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[Closed] Now Playing XVI

General Discussions » Now Playing XVI (Posts 2431 to 2460 of 3006)

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    •  
      CommentAuthorHeeroJF
    • CommentTimeOct 19th 2008 edited
    Arg, missed a few dicussions while I was getting my Civilization IV fix over the last two days. Nothing that can't be summer up though:

    Pheonix Saga music rules, classic adventure themes and action of Timeline (both scores) somehow don't satisfy everyone, Quantum of Solace discussions seem heated but I haven't heard the score yet, I need to get a whole lot more Ghibli studio scores than I do now, and I too much prefer The Greatest Game Ever Played over War (which is far too generic and rock-infused for me to take too seriously, as big a Tyler fan as I am), ah and one last note:

    We are heeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeere!!!!! biggrin (YAYY! I have some followers in my cult of Horton lovers!! I'll be bold and say that so far it's the best score of the year, in my opinion)

    NP: The Last Hunt, Daniele Amfitheatrof
    Like most golden age scores it'll take a whole lot of effort to really get into this score (or any others on this Naked Spur collection), but I have faith in it. So far I've picked up on the use of that traditional tune I've also hear in -what?- The Searchers, I think.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorSteven
    • CommentTimeOct 19th 2008
    HeeroJF wrote
    Arg, missed a few dicussions while I was getting my Civilization IV fix over the last two days. Nothing that can't be summer up though:

    Pheonix Saga music rules, classic adventure themes and action of Timeline (both scores) somehow don't satisfy everyone, Quantum of Solace discussions seem heated but I haven't heard the score yet, I need to get a whole lot more Ghibli studio scores than I do now, and I too much prefer The Greatest Game Ever Played over War (which is far too generic and rock-infused for me to take too seriously, as big a Tyler fan as I am), ah and one last note:

    We are heeeeeeeeeeeeeeeeeeeeeeeeeeeeeeeere!!!!! biggrin (YAYY! I have some followers in my cult of Horton lovers!! I'll be bold and say that so far it's the best score of the year, in my opinion)


    Do you feel better now?
    •  
      CommentAuthorHeeroJF
    • CommentTimeOct 19th 2008
    Hold on....

    We are heeeeeeeeeeeeeeeeeeeeeere!!!!

    Yes, better now.

    And I'm taking Civ4 back out of the house tomorrow, to make sure I don't relapse.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorNautilus
    • CommentTimeOct 19th 2008 edited
    NP:Quantum of Solcace (Arnold)

    Agre with Anthony about the action writting is better here than in Casino Royale.It has more color, more careful orchestrations, more balanced and even some homenages to John Barry's music ( i mean more than usual). "somebody Wants to Kill you" is specially effective (and short)

    In fact the whole score is more rich in orchestration and it's more colorful (Attention to "inside man" or "Camille's story"with this The Island-like uquelele ). Special note to "nigt at the opera" , a very sensual track. It is nothing like Arnold has ever composed.

    But How I said, it lacks of a major dominant theme. And it makes this score sinks.

    The first 2 tracks and "pursuit at ..." (the last 3 minutes ) can't be more exiting! beer beer beer (learn from here , Tyler ehehe)


    I must be the only one who thinks the song is pretty interesting. a mix of hip-hop and rock with some notes of Monty Norman's theme wich makes a little bit more coherent in this saga (far from the annoying Die another Day One)
    • CommentAuthorAnthony
    • CommentTimeOct 19th 2008
    I'm still surprised no one has mentioned the excellent "Talamone" and "Oil Fields" cues.

    And Jordi, why haven't you mentioned Target Terminated at all? That's the best action track on the album. shocked
    •  
      CommentAuthorlp
    • CommentTimeOct 19th 2008
    Anthony wrote
    And Jordi, why haven't you mentioned Target Terminated at all? That's the best action track on the album. shocked


    I'm not Jodi, but I do agree with our assessment.

    The action parts are more organic, with a very aggressive, unrelenting and angry sound from those brass and percussions. It feels different yet still familiar than the previous Arnold's Bond outings. The soft parts are dark and emotionally regressive, and in general, not very romantic at all. The suspense cues are much better than what Arnold's done before and feels more like a matured evolution of previous ideas rather than a retread. And the song sucks.

    NP - Quantum of Solace - Arnold Good score.
    • CommentAuthorAnthony
    • CommentTimeOct 19th 2008
    A lot of the quieter cues should hopefully be easier listens after seeing the film. Like with CR, a lot of the suspense cues fall quite flat without knowing what they're referencing.
    •  
      CommentAuthorNautilus
    • CommentTimeOct 19th 2008 edited
    Anthony wrote
    I'm still surprised no one has mentioned the excellent "Talamone" and "Oil Fields" cues.

    And Jordi, why haven't you mentioned Target Terminated at all? That's the best action track on the album. shocked


    Well...Because I prefer the other tracks I mentioned. But yes, "target terminated" is a great acion cue. it keeps the action from the very first note. But I do prefer the other action tracks from this score because are a little bit more thematic.

    lp wrote
    Anthony wrote
    And Jordi, why haven't you mentioned Target Terminated at all? That's the best action track on the album. shocked


    I'm not Jodi.

    .


    Are you sure? dizzy

    Arnold really show a more mature side in this score. specially iin the orchestrations, and sometimes even a clever rythms that you can think they are from powell ( and I love this moments! they are unusual in a Arnold score! )

    it could have been one of his best Arnold scores. sadly, how i said, it lacks of thematic consistency.
    •  
      CommentAuthorNautilus
    • CommentTimeOct 19th 2008
    NP:Matrix Deluxe Edition (Davis)

    One of the best score of the last 10 years, but I prefer Matrix Revolutions for 2 reasons : Chorus and Juno Reactor.
  10. Christodoulides wrote
    No, i mean that the rejected score is bad. Some parts of it are VERY, VERY BAD. And oddly (or perhaps not so strange eventually) some people will actually elevate way above the very good imo replacement score, the far better Brian Tyler score only because you have a Brian Tyler VS Goldsmith case. If it had been a rejection of exactly the same music but written by anyone else besides Goldsmith, i think most would not even bother with it, and definitely not elevate it above Brian Tyler's rhythmic and heavily melodic, coherent score.


    They're really not that different in what they're doing. Tyler's orchestrations are a bit blunter and dense, and Goldsmith may have a weird synth noise, but they push the same buttons essentially. Which one you like more has a lot to do with what era of film music is your favourite.
    A butterfly thinks therefore I am
    •  
      CommentAuthorErik Woods
    • CommentTimeOct 20th 2008 edited
    franz_conrad wrote
    Christodoulides wrote
    No, i mean that the rejected score is bad. Some parts of it are VERY, VERY BAD. And oddly (or perhaps not so strange eventually) some people will actually elevate way above the very good imo replacement score, the far better Brian Tyler score only because you have a Brian Tyler VS Goldsmith case. If it had been a rejection of exactly the same music but written by anyone else besides Goldsmith, i think most would not even bother with it, and definitely not elevate it above Brian Tyler's rhythmic and heavily melodic, coherent score.


    They're really not that different in what they're doing. Tyler's orchestrations are a bit blunter and dense, and Goldsmith may have a weird synth noise, but they push the same buttons essentially. Which one you like more has a lot to do with what era of film music is your favourite.


    This isn't an era vs. era battle. Mostly it's a preference issue but I still think that Goldsmith did the better job and my reasons are mentioned above. If Tyler did the better job I would have credited him with doing so but on this occasion he didn't. Now, both scores do seem to follow the same structure which makes Goldsmith's rejection more puzzling but nothing Tyler wrote can compare to the epic powerhouse "Prepare For Battle/ Victory For Us" and Goldsmith's mastery of creating instantly catchy and memorable melodies that are superior to Tyler's, IMHO, of course. But what you have is an establish veteran going up against a relative new comer... but again I stress that is something I don't care about when evaluating the two scores.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorSteven
    • CommentTimeOct 20th 2008
    Personally I LOVE Goldsmith's score, but I can more than understand why people don't like it. Also, I listened to it during a pretty significant part of my life and I always associate it with that period.
    •  
      CommentAuthoromaha
    • CommentTimeOct 20th 2008
    Like many of you I get the CR feeling upon first listen. And I know once upon seeing the film things will change. No twangy guitar theme. sad I hope I missed it upon first listen. I was working out during most of it. Yet... I was listening for it. slant

    Doing a second listen now. It really is a top notch score though.
  14. Erik Woods wrote
    franz_conrad wrote
    Christodoulides wrote
    No, i mean that the rejected score is bad. Some parts of it are VERY, VERY BAD. And oddly (or perhaps not so strange eventually) some people will actually elevate way above the very good imo replacement score, the far better Brian Tyler score only because you have a Brian Tyler VS Goldsmith case. If it had been a rejection of exactly the same music but written by anyone else besides Goldsmith, i think most would not even bother with it, and definitely not elevate it above Brian Tyler's rhythmic and heavily melodic, coherent score.


    They're really not that different in what they're doing. Tyler's orchestrations are a bit blunter and dense, and Goldsmith may have a weird synth noise, but they push the same buttons essentially. Which one you like more has a lot to do with what era of film music is your favourite.


    This isn't an era vs. era battle.


    I think the eras may play a role, but not in a way that you'd usually think. For some people, Goldsmith's action writing is a sound that is more satisfying, and despite his blockier orchestrations late in life, still very much a Silver Age sound. For others, Tyler's sound - which is simple, louder, and denser, but less elegant - is more exciting, whereas to ears that favour the Goldsmith style, it's blunt and inelegant. The Tyler sound beats the average MV/RC cue, but much like that music, it has an 'everything PLUS the kitchen sink' quality, and if you're used to that, then Goldsmith sounds a bit thin. What makes me think that the orchestration style has to play a part here is that the scores are very similar in terms of their dramatic function. They're both saying roughly the same things for the same scenes, but they're doing so in a different musical language.

    NP: Our Mother's House (Delerue)

    I do hope I never go 'off' the Delerue sound. There's not enough beauty in the world to get by without enjoying this man's music.
    A butterfly thinks therefore I am
    •  
      CommentAuthorlp
    • CommentTimeOct 20th 2008
    Nautilus wrote
    Well...Because I prefer the other tracks I mentioned. But yes, "target terminated" is a great acion cue. it keeps the action from the very first note. But I do prefer the other action tracks from this score because are a little bit more thematic.



    Yeah, a melodic hook/motif in an action track tend to make it easier to digest (a la CR's African Rundown or Miami International)

    Nautilus wrote
    Arnold really show a more mature side in this score. specially iin the orchestrations, and sometimes even a clever rythms that you can think they are from powell ( and I love these moments! they are unusual in a Arnold score! )

    it could have been one of his best Arnold scores. sadly, how i said, it lacks of thematic consistency.


    I think there are themes in the score but they're not as prevalent as those in Casino Royale. Most of the action track does have some sort of hook that get built upon.

    I do miss a good "I'm James Bond" track though.
    •  
      CommentAuthorMiya
    • CommentTimeOct 20th 2008
    NP: Hidalgo - JNH

    Let 'Er Buck is great cool
    Labels are for cans, not people. - Anthony Rapp
    • CommentAuthorTimmer
    • CommentTimeOct 20th 2008
    NP : nothing



    I haven't really played much music this weekend, and I'm quite happy to sit here right now in silence.
    On Friday I ate a lot of dust and appeared orange near the end of the day ~ Bregt
    •  
      CommentAuthorHeeroJF
    • CommentTimeOct 20th 2008
    Miya wrote
    NP: Hidalgo - JNH

    Let 'Er Buck is great cool

    There's also the fact that JNH is great.

    NP: In a Shallow Grave, Jonathan Sheffer
    This new Varese club release... Still on the first 60 seconds of it, so I really have nothing to say about it yet.
    ''The mandate, as well as the benefit, of responsibility is the ability to tell when one can afford to be irresponsible.'' - Me
    •  
      CommentAuthorDemonStar
    • CommentTimeOct 20th 2008
    NP: The Omen - Jerry Goldsmith

    What a ferocious finale!!! shocked punk
  20. NP: Quantum of Solace (David Arnold)

    Look... who knows how I ended up with a copy, as I'm always the last to get anything these days. However it found its way to my door and while I'm not at the end yet, I'm really enjoying it. Much better than Die Another Day and even better I would say than Casino Royale to my ears. I was never that keen on CR outside of the film and the highlight cues (like 'Africa Rundown'). Arnold seems to have come into his own here - I no longer hear a composer that is trying to prove he's the Bond the composer, this guy IS the Bond composer now. But as an album, I think QOS has real value. There's some really strong scoring here - including a melodically-driven action cue ('Target Terminated'), strong ethnic references (the Santaolalla-like guitar and flutes of 'Camille's Story'), and some great sensitive cues. I still haven't heard the infamous song yet, but the references to it in an early cue (brass licks that sound like a trumpeteer mouthing 'another way to die') fit in well.
    A butterfly thinks therefore I am
    •  
      CommentAuthorSteven
    • CommentTimeOct 20th 2008
    franz_conrad wrote
    NP: Quantum of Solace (David Arnold)

    Look... who knows how I ended up with a copy, as I'm always the last to get anything these days. However it found its way to my door and while I'm not at the end yet, I'm really enjoying it. Much better than Die Another Day and even better I would say than Casino Royale to my ears. I was never that keen on CR outside of the film and the highlight cues (like 'Africa Rundown'). Arnold seems to have come into his own here - I no longer hear a composer that is trying to prove he's the Bond the composer, this guy IS the Bond composer now. But as an album, I think QOS has real value. There's some really strong scoring here - including a melodically-driven action cue ('Target Terminated'), strong ethnic references (the Santaolalla-like guitar and flutes of 'Camille's Story'), and some great sensitive cues. I still haven't heard the infamous song yet, but the references to it in an early cue (brass licks that sound like a trumpeteer mouthing 'another way to die') fit in well.


    But that's a modern, mainstream score... and you're Michael... and I'm confused. dizzy
    •  
      CommentAuthorDemetris
    • CommentTimeOct 20th 2008
    Steven wrote
    franz_conrad wrote
    NP: Quantum of Solace (David Arnold)

    Look... who knows how I ended up with a copy, as I'm always the last to get anything these days. However it found its way to my door and while I'm not at the end yet, I'm really enjoying it. Much better than Die Another Day and even better I would say than Casino Royale to my ears. I was never that keen on CR outside of the film and the highlight cues (like 'Africa Rundown'). Arnold seems to have come into his own here - I no longer hear a composer that is trying to prove he's the Bond the composer, this guy IS the Bond composer now. But as an album, I think QOS has real value. There's some really strong scoring here - including a melodically-driven action cue ('Target Terminated'), strong ethnic references (the Santaolalla-like guitar and flutes of 'Camille's Story'), and some great sensitive cues. I still haven't heard the infamous song yet, but the references to it in an early cue (brass licks that sound like a trumpeteer mouthing 'another way to die') fit in well.


    But that's a modern, mainstream score... and you're Michael... and I'm confused. dizzy


    I think he's the one confused tongue
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemetris
    • CommentTimeOct 20th 2008
    franz_conrad wrote NP: Our Mother's House (Delerue) I do hope I never go 'off' the Delerue sound. There's not enough beauty in the world to get by without enjoying this man's music.


    Getting "off" Delerue's beauty once you've met and enjoyed it in depth, is a pretty irreversible sequence imo.
    Love Maintitles. It's full of Wanders.
  24. Christodoulides wrote
    Steven wrote
    franz_conrad wrote
    NP: Quantum of Solace (David Arnold)

    Look... who knows how I ended up with a copy, as I'm always the last to get anything these days. However it found its way to my door and while I'm not at the end yet, I'm really enjoying it. Much better than Die Another Day and even better I would say than Casino Royale to my ears. I was never that keen on CR outside of the film and the highlight cues (like 'Africa Rundown'). Arnold seems to have come into his own here - I no longer hear a composer that is trying to prove he's the Bond the composer, this guy IS the Bond composer now. But as an album, I think QOS has real value. There's some really strong scoring here - including a melodically-driven action cue ('Target Terminated'), strong ethnic references (the Santaolalla-like guitar and flutes of 'Camille's Story'), and some great sensitive cues. I still haven't heard the infamous song yet, but the references to it in an early cue (brass licks that sound like a trumpeteer mouthing 'another way to die') fit in well.


    But that's a modern, mainstream score... and you're Michael... and I'm confused. dizzy


    I think he's the one confused tongue


    Hey, come on guys - I'm not Joep! biggrin

    I've now heard the song, and it's probably the only sour note on the album. It's not horrible, but it's no great shakes. Thom Yorke and Amy Winehouse should have done the duet.
    A butterfly thinks therefore I am
    •  
      CommentAuthorDemetris
    • CommentTimeOct 20th 2008 edited
    Erik Woods wrote
    franz_conrad wrote
    Christodoulides wrote No, i mean that the rejected score is bad. Some parts of it are VERY, VERY BAD. And oddly (or perhaps not so strange eventually) some people will actually elevate way above the very good imo replacement score, the far better Brian Tyler score only because you have a Brian Tyler VS Goldsmith case. If it had been a rejection of exactly the same music but written by anyone else besides Goldsmith, i think most would not even bother with it, and definitely not elevate it above Brian Tyler's rhythmic and heavily melodic, coherent score.
    They're really not that different in what they're doing. Tyler's orchestrations are a bit blunter and dense, and Goldsmith may have a weird synth noise, but they push the same buttons essentially. Which one you like more has a lot to do with what era of film music is your favorite.
    This isn't an era vs. era battle. Mostly it's a preference issue but I still think that Goldsmith did the better job and my reasons are mentioned above. If Tyler did the better job I would have credited him with doing so but on this occasion he didn't. Now, both scores do seem to follow the same structure which makes Goldsmith's rejection more puzzling but nothing Tyler wrote can compare to the epic powerhouse "Prepare For Battle/ Victory For Us" and Goldsmith's mastery of creating instantly catchy and memorable melodies that are superior to Tyler's, IMHO, of course. But what you have is an establish veteran going up against a relative new comer... but again I stress that is something I don't care about when evaluating the two scores. -Erik-


    I tend to agree with Erik here. I get tears every time i listen to the main theme from the 13th warrior score or every single brilliant note in the first knight score but that doesn't come even close with the timeline rejected. It's primarily a matter of personal taste imo although eras might still play a role, although a small one, imo.

    For instance, i am now 25 and i am just at the middle of where you might easily be caught between the 2 different eras and styles of film music but still like both of them equally or like stuff from both eras. Your upbringing indicates as such perhaps, as due to timing factors you were injected with musical material from that past sound into your database as well as the current modern releases. But i am truly wondering if there going to exist many film music fans which are being born as we speak that will be equally attracted to both ages as I now am, i.e. neither an old-time nor a new-timer, just in the middle.

    I'd say though that one's musical and cultural background or his upbringing and education are way more important factors into shaping one's musical tastes than musical eras themselves.
    Love Maintitles. It's full of Wanders.
    •  
      CommentAuthorDemonStar
    • CommentTimeOct 20th 2008
    Christodoulides wrote
    For instance, i am now 25 and i am just at the middle of where you might easily be caught between the 2 different eras and styles of film music but still like both of them equally or like stuff from both eras. Your upbringing indicates as such perhaps, as due to timing factors you were injected with musical material from that past sound into your database as well as the current modern releases.


    I'm 18 and it's the same case with me too! Incidentally though I've been brought up in a no-film music world, yet I discovered it on my own and enjoy it alone tongue Kinda proud to be different from the rest though!! biggrin
    • CommentAuthorAnthony
    • CommentTimeOct 20th 2008 edited
    Nautilus wrote
    Arnold really show a more mature side in this score. specially iin the orchestrations, and sometimes even a clever rythms that you can think they are from powell


    Yes! Especially some of the percussion in the first cue! punk
    •  
      CommentAuthorNautilus
    • CommentTimeOct 20th 2008 edited
    I was playing: Sum of All fears (Goldsmith)
    OK. You know..The mission is one of the best tracks from Goldsmith ever. Realy beautiful and touching.

    the CIA fanfarre is fabolous, I want a Deluxe edition of this score! I remember much more action music in the film!

    A very interesting, and sometimes sublime, thriller score from the Maestro.

    NP:Quantum of Solace (Arnold)

    There not any "City of Lovers" theres not any "blunt Instrument" and sure theres not any "miami International"....but there are a lot of more interesting orchestrations here!

    I even can say is one of the most changelling scores from Arnold, he goes a little bit out of his confort place. (one of my complaintment about Arnold is he scored some minor action sequences in Casino Royale like if New York was being destroyed )


    Yes Anthony ..."target terminated" punk punk punk

    But I can die for this 3 action minutes of "pursuit at pour Prince", I'm weak for electric guitars (and sometimes it's very close to the acclamaited music of Casino Royale trailer )

    I never could expect a track like a "Night at the opera" from Arnold. more subtle and less fireworks here. Even a sensual touch.
    • CommentAuthorAnthony
    • CommentTimeOct 20th 2008 edited
    Nautilus wrote
    NP:Quantum of Solace (Arnold)

    There not any "City of Lovers" theres not any "blunt Instrument" and sure theres not any "miami International"....but there are a lot of more interesting orchestrations here!

    I even can say is one of the most changelling scores from Arnold, he goes a little bit out of his confort place. (one of my complaintment about Arnold is he scored some minor action sequences in Casino Royale like if New York was being destroyed )


    Yes Anthony ..."target terminated" punk punk punk

    But I can die for this 3 action minutes of "pursuit at pour Prince", I'm weak for electric guitars (and sometimes it's very close to the acclamaited music of Casino Royale trailer )

    I never could expect a track like a "Night at the opera" from Arnold. more subtle and less fireworks here. Even a sensual touch.


    Agreed. But there is a new "I'm The Money" and the stylish power-anthem of the Bond theme (the vamp at least) in "Oil Fields" (probably my favourite track). "Night At The Opera" actually reminds me a lot of "Trip Aces" and the love theme for Solange. I know this piece builds up a lot more, but it sounds similar.

    There are also a lot of little references that sound like they have been taken straight from CR. I'll have to list some when I listen to it again.

    And you're right about the song being referenced a bit more - there's one brass line in the first track, and I've spotted the single repetitive piano note in a couple of cues. It doesn't stand out much though, and luckily Arnold's main theme is catchy and used a lot more.

    I also really like the appearances of Vesper's theme again. They're a lot more dramatic and mean a lot more this time around.

    "Somebody Wants To Kill You" is a very bizzare track which made me want to vomit the first time I heard it, but now I like it a lot and I'm very interested to see how it fits into the film.

    And yes, the last 3 minutes of "Pursuit At Port Au Prince" are awesome. Even if a little heavy for a Bond film, I love it! The quiet part at the end featuring the QOS theme and the Bond theme is great too!
  30. Anthony wrote

    And you're right about the song being referenced a bit more - there's one brass line in the first track, and I've spotted the single repetitive piano note in a couple of cues. It doesn't stand out much though, and luckily Arnold's main theme is catchy and used a lot more.


    Yeah, I noticed that melody. It fits into the score very nicely... I only wish the song worked a bit better.


    I also really like the appearances of Vesper's theme again. They're a lot more dramatic and mean a lot more this time around.


    Agreed.
    The double finale cues of 'The Dead Don't Care About Vengeance' and 'I Never Left' make for a very strong finale in this one.

    I am surprised the 007 theme wasn't used more often given the early talk about the score. I can't say I mind, as it's a theme I've heard so often that it wearies me a little. 'You Know My Name' felt like it could take over for a little while, and I think this album could have featured one or two more references to it.
    A butterfly thinks therefore I am

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