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- CommentAuthorThor
- CommentTimeJul 22nd 2024
NP: COUNTRY (Charles Gross)
Such a lovely score -- the only one I have by Gross -- downkey, reflective and ripe with Americana.I am extremely serious. -
- CommentAuthorBobdH
- CommentTimeAug 16th 2024 edited
NP: ALIEN ROMULUS - Benjamin Wallfish
There are truly moments in here that had me pleasantly surprised, with an impressive orchestral quality and Ligeti-like use of the choir, which made me wonder where all the negativity came from - and then the atrocious electronics came on, and I was like, 'ah right, that's it'. It's the same with his IT scores; those harsh electronic sounds carry no suspense at all, no emotion, and just destroy the mood created by the orchestral pieces. Such a shame.
Also saw a small featurette on YouTube with Benjamin, in which he proudly talked about mixing electronics with orchestra and blurring the lines between music and sound design. These are not new concepts. It's being done to death. Good grief. -
- CommentAuthorThor
- CommentTimeAug 17th 2024
The negativity (if there is some) comes from the fact that it's a totally disparate score. It doesn't have any identity of its own, nor a singular vision. Sure, there are individual, fine moments, but a singular vision is an ESSENTIAL part of any score. And it fails in that regard, like the film itself.I am extremely serious. -
- CommentAuthorBobdH
- CommentTimeAug 18th 2024 edited
Yes, agreed, that’s another big problem of the score, yet since it’s become so common in modern commercial film scoring, I might have become used to it. I believe Jed Kurzel’s score for Covenant didn’t have a strong personality either, besides from the references to Goldsmith. I think I even prefer Walfish’s overall more organic sound over what Kurzel did, even though it’s completely inferior when compared to, for example, Goldenthal’s Alien3. -
- CommentAuthorThor
- CommentTimeAug 18th 2024
I thought Kurzel's score was great. Far more consistency in sound and approach throughout. Wallfisch was a little bit of reference there, a little bit of Goldsmith-isms there, suddenly a big romantic theme, some big electronic scapes, a lot of pulsating dronebeats. It's like it was scored using random library cues.I am extremely serious. -
- CommentAuthorBobdH
- CommentTimeSep 27th 2024 edited
NP: MEGALOPOLIS - Osvaldo Golijov
I'm loving this! Old fashioned Hollywood bombast (New Rome, Saturnalia) meets film noir atmospherics (The Map of Utopia, Noir Love) that is typically Golijov, reminiscent of his earlier Tetro for Coppola at times, or his own contemporary classical work. At times playful and experimental (Cesar Descends), but grounded by the melancholic saxophone pieces. I also love how the album is compiled, with tracks flowing into each other, creating a great listening experience. -
- CommentAuthorJoep
- CommentTimeFeb 14th 2025
Akira Kosemura - Honey Lemon Soda
Charming and relaxing. -
- CommentAuthorThor
- CommentTimeFeb 14th 2025 edited
NP: MICHAEL PALIN IN NORTH KOREA (Miguel d'Oliveira)
On green vinyl! Sent to me by the composer himself. A lovely, electronic score.I am extremely serious. -
- CommentAuthorFalkirkBairn
- CommentTimeFeb 15th 2025
Vinyl? Seems appropriate for it to be an outdated music technology for a documentary about North Korea!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 -
- CommentAuthorThor
- CommentTimeFeb 15th 2025
Careful, they might hear you!I am extremely serious. -
- CommentAuthorFalkirkBairn
- CommentTimeFeb 15th 2025
Thor wrote
Careful, they might hear you!
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 -
- CommentAuthorThor
- CommentTimeFeb 28th 2025
NP: ONE DAY IN FALL (Jennifer Athena Galatis)
Female film composers aren't dime a dozen, so I remember perking up when I discovered this score by Galatis back in 2013. Might seem stark at first listening, but it's actually a lovely example of the post-minimalist romanticism that was all the rage at the time (Richter, Korzeniowski, Desplat, Marianelli etc.). Pianos and strings that circle around you, but with supreme elegance. I remember thinking "this was one to watch". Alas, I haven't really found anything later on by her that I've latched on to.I am extremely serious. -
- CommentAuthorThor
- CommentTimeFeb 28th 2025 edited
NP: THOMAS MOT THOMAS (Jeremy Villecourt & Florent Chronie-De Maria)
Jeremy Villecourt and Florent Chronie-De Maria are two Frenchmen who have established themselves in Norway, and do a lot of interesting synth scores for Norwegian films and TV series. This is their best work, a weird 2022 comedy that opens up to these great, almost TD-like sequencers, and some quasi-classical bits.I am extremely serious. -
- CommentAuthorJoep
- CommentTimeMar 12th 2025
Guillaume Ferran - Brûle le sang
https://www.youtube.com/watch?v=Hrnfw17 … cH5XkMT-fc
So far, 2025 brought us several truly engaging body of works, and this is certainly one of them. -
- CommentAuthorJoep
- CommentTimeMar 26th 2025
Stefano Lentini - Belcanto
A wonderful detailled, hybrid of score and opera, adding a lot of creatity. -
- CommentAuthorJoep
- CommentTimeApr 4th 2025
Paolo Buonvino - Il Gattopardo
A wonderful work, with some interesting changes in relation to Visconti/Rota. -
- CommentAuthorJoep
- CommentTimeApr 8th 2025
Panu Aaltio - Pikku-Siperia
https://open.spotify.com/album/0vYCrcV9a3SrvrIqTjUwRi
Both deeply engaging and idiosyncratic in exquisite comedy scoring. -
- CommentAuthorJoep
- CommentTimeMay 6th 2025
Alexander Reumers - Haantjes
Decent comedy scoring to the series, by a composer whom, as far I know, already scored 6 tv series released in 2025.....