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I am eagerly anticipating this release as a fan of Clint Mansell, Kronos Quartet, and especially when those 2 work together.
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An "Editorial Review" from this album's Amazon page is given below. I am not sure how accurate any of it is since it's author is very wrong about the director.
"Noah is the first English speaking film by Park Chan-Wook, the director of Oldboy. The film is very musical with a score from Clint Mansell (Milan s second record with Clint: he is the composer of Requiem for A Dream, Pi, The Fountain, Black Swan), an original piano piece by composer Philip Glass and "Becomes The Color, " the original credit song by Emily Wells."
http://www.amazon.com/Noah-Music-From-Motion-Picture/dp/B00IPGGEVU/ref=sr_1_1?s=music&ie=UTF8&qid=1394347147&sr=1-1&keywords=Noah
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An "Editorial Review" from this album's Amazon page is given below. I am not sure how accurate any of it is since it's author is very wrong about the director.
"Noah is the first English speaking film by Park Chan-Wook, the director of Oldboy. The film is very musical with a score from Clint Mansell (Milan s second record with Clint: he is the composer of Requiem for A Dream, Pi, The Fountain, Black Swan), an original piano piece by composer Philip Glass and "Becomes The Color, " the original credit song by Emily Wells."
http://www.amazon.com/Noah-Music-From-Motion-Picture/dp/B00IPGGEVU/ref=sr_1_1?s=music&ie=UTF8&qid=1394347147&sr=1-1&keywords=Noah
Wow, how wrong can one reviewer be?
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Posted: |
Mar 25, 2014 - 3:52 PM
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By: |
nuts_score
(Member)
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So I've given this a thorough listening after claiming my iTunes purchase this morning. I admit, this is a score to really delve into. My first impression is that it's a giant, nearly old school Biblical epic score, filtered through Mansell's unique musical approach. It seems a close cousin to his earlier epic for director Aronofsky, The Fountain. Now, I don't want you Golden Age fans to start salivating, as this is from my ears and opinions and certainly many of you will criticize me for comparing to the classic works of Miklós Rózsa, but this is certainly the biggest thing I've heard from Mansell's output.
The Patti Smith/Mansell collaboration that concludes the album might turn some off (not me, it's a killer send-off), and I do wish this one had a climax and denouement as truly spectacular as The Fountain, but many of the tracks reach heights which are truly outstanding. I greatly anticipate the movie to see how unsubtle Aronofsky gets with this monster of a score.
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