[Closed] Now Playing XVI

NP : SUPERMAN - John Williams



Just a few tracks cos I'm off out in about 20 mins

I don't dislike it but yeah, melodic moments of rest are always welcome and calm you down against the next oncoming wave

Brian Tyler - Eagle Eye

Again, I prefer it to AVP: R The action has its dissonant ideas, but is really melodic and good. Tense music indeed. The modern rock touch is good too. Unlike AVP: R and some earlier scores, I can definitely imagine myself returning to this one. The knack for syncopes not far from RC sound is something I enjoy a lot.

Yes, the key is balance and focus, and perhaps being more than the ambitions say. I still think that AVP: R fails as a homage, because there isn't enough of Tyler's own voice in it. When it comes to Eagle Eye and even Bangkok Dangerous I have a feeling, that Tyler definitely matured, while still retaining his RC-based ideas. There are neat ideas, like some of the brass writing in some action cues, which is DEFINITELY not taken from either Zimmer, Goldenthal, Goldsmith or Williams. There is a cue similar to JNH here and there, but that doesn't prevent me from enjoying it (not as blatant as Callery in 24, for example).'

Structurally, the most recent Tyler GENERALLY writes MV scores, which bigger orchestra (this time not as messy as I felt it was in AVP: R or even sometimes Paparazzi), but some basic rhythmic ideas (electronics writing, preference over certain type of syncopes) are definitely inspired by Zimmer. Some melodic ideas are of course inspired too. It may be offensive maybe, but I have a feeling that he approached his outings this year with somewhat more intelligence (I just love some orchestrational effects in Eagle Eye - like certain string glissandi - and the more emotional stuff in Bangkok Dangerous) than, say, the, indeed, mayhem called AVP: R.

Orchestrally beefed up and, OK, actually that score is the LEAST Zimmerish of the recent bunch (though there is a little figure in the beginning of Decimation Proclamation) and yeah, Zimmer never ventured into Goldenthalesque areas THAT much.

Though I'd say that Why So Serious, while not as well orchestrated (obviously) , has a very similar brutality and "in your face" attitude. It's just pure mayhem too.

While I am not a fan of AVP 2, Decimation Proclamation may actually be my favorite Tyler track.

Doesn't comes close, in terms of volume, size, thickness and richness of orchestration.

I agree with both of you. All I mean is that the final effect in terms of attitude and brutality is similar with using very different means to achieve it. Zimmer also went into similar brutality in Black Hawk Down before.

I guess the best word for Joker's material would be texture?

Yes you´re right here. But if you ask me, I prefer the brutality of Tyler, at least in terms of listening experience. I mean I come back very often to AVP:R or Eagle Eye, while the only track I come back from TDK is Like a Dog Chasing Cars. Won´t discuss TDK´s score in the film as it gives it the appropriate mood, but as a stand alone listening experience it pales against Tyler music.

Neither does AVP:R, but it still is

Well, i love THE DARK KNIGHT, all of it. But aside that Zimmer (mostly he) went a bit more wow-wow and blah blah than usual over the said piece; i can understand why since it's the first time he has done it to such degree, and it surely works wonders within the film but he's hardly the first to experiment with sounds and textures in music

All Brian Tyler themes so far in one

ZBIGNIEW PREISNER - silence night and dreams

Absolutely beautiful music and sound textures ruined by the irritating singing of a wanna-be diva. Why?

And there's one point where it sounds like it's going to break out into the main "theme" from War (but lickily it doesn't). One middle-eastern sounding motif comes straight from the Bourne Ultimatum in "Dead End Clues".



Have you ever listened to Bug?

Few tracks and found it quite interesting as an experiment, but we were comparing AVP: R with Batman, whereas I agree that Dark Knight is an acquired taste and by far not as complex as Tyler's work, there is far more experimentation there and presence of the composers' own voices (hell, I hear JNH's orchestrations in Like a Dog Chasing Cars)