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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.