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Posted: |
May 28, 2017 - 2:16 PM
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By: |
Chris Avis
(Member)
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Huh, discussion seems to have petered out a bit on this release.
My copy finally arrived earlier this week and I've been listening to it all week. I was a bit unsure what to expect given that the scores were unfortunately so low in the sound mix in the shows, but this is solid work all around by Snow. The scores are a very interesting evolution of Snow's sound from the show and the overall flavor is a definite extension of the more 'procedural' cues from I Want to Believe. Many cues fit right in with the sound established in latter portion of the show's run (e.g. season 5 onwards) Others feature a bit of a modernized sound with chugging synths similar to how you'd expect a contemporary police procedural to be scored, but well integrated into Snow's existing sound design. I wasn't a huge fan of Snow's scoring in Season 9, but the material here is considerably more engaging on the whole.
If there's a negative to the set, it's that is comes after 3 stellar box sets culling the highlights from 9 seasons' worth of episodes and here we have two disks presenting the majority of the scoring from just 6 episodes. As such, there's a bit of a feeling of some padding compared with the previous releases, though you could assemble a stellar single disk playlist from the material. Some of the less interesting cues have more to do with the episodes than with Snow. The new season was, on the whole, dour, talky and uninspired and there's only so much Snow could have done to generate interesting scoring here. This is particularly the case for the final episode in the set where numerous cues underscore, long dialogue scenes and several cues seem to meander aimlessly to an extent.
On the whole though, this is a very worthy release and anyone that's enjoyed the previous sets from LLL would be wise to pick this up. Hopefully the forthcoming season 11 will bring fresher material for Snow to score and the producers will feature his contributions more prominently in the mix.
Roll on Season 11 and X-Files Volume 4. Thanks, LLL!
Chris.
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Posted: |
Sep 15, 2017 - 9:10 AM
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By: |
orodromeus
(Member)
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I was not expecting to -- given how un-noticeable the music was in the episodes themselves -- but I enjoyed this set a lot! I realize now that the episodes were so crammed with dialogue that there was hardly any space for the music to come to the fore (nor for the story to breathe, for that matter).
My review: http://www.eatthecorn.com/2017/08/17/x-files-music-event-series-release-more-to-come/
The music in this set is nothing short of excellent! Mark Snow shines by writing music that feels both modern and in continuation with his soundtrack for the ‘original series’. This is very much intentional: the series might not have been perfect but its clear intention was to try to be modern while attempting to recall the classic, early seasons of the show.
The tone of the music harkens back especially to the early seasons of the show, seasons 3-4 especially, rather than the comedic seasons 6-7 or the horns melodies-heavy seasons 8-9. There are some specific audio libraries that Snow dug up from some twenty years ago and reused them here: that very same paranoid piano melody from E.B.E. (in Founder’s Mutation: A Mother Never Forgets), those pensive horns like in Quagmire, these piano melodies on top of bass synth moods like in Little Green Men, these awe-filling choirs like in All Souls, that unsettling undulating drone like in Colony, even melancholic violins like in Millennium (in Home Again), there is plenty here that feels like home. Even the comedic cues sound like Small Potatoes or Bad Blood.
This is all mixed with the music style explored by Snow in the soundtrack for I Want To Believe: splicing his trademark synthesizer orchestral-like sound together with elements of electronic music. There is a lot of old-school Mark Snow synthesizer mixed with electronic pulsating rhythms and tempo beats here, similar to IWTB tracks A Higher Conscious or Mountain Montage/The Plow.
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