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 Posted:   Dec 8, 2017 - 6:22 AM   
 By:   davefg   (Member)

Zimmer does not seem to be involved this time around: http://www.hans-zimmer.com/index.php?rub=disco&id=1607
Someone called Aruj joins Gregson-Williams and Balfe for season two.

As probably one of the few people here who enjoyed the score for the first season, I have to say the music from season 2 is disappointing. It sounds far more processed and less nuanced and varied compared to season one. The track New Guinea for example sounds like a generic piece from a rom-com. The track Be My Portrait was clearly influenced by the more romantic parts of Newman's Bond scores. The theme by Zimmer gets only one real outing on the album in the track Future King which is surprising. Indeed the track is a very good example of how processed the score sounds. The same could also be said of the string sections throughout the score. The use of the bassoon in Philip's Dream harks back to Powell's Bourne scores. Powell's Bourne scores seem to be the basis for the more dramatic cues.

It is a shame that Gregson-Williams and Balfe failed to build on the music of series one. There was a real opportunity to do so since series two is based in the sixties. Zimmer, on the basis of Hidden Figures, may have captured the mood far better than Gregson-Williams and Balfe. With another four series planned, Portman would be ideal to take the series forward musically.

 
 
 Posted:   Dec 11, 2017 - 1:45 AM   
 By:   Brianmcb   (Member)

Zimmer does not seem to be involved this time around: http://www.hans-zimmer.com/index.php?rub=disco&id=1607
Someone called Aruj joins Gregson-Williams and Balfe for season two.

As probably one of the few people here who enjoyed the score for the first season, I have to say the music from season 2 is disappointing. It sounds far more processed and less nuanced and varied compared to season one. The track New Guinea for example sounds like a generic piece from a rom-com. The track Be My Portrait was clearly influenced by the more romantic parts of Newman's Bond scores. The theme by Zimmer gets only one real outing on the album in the track Future King which is surprising. Indeed the track is a very good example of how processed the score sounds. The same could also be said of the string sections throughout the score. The use of the bassoon in Philip's Dream harks back to Powell's Bourne scores. Powell's Bourne scores seem to be the basis for the more dramatic cues.

It is a shame that Gregson-Williams and Balfe failed to build on the music of series one. There was a real opportunity to do so since series two is based in the sixties. Zimmer, on the basis of Hidden Figures, may have captured the mood far better than Gregson-Williams and Balfe. With another four series planned, Portman would be ideal to take the series forward musically.


The score is about as subtle as Inception's at times...

 
 Posted:   Dec 11, 2017 - 8:07 AM   
 By:   ryanpaquet   (Member)

I am about halfway through the second season so far, and am really enjoying the score. It's got a more subtle feeling to it, but still some similarities to the first season. haven't pre-ordered the album yet, going to wait to see how I feel after finishing the show.

I absolutely adored the first album. The theme for me really sticks with you. I am finding it gets stuck brooding in my head.

 
 Posted:   Dec 11, 2017 - 8:52 AM   
 By:   Yavar Moradi   (Member)

I started watching season 1 some time ago, and will probably go back to it at some point...but the music honestly for me has greatly dragged this show down. I get tired of every new portentous and overdone (yet musically simplistic) cue. How I wish a non-Zimmerite could have gotten this assignment. Sorry but that's just how I feel!

Thankfully other Netflix shows have much superior music, particularly Carlos Rafael Rivera's score for Godless. Apparently his mentor was Randy Newman: https://news.usc.edu/79220/who-wouldnt-want-randy-newman-as-a-musical-mentor/

Yavar

 
 Posted:   Dec 11, 2017 - 12:25 PM   
 By:   acathla   (Member)

I love the main theme by Zimmer. It's so powerful in a way.
And I really loved the score for the first season.

I watched the second season this weekend and I really did enjoy the score while watching through the episodes.
So I couldn't wait to listen to the album. But somehow the release just didnt do much for me on it's own...
The only ones I really enjoyed was "Future King", "Your Majesty" and "Bring Him Home".

 
 Posted:   Dec 12, 2017 - 11:30 AM   
 By:   Sirusjr   (Member)

Fairly standard TV show score here just like first season if a little more heavy handed than others. I don't expect much from most TV scores these days. The show is great though and I am enjoying Season 2.

 
 Posted:   Dec 21, 2017 - 3:00 PM   
 By:   davefg   (Member)

Easily the highlight of the music in series 2 for me https://www.youtube.com/watch?v=WaCib0B8T24

 
 Posted:   Dec 21, 2017 - 3:22 PM   
 By:   acathla   (Member)

Easily the highlight of the music in series 2 for me https://www.youtube.com/watch?v=WaCib0B8T24

Oh was this used in the show?

 
 
 Posted:   Dec 21, 2017 - 3:41 PM   
 By:   Bond1965   (Member)

Easily the highlight of the music in series 2 for me https://www.youtube.com/watch?v=WaCib0B8T24

Oh was this used in the show?


Yes. When Margaret is picked up at Buckingham Palace by Tony on his motorcycle.

They also used Preisner's Dies Irae in this episode.

James

 
 
 Posted:   Dec 23, 2017 - 10:35 AM   
 By:   villagardens553   (Member)

Very clever use of a John Barry Seven song in one episode wherein the Queen is criticized for being old-fashioned and insensitive to the English people.

The Queen makes a broadcasted speech that is rather staid and basically thanks the English people for partaking in their drab, miserable lives. A publisher in a dental waiting room hears this speech, which is immediately by John Barry singing "Let's Have a Wonderful Time."

In addition to the ironic nature of the song's lyrics and upbeat nature of the tune, the song is fairly representative of bland pre-Beatles rock n roll.

One of the interesting things about John Barry's career is that he represented both that pre-Beatles style of the fifties, and the swinging sixties sound via his cool, bold, and highly original music for James Bond, the Ipcress File, the Knack, and so many more.

 
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