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Shit....just got this in today....will see what happens.....
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"Judging from the iTunes samples... It´s time that Howard works with Shyamalan again so he is allowed to do a great score."
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A bit harsh, me thinks!
Have you heard WATER FOR ELEPHANTS (the FYC promo), HUNGER GAMES and (especially) SNOW WHITE & THE HUNTSMAN??
All are good to great recent scores by JNH, some recalling his high-water mark scoring for Shamalamadingdong.
__________________________
Yes, I heard all of them - and since my alias incorporates Howard´s Middle Name I am very inclined to give him the benefit of any doubt.
And I would never blame him (nor any composer these days) for giving producers "The Drone" they want because otherwise they would be rescored or not be hired anymore.
Still, Howard did not compose a score that really showed his immense talents since THE LAST AIRBENDER.
I guess this is because Shyamalan actually knows and respects film scoring and wants Howard to do a commanding score.
And please, making fun of a person´s name ("Shamalamadingdong") is playground humor and just mean-spirited. If you don´t like Shymalan´s work that´s fine. But you could express this with sense and reason.
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Posted: |
Aug 9, 2012 - 9:18 PM
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By: |
losher22
(Member)
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My review of this score, taken from Film, Music & Media:
To many film score fans, trying to imagine the Bourne series without John Powell’s music is akin to movie fans trying to imagine the Bourne series without Matt Damon. That may have been what writer/director Tony Gilroy had in mind all along when James Newton Howard was brought on board as the new Bourne Legacy’s composer, alongside new primary character Aaron Cross, played by Jeremy Renner. Gilroy’s decision to continue the series in spite of these potentially alienating changes no doubt had many a Bourne obsessive follower wondering if they were about to witness a disappointing regurgitation of prior ideas, or a rigorous reinvention of the mythology that has for so long played out at breakneck pace right in front of us. Commenting only about James Newton Howard’s score for the film, I can very positively say that a reinvention, nay, a rebirth, is close at hand.
The Bourne Identity fans will instantly recognize opening tune “Legacy;” it begins with the same two-note motif that will bring to mind Jason Bourne’s body floating in the water from the film series’ beginning. Then, right out of the gate, “Drone” introduces electronics leading to the first of wonderfully many loud and heavy guitar-based backdrops and rhythmic percussion sequences. Almost immediately, Howard showcases his talent not only for soft empathy but his ability to sharply break from calm to calamity with seamless transition. One is also reminded early on of Howard’s score for Salt, but it’s easily apparent that Salt is trumped with unrepentant confidence. The third and short track “Nrag” then brings to mind The Bourne Supremacy’s “Goa,” drifting thoughtfully into “You Fell In Love.” Seven tracks in, and “High Powered Rifle,” one of many album highlights, beings with oozing synth and faint, pulsing electronic riffs, then erupts into a minor crescendo before falling away to the gentle synth sound once again yet backed by echoing guitar effects. Next comes “They’re All Dead,” where Howard again demonstrates his skill with a heartbreaking and ever-so-faint string foray, leading into industrial-tinged beats developing with heavy guitar riffs (actually reminding of Charlie Clouser’s work on the more recent Saw scores), before the whole assembly folds on top of itself, creating an infusing balance like the aural equivalent of slipping into an effervescent warm bath.
“Manila Lab” then snaps the listener back to reality with a head-bobbing driving riff backed with highly effective orchestral flair, then accentuated with muffled guitar. With next track “Wolves / Sick Ric,” faint woodwinds are presented, falling into deep, cavernous synth and strings, bringing to mind Howard’s haunting work for Unbreakable with electronic pulses. A few minutes later, “Wolf Attack” prompts a smile as it recalls the best of Sean Callery’s work for 24, also densely present on the tracks “Aaron Run!” and “You Belong Here.” The eighteenth track, “Cognitive Degrade,” cements Howard’s position as one of the best modern ambient string composers in existence, before spiraling into yet another highlight, “17 Hour Head Start.” Wavering ambience, which reminds one of hearing aquatic tones from behind a door being intermittently forced ajar, develops into a rolling and fast-paced percussionist’s dream, interspersed with orchestral surges rivaling the best sequences from The Bourne Ultimatum. Soon later, “Simon Ross” comes in with a mysterious and dissonant reverb-drenched guitar lead that’s gone as fast as it appeared, breaking into “Larx Tarmac” which captures the soul of the underrated Bourne Conspiracy video game score by Paul Oakenfold. As the end of the score approaches, Bourne Supremacy’s “Moscow Wind Up” and “Bim Bam Smash” are given new life and transformed into “Magsaysay Suite,” before Howard’s work aptly ends on “Aftermath,” a heart-wrenching and soothing tune incorporating only the slightest electronic touches as it closes on an orchestral zenith. And in typical Bourne score fashion, musical artist Moby returns for another rendition of the closing tune, “Extreme Ways (Bourne’s Legacy),” in which he very effectively introduces orchestral sounds previously unheard in other iterations.
Going in to this score, I wasn’t expecting or even hoping for a Powell score soundalike, and was delighted to hear Howard creating something new for such a lauded and complex musical series. After all, it is the Bourne Legacy, not Bourne Replacement, and Howard leads the listener through so many enthralling twists and turns that the lack of a central theme isn’t even noticed. Howard has constructed a profound masterwork approaching absolute perfection, incorporating his classic style for emotive and heartfelt passages with a seemingly newfound inspiration of gripping action and electronic intrigue only hinted at on his work for Salt. Extremely recommended to all John Powell fans, action film score fans, and let’s face it, Bourne series fans, James Newton Howard’s The Bourne Legacy is to date one of his best scores and sets a new precedent for action music in the modern age. Look at what they make you give!
3.5 of 4 Stars
http://www.filmmusicmedia.com/reviews
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Posted: |
Aug 11, 2012 - 9:14 AM
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By: |
Redokt64
(Member)
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When I started listening to the score, I was actually somewhat underwhelmed as well, but then as time went on, and I listened a second time, and a third, and finally wrote my review above, I grew to adore it. There are so many layers and textures on this score that don't immediately present themselves! I hope no one writes it off after just one listen - truly a grower.
Mine will arrive Monday (I think... along with a few other things I ordered). Waiting impatiently. In regards to listen, listen again... that is so true. Some of my favorite scores, especially JNH, have seen that happen. Like it the first time, then the layers are revealed with each listen afterwards. So much is going on in his music, you really have to step back and really "listen" to get it.
Currently I am listening to the original release of The Fugitive. Liked the score. Grown on me. But now, after a year or so not hearing it, I need the LLLR expansion. It is marvelous.
Proof. There it is.
Will Monday never arrive? 
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Posted: |
Aug 12, 2012 - 10:48 AM
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By: |
ctblass
(Member)
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I saw the film last night and I've since listened to the score about 3 times all the way through. I think it's a well above average modern action score. Will it be to everybody's liking? No. But I think it has a great energy, with pounding rhythms and badass grooves. There's some nice mixed meter writing we're accustomed to with JNH action scores. String lines with attitude, meticulous percussion tracks, cool guitar riffs, and (as expected, good or bad) a lot of electronics.
The quieter moments show a new trend in JNH scores, utilizing soft ambient electronics and light strings to deliver emotion and contrast the frenetic pace of the rest of the score. Some of the Bourne DNA from the Powell scores is peppered throughout and an obvious influence. But I feel like Howard and Gilroy wanted to take the franchise in a slightly new direction, and they have.
As the score goes on, the string and brass writing becomes more interesting and fun. If you're a fan of JNH's action scores, this a must buy imo. If they're hot and cold for you, or you're a mild fan of Powell's installments, check this out on Spotify first. Give it 2 listens. I think by the end of the second listen, most people in the aforementioned categories will be having fun and rockin' in their chairs.
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Posted: |
Aug 12, 2012 - 11:22 AM
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By: |
losher22
(Member)
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I saw the film last night and I've since listened to the score about 3 times all the way through. I think it's a well above average modern action score. Will it be to everybody's liking? No. But I think it has a great energy, with pounding rhythms and badass grooves. There's some nice mixed meter writing we're accustomed to with JNH action scores. String lines with attitude, meticulous percussion tracks, cool guitar riffs, and (as expected, good or bad) a lot of electronics.
The quieter moments show a new trend in JNH scores, utilizing soft ambient electronics and light strings to deliver emotion and contrast the frenetic pace of the rest of the score. Some of the Bourne DNA from the Powell scores is peppered throughout and an obvious influence. But I feel like Howard and Gilroy wanted to take the franchise in a slightly new direction, and they have.
As the score goes on, the string and brass writing becomes more interesting and fun. If you're a fan of JNH's action scores, this a must buy imo. If they're hot and cold for you, or you're a mild fan of Powell's installments, check this out on Spotify first. Give it 2 listens. I think by the end of the second listen, most people in the aforementioned categories will be having fun and rockin' in their chairs.
Not sure if you read my review earlier in this thread or not, but you hit the proverbial nail right on the head my friend! Well said!
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I saw the film last night and I've since listened to the score about 3 times all the way through. I think it's a well above average modern action score. Will it be to everybody's liking? No. But I think it has a great energy, with pounding rhythms and badass grooves. There's some nice mixed meter writing we're accustomed to with JNH action scores. String lines with attitude, meticulous percussion tracks, cool guitar riffs, and (as expected, good or bad) a lot of electronics.
The quieter moments show a new trend in JNH scores, utilizing soft ambient electronics and light strings to deliver emotion and contrast the frenetic pace of the rest of the score. Some of the Bourne DNA from the Powell scores is peppered throughout and an obvious influence. But I feel like Howard and Gilroy wanted to take the franchise in a slightly new direction, and they have.
As the score goes on, the string and brass writing becomes more interesting and fun. If you're a fan of JNH's action scores, this a must buy imo. If they're hot and cold for you, or you're a mild fan of Powell's installments, check this out on Spotify first. Give it 2 listens. I think by the end of the second listen, most people in the aforementioned categories will be having fun and rockin' in their chairs.
My thoughts exactly, it gets better with each listen.
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