 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Good news, I was already quite looking forward to this on the strength of the cast (Karen Gillan, John Boyega and Bill Paxton are also high up the cast list.)
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
 |
Posted: |
Apr 28, 2017 - 12:16 PM
|
|
|
|
By: |
John Mullin
(Member)
|
I've had it on all morning too. I like it a lot, but I'm not sure it will break into my Elfman top ten or anything.
More and more, this score makes it clear what a milestone THE GIRL ON THE TRAIN really was for him in terms of how his sound is changing. Both FIFTY SHADES DARKER and this feel like they're playing with sounds he first started using there.
THE CIRCLE is probably more like TRAIN than DARKER in that it appears to largely be comprised of synths and samples with only certain cues using a fuller orchestra. I'm all for that: I loved the sleek, unique, trippy sound of TRAIN and I am generally liking the overall sound of this score too.
The thing that surprised me about THE CIRCLE is how chipper many of the early cues on the album are... I don't think Elfman was deliberately aping Daniel Pemberton's score to STEVE JOBS or anything, but the synths he selected are a bit similar. Aspects of the synths in the early cues made me think of the WALL-E and HEARTBEEPS as well, of all things! It's like those two scores had a threesome with THE GIRL ON THE TRAIN and the result is this one.
But all that said, there's no real theme to speak of... Mostly just a lot of interesting texture. That's a totally legit way to approach a movie like this, of course, but the scores he does that do the "theme and variation" thing a bit more prominently - THE GIRL ON THE TRAIN being one of them - generally stay in my rotation a little longer.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
