belongs to my personal list.
    http://www.filmmusic.pl - Polish Film Music Review Website
    • CommentAuthorTimmer
    • CommentTimeApr 10th 2013
    Thor wrote
    I know what you mean, and I agree. I still prefer BLADE RUNNER, though (but then again, it's no. 9 on my alltime favourite score list).


    Number 9 eh?
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeApr 10th 2013
    He, he...yeah, I know it sounds ridiculous, but I wouldn't have managed to put it there, exactly, had I not done a new Top 10 recently (pr. the Top 10 thread).
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeApr 10th 2013
    Skyfall
  24. Starship Troopers Poledouris

    So very good.
  25. The Black Hole Barry

    Refer to the above remarks.
    • CommentAuthorTimmer
    • CommentTimeApr 11th 2013
    punk punk
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorAtham
    • CommentTimeApr 11th 2013
    I was skipping through tracks on an Erich Kunzel CD while driving in the car with my 10 year old niece a couple of weeks back when the opening ten seconds of The Black Hole began playing, I skipped it forward as I thought my niece would be unfamiliar with it (unlike say Star Wars, Superman, Star Trek: TMP etc) when she suddenly said "that last track, take it back! That was The Black Hole!". My jaw dropped! I've never played The Black Hole (film or score) to her before so I asked how the heck she knew what it was, considering I only let the opening ten seconds play which was the mysterioso strings before the main motif comes in. She told me she watched the film at a holiday house last Christmas. I was blown away by her musical memory!
    When we got home I played her the complete score. She likes it. But now she has discovered and adores Craig Safan's The Last Starfighter!
    She has just started learning violin so I hope she continues in this as she certainly has an amazing musical ear!
    •  
      CommentAuthorlp
    • CommentTimeApr 11th 2013
    Scribe wrote
    Demetris wrote
    Yes, Vangelis did use ostinati a lot, usually accompanied by percussion as well but there usage has nothing to do with zimmer's ostinati. Powell's have similarities, but what we are hearing today in the inception and tron sound, is clearly Zimmer's and Balfe's with Inception from 2010.


    I feel like I hear an even progression from 2004 to 2010 from King Arthur / Bourne Supremacy (where Zimmer and Powell almost simultaneously began using ostinati in the same way) to the mid 2000s with The Da Vinci Code and then the Batman films where the idea of an ostinato being the "top layer" of the piece of music seemed to initiate with the Joker theme as well as some of the action stuff in TDK. I feel like Inception was the natural evolution from that and that the Tron stuff took it to the extreme that we have now, but that its been the same concept the whole time. The Vangelis similarity just made me wonder if Zimmer and Powell started writing like that of their own accord or if they were listening to similar music while working on those early ostinato-heavy scores.

    I feel this way because in 2004 I thought the ostinatos as used in King Arthur especially were the coolest thing ever, and I was so happy to hear them return in Da Vinci Code and Batman and start to be used by other composers as well....so I always pay attention to them...but amusingly 9 years later I'm starting to get pretty tired of them too. They are used a bit too much and at the expense of actual themes.


    How come nobody thought about TTRL? Zimmer started doing the obstinato based minimalistic compositions since this score.
    • CommentAuthorTimmer
    • CommentTimeApr 11th 2013
    Atham wrote
    I was skipping through tracks on an Erich Kunzel CD while driving in the car with my 10 year old niece a couple of weeks back when the opening ten seconds of The Black Hole began playing, I skipped it forward as I thought my niece would be unfamiliar with it (unlike say Star Wars, Superman, Star Trek: TMP etc) when she suddenly said "that last track, take it back! That was The Black Hole!". My jaw dropped! I've never played The Black Hole (film or score) to her before so I asked how the heck she knew what it was, considering I only let the opening ten seconds play which was the mysterioso strings before the main motif comes in. She told me she watched the film at a holiday house last Christmas. I was blown away by her musical memory!
    When we got home I played her the complete score. She likes it. But now she has discovered and adores Craig Safan's The Last Starfighter!
    She has just started learning violin so I hope she continues in this as she certainly has an amazing musical ear!



    How very very cool! cool beer <--to your niece, non-alcoholic of course wink
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorThor
    • CommentTimeApr 11th 2013 edited
    lp wrote
    Scribe wrote
    Demetris wrote
    Yes, Vangelis did use ostinati a lot, usually accompanied by percussion as well but there usage has nothing to do with zimmer's ostinati. Powell's have similarities, but what we are hearing today in the inception and tron sound, is clearly Zimmer's and Balfe's with Inception from 2010.


    I feel like I hear an even progression from 2004 to 2010 from King Arthur / Bourne Supremacy (where Zimmer and Powell almost simultaneously began using ostinati in the same way) to the mid 2000s with The Da Vinci Code and then the Batman films where the idea of an ostinato being the "top layer" of the piece of music seemed to initiate with the Joker theme as well as some of the action stuff in TDK. I feel like Inception was the natural evolution from that and that the Tron stuff took it to the extreme that we have now, but that its been the same concept the whole time. The Vangelis similarity just made me wonder if Zimmer and Powell started writing like that of their own accord or if they were listening to similar music while working on those early ostinato-heavy scores.

    I feel this way because in 2004 I thought the ostinatos as used in King Arthur especially were the coolest thing ever, and I was so happy to hear them return in Da Vinci Code and Batman and start to be used by other composers as well....so I always pay attention to them...but amusingly 9 years later I'm starting to get pretty tired of them too. They are used a bit too much and at the expense of actual themes.


    How come nobody thought about TTRL? Zimmer started doing the obstinato based minimalistic compositions since this score.


    Not much in terms of ostinati in TTRL. However, it was a very important gamechanger in Zimmer's style -- a segue towards more textural, experimental affairs and a segue away from the power anthems (although not altogether -- the PIRATES films were still up ahead).
    I am extremely serious.

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