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- CommentAuthorTimmer
- CommentTimeOct 31st 2013
NP : THOR: THE DARK WORLD - Brian Tyler
As with the majority of big budget Hollywood film scores these days I feel I've heard it all before, however, I can't help enjoying the big power-anthemic theme in this which has quite a hook to it, I can also swallow Tyler's use of rhythm section far more than I can the likes of Zimmer's. Some nice subtleties in this score too, I'm not a fan of Tyler's but I'm enjoying this one.
Does anyone else here hear a little bit of Shore's LOTR here and there in this score?On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSteven
- CommentTimeOct 31st 2013
Yeah, but... it's a theme based entirely on the four chords. It is literally the most lazy way to produce an "epic" theme. I can't bear to hear anymore scores based on those bloody chords.
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- CommentAuthorTimmer
- CommentTimeOct 31st 2013
Steven wrote
Yeah, but... it's a theme based entirely on the four chords. It is literally the most lazy way to produce an "epic" theme. I can't bear to hear anymore scores based on those bloody chords.
Yeah, I get you, normally these things stick in my throat ( ears or whaddever ) but for some reason this one appeals to me, I can't explain it!?
To really make it an enjoyable album ( for me ) I would have to cut a lot of the thunderous music out though.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorMartijn
- CommentTimeOct 31st 2013
Timmer wrote
Steven wrote
Yeah, but... it's a theme based entirely on the four chords. It is literally the most lazy way to produce an "epic" theme. I can't bear to hear anymore scores based on those bloody chords.
Yeah, I get you, normally these things stick in my throat ( ears or whaddever ) but for some reason this one appeals to me, I can't explain it!?
Because in another progression (C Am F G) it's pretty much every pop/rock song from the fifties onwards!
'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorBregt
- CommentTimeOct 31st 2013 edited
What language are you all talking!?
Kazoo -
- CommentAuthorTimmer
- CommentTimeOct 31st 2013 edited
editOn Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSteven
- CommentTimeOct 31st 2013
I think I'd enjoy the album too were it not for the theme. I just can't bring myself to listen to and enjoy the trillionth incarnation of those friggin' chords! (I don't mind them so much when they're inserted into a score here and there, or perhaps used in a particularly unique way a la Lady In The Water or -my favourite version- 'Building The Crate', but not if the score is based entirely around those chords and without doing anything particularly interesting with them!
)
The problem is they sound good and they work very well, so composers often fall easily into the trap of using them over and over again (particularly Brian Tyler). They even make an appearance in Lord of the Rings! -
- CommentAuthorTimmer
- CommentTimeOct 31st 2013
Martijn wrote
Timmer wrote
Steven wrote
Yeah, but... it's a theme based entirely on the four chords. It is literally the most lazy way to produce an "epic" theme. I can't bear to hear anymore scores based on those bloody chords.
Yeah, I get you, normally these things stick in my throat ( ears or whaddever ) but for some reason this one appeals to me, I can't explain it!?
Because in another progression (C Am F G) it's pretty much every pop/rock song from the fifties onwards!
Is that why I kept thinking about that one song by Status Quo? Y'know the one that is ALL of them. 
On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorMartijn
- CommentTimeOct 31st 2013 edited
Timmer wrote
Is that why I kept thinking about that one song by Status Quo? Y'know the one that is ALL of them.
I often had the same thought...a bit later on ZZ Top nicely fit into that category as well.
Steven wrote
They even make an appearance in Lord of the Rings!
It's a progression of the ages. Ingrained in the public consiousness, and inescapable.
You can lament it.
You can fear it.
You can vent your anger, but at the end...'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn -
- CommentAuthorSteven
- CommentTimeOct 31st 2013
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- CommentAuthorTimmer
- CommentTimeOct 31st 2013
Steven wrote
Man up!
Here, you can borrow my mate, he'll take the strain for you.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorPawelStroinski
- CommentTimeOct 31st 2013 edited
I didn't know so many messages would crop up in between.
Brian Tyler - Thor 2: The Dark World
It's one of my favourite Brian Tyler scores, the theme while working in an anthemic way is melodically one of his best. I like the inclusion of choir using some of ideas not really present in film music anymore (a dissonant scream kind of effect achieved without actually making them scream), quite complex orchestratrions, not really banging the music to our ears to submission as he tends to do. Yes, it's pretty loud, but we are talking about the frigging god of thunder fighting for his very own realm, what else could we expect?http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorFalkirkBairn
- CommentTimeOct 31st 2013
Subtlety?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 -
- CommentAuthorEdmund Meinerts
- CommentTimeOct 31st 2013
Tyler is awful with those four chords. There are other composers who have used and abused them but none worse than Tyler. I'd say they crop up in pretty much every major score of his and yeah, I can see why it's irritating. It's a nice progression but you have to use it in moderation. -
- CommentAuthorScribe
- CommentTimeOct 31st 2013
At least its generally more pleasant than the OTHER four notes...I love you all. Never change. Well, unless you want to! -
- CommentAuthorPawelStroinski
- CommentTimeOct 31st 2013
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- CommentAuthorErik Woods
- CommentTimeOct 31st 2013
Scribe wrote
At least its generally more pleasant than the OTHER four notes...
host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorFalkirkBairn
- CommentTimeOct 31st 2013
PawelStroinski wrote
FalkirkBairn wrote
Subtlety?
In what way?
In a less-is-more sort of way? I'm assuming that the film is going to be loud and so, as with a lot of scoring today, the music has to be LOUDER. Perhaps better sound design in the film itself could mean that the composer decides that there's no need for music. Or the music could complement the action rather than trying to battle with it?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 -
- CommentAuthorCaptain Future
- CommentTimeOct 31st 2013
NP: Downton Abbey - The Essential Collection (2012) - John Lunn
Another example for fine contemporary TV scoring.
VolkerBach's music is vibrant and inspired. -
- CommentAuthorPawelStroinski
- CommentTimeOct 31st 2013
FalkirkBairn wrote
PawelStroinski wrote
FalkirkBairn wrote
Subtlety?
In what way?
In a less-is-more sort of way? I'm assuming that the film is going to be loud and so, as with a lot of scoring today, the music has to be LOUDER. Perhaps better sound design in the film itself could mean that the composer decides that there's no need for music. Or the music could complement the action rather than trying to battle with it?
As far as I remember, Tyler generally prefers a quieter in-film mix.http://www.filmmusic.pl - Polish Film Music Review Website -
- CommentAuthorSouthall
- CommentTimeOct 31st 2013
Romeo and Juliet - Abel Korzeniowski
It's very nice, that's for sure, but I always have a nagging suspicion I've heard it before. -
- CommentAuthorTimmer
- CommentTimeOct 31st 2013
NP : THE WHITE BUFFALO - John Barry
A haunting and very atmospheric score, I've always loved this one.On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt -
- CommentAuthorSteven
- CommentTimeOct 31st 2013
Lincoln John Williams
I think I've finally come round to this score. I was initially put off by the typically schmaltzy Copelandesque Americana that John Williams can probably write in his sleep, but once I was able to get past that initial disappointment, I can finally appreciate it for what it is - another finely crafted score from the Gov'ner. -
- CommentAuthorErik Woods
- CommentTimeOct 31st 2013
Southall wrote
Romeo and Juliet - Abel Korzeniowski
It's very nice, that's for sure, but I always have a nagging suspicion I've heard it before.
And you would have probably said the same thing if you heard Horner's rejected score.
-Erik-host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS! -
- CommentAuthorlp
- CommentTimeOct 31st 2013
Southall wrote
Romeo and Juliet - Abel Korzeniowski
It's very nice, that's for sure, but I always have a nagging suspicion I've heard it before.
You should listen to W.E. before R&J and you'll understand. -
- CommentAuthorSouthall
- CommentTimeOct 31st 2013
Erik Woods wrote
Southall wrote
Romeo and Juliet - Abel Korzeniowski
It's very nice, that's for sure, but I always have a nagging suspicion I've heard it before.
And you would have probably said the same thing if you heard Horner's rejected score.
-Erik-
Indeed so! (Ironically some of the familiarity is that parts of it do sound a bit like Horner.) -
- CommentAuthorAnthony
- CommentTimeOct 31st 2013
Timmer wrote
NP : THOR: THE DARK WORLD - Brian Tyler
Does anyone else here hear a little bit of Shore's LOTR here and there in this score?
Since nobody else commented on this, yes, yes I do. -
- CommentAuthorEdmund Meinerts
- CommentTimeOct 31st 2013
Anthony wrote
Timmer wrote
NP : THOR: THE DARK WORLD - Brian Tyler
Does anyone else here hear a little bit of Shore's LOTR here and there in this score?
Since nobody else commented on this, yes, yes I do.
Just came back from the film and yes, I think I heard Eowyn's theme at a few points. Of all things... -
- CommentAuthorAnthony
- CommentTimeOct 31st 2013 edited
There was clearly some temp track from Transformers and The Dark Knight Rises in there too. And I don't just mean the general sound - you could clearly tell where they'd placed some of that stupid music for Shia La Beouf's character and other stuff used for Bane.
I think one of the most obvious temps Tyler has done is literally copying bar for bar part of John Powell's Mr. & Mrs. Smith and putting it in Fast Five of all places. -
- CommentAuthorAtham
- CommentTimeNov 1st 2013
NP : THOR: THE DARK WORLD - Brian Tyler
After all the discussion here on this one I thought I'd give it a spin.
Yep, I hear the chords that are all so common in modern scores.
Yep, I hear the temp track love.
But, I hear an enjoyable score nonetheless!
At first it reminded me of a grand fantasy score for a video game but I soon got into the groove and just enjoyed the ride. BTW I like grand fantasy scores for video games so don't take me the wrong way there.
I have to say, I really do like it!
