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This is a comments thread about Blog Post: Film Music Is Dead by Kjell Neckebroeck |
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If you think film music is dead, what you're really saying is "my personal and narrow focus of a genre is outdated and I refuse to look elsewhere". Thank you. I will try to be more concise in the future.
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Holy crap, I'm almost halfway through this list—I'm streaming 'em on YouTube—and I'm fighting to stay awake here! There's your first mistake! -Erik- I don't understand your point.
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20 excellent scores just from 2013? OK, you got it: - Roque Banos, Evil Dead - Bartosz Chajdecki, Baczynski - Sarah Class, Africa - Alexandre Desplat, Philomena - Ilan Eshkeri, Justin and the Knights of Valor - Laurent Eyquem, Copperhead - Laurent Eyquem, Winnie Mandela - Joe Hisaishi, Miracle Apples - Joe Hisaishi, The Wind Rises - Federico Jusid, Isabel - Abel Korzeniowski, Escape from Tomorrow - Abel Korzeniowski, Romeo & Juliet - Maurizio Malagnini, The Paradise - Mark McKenzie, The Ultimate Life - Atli Örvarsson, Colette - Victor Reyes, Grand Piano - Carlo Siliotto, Instructions Not Included - Benjamin Wallfisch, Summer in February - John Williams, The Book Thief And that's just off the top of my head. Holy crap, I'm almost halfway through this list—I'm streaming 'em on YouTube—and I'm fighting to stay awake here! Most of this stuff feels like it was composed in Digital Performer. Only Desplat has held my interest for any length of time—the rest felt like over-programmed . Digital Performer is actually the most musical DAW out there. Guys like John Adams, Don Davis, Desplat, Wendy Carlos and Danny Elfman use it amount many others. Perhaps you meant Cubase or Ableton Live or Reason? There are a few moments in ED that do sound like Project Sam's Greatest hits but most of the score is rock solid. I've come to terms with the fact that 95% of current film music doesn't interest me any longer and have looked back to composers like Stravinsky, Shostakovich etc for music listening enjoyment and studying. I've been on a Ravel kick these days and Shosty's Symphony 10 second movement kicks the shit out of anything written for film in the last little while. I think I was most alarmingly confronted with this eventuality when I almost teared up with joy when I saw the recentGodzilla trailer tracked with Ligeti's Requiem. Contrast that with Giacchino's nice but frankly pedestrian trailer music for Jupiter Ascending and it just tells me this ain't the fun it used to befor me. That's my opinion and prerogative. Hence why I seldom post here. I don't give enough of a care. So Vincent, I do know where you're coming from.
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20 excellent scores just from 2013? OK, you got it: - Roque Banos, Evil Dead - Bartosz Chajdecki, Baczynski - Sarah Class, Africa - Alexandre Desplat, Philomena - Ilan Eshkeri, Justin and the Knights of Valor - Laurent Eyquem, Copperhead - Laurent Eyquem, Winnie Mandela - Joe Hisaishi, Miracle Apples - Joe Hisaishi, The Wind Rises - Federico Jusid, Isabel - Abel Korzeniowski, Escape from Tomorrow - Abel Korzeniowski, Romeo & Juliet - Maurizio Malagnini, The Paradise - Mark McKenzie, The Ultimate Life - Atli Örvarsson, Colette - Victor Reyes, Grand Piano - Carlo Siliotto, Instructions Not Included - Benjamin Wallfisch, Summer in February - John Williams, The Book Thief And that's just off the top of my head. Holy crap, I'm almost halfway through this list—I'm streaming 'em on YouTube—and I'm fighting to stay awake here! Most of this stuff feels like it was composed in Digital Performer. Only Desplat has held my interest for any length of time—the rest felt like over-programmed . Digital Performer is actually the most musical DAW out there. Guys like John Adams, Don Davis, Desplat, Wendy Carlos and Danny Elfman use it amount many others. Perhaps you meant Cubase or Ableton Live or Reason? There are a few moments in ED that do sound like Project Sam's Greatest hits but most of the score is rock solid. I've come to terms with the fact that 95% of current film music doesn't interest me any longer and have looked back to composers like Stravinsky, Shostakovich etc for music listening enjoyment and studying. I've been on a Ravel kick these days and Shosty's Symphony 10 second movement kicks the shit out of anything written for film in the last little while. I think I was most alarmingly confronted with this eventuality when I almost teared up with joy when I saw the recentGodzilla trailer tracked with Ligeti's Requiem. Contrast that with Giacchino's nice but frankly pedestrian trailer music for Jupiter Ascending and it just tells me this ain't the fun it used to befor me. That's my opinion and prerogative. Hence why I seldom post here. I don't give enough of a care. So Vincent, I do know where you're coming from. You know, David, it's not for lack of trying. I still remember when you recommended North's Cleopatra to me when I expressed my admiration for Spartacus. I bought it, gave it a spin and it just didn't click with me (though it has been a few years now and maybe it's time to try again.) You told me that you understood and that it wasn't everyone's cup of tea but at least, you said I tried. I do. I always try. P.S. Yes, Legeti's Requiem did give me the shivers in the Godzilla trailer. I am still hopeful about Giacchino's Jupiter Ascending though. P.P.S. It's been a looooooooooooong time since I've sat down at my keyboard, so yeah, let's change that to Cubase!
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20 excellent scores just from 2013? OK, you got it: - Roque Banos, Evil Dead - Bartosz Chajdecki, Baczynski - Sarah Class, Africa - Alexandre Desplat, Philomena - Ilan Eshkeri, Justin and the Knights of Valor - Laurent Eyquem, Copperhead - Laurent Eyquem, Winnie Mandela - Joe Hisaishi, Miracle Apples - Joe Hisaishi, The Wind Rises - Federico Jusid, Isabel - Abel Korzeniowski, Escape from Tomorrow - Abel Korzeniowski, Romeo & Juliet - Maurizio Malagnini, The Paradise - Mark McKenzie, The Ultimate Life - Atli Örvarsson, Colette - Victor Reyes, Grand Piano - Carlo Siliotto, Instructions Not Included - Benjamin Wallfisch, Summer in February - John Williams, The Book Thief And that's just off the top of my head. I believe you forgot to add: in my not so humble opinion.
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I don't understand your point. You're listening to MUSIC on YouTube. And are you even listening to the complete albums? You made quite the judgment on TWENTY film scores in less than 3 hours after Jon posted his list? -Erik- How long did it take you to fall in love with your favorite film scores? With me, it was always the same—the first few cues sitting in the theatre watching the film. Sometimes just listening to the main title and I knew this was a score I was going to buy. It's like the old saying goes, a girl knows within the first five minutes of a date if she's going to have sex with the guy. Well, I've met these scores and for most of 'em—we ain't fucking. By the way, most of the complete albums ARE on YouTube in HD sound. In fact, based on David's recommendation I'll be giving the entire Evil Dead score a try tomorrow.
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Is this what passes for good film music today? Synth french horns and choirs? Long string lines that go nowhere? Evil Dead sounded like a demo track for an orchestral sampler effects articulation patch for fuck's sake! Considering that each of those scores was recorded with a full live orchestra (albeit a couple of them do have some synth elements too, like Escape from Tomorrow) - if you honestly can't hear that I don't know what to say. I'm astonished. If these composers can make full live orchestras sound this shitty then they possess skills beyond the ken of most mortals. Color me impressed!
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The music isn't dead — it's the mix. Has anyone here seen some of 2013's biggest films? THE WOLVERINE THE MORTAL INSTRUMENTS MAN OF STEEL THE LONE RANGER WORLD WAR Z These scores are for the most part buried. Screaming in the background, with the knobs turned down. The current value music has in films these days is the real threat — forget melodies, variations or what software the score was written on.
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