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ELYSIUM
Music Composed by
Ryan Amon
Original Motion Picture Soundtrack
Newcomer Ryan Amon provides an aggressive and exciting score for orchestra and electronics.
...
Columbia Pictures will open ELYSIUM nationwide on August 8.
Varese Sarabande Catalog # 302 067 212 8
Release Date: 08/06/13
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Posted: |
Jul 5, 2013 - 2:09 AM
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By: |
David-R.
(Member)
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ELYSIUM
Music Composed by
Ryan Amon
Original Motion Picture Soundtrack
In the year 2154, two classes of people exist: the very wealthy, who live on a pristine man-made space station called Elysium, and the rest, who live on an overpopulated, ruined planet. The people of Earth are desperate to escape the crime and poverty that is now rampant throughout the land. The only man with the chance to bring equality to these worlds is Max (Matt Damon), an ordinary guy in desperate need to get to Elysium. With his life hanging in the balance, he reluctantly takes on a dangerous mission – one that pits him against Elysium's Secretary Delacourt (Jodie Foster) and her hard-line forces – but if he succeeds, he could save not only his own life, but millions of people on Earth as well. Written and directed by Neill Blomkamp, the creator of the modern sci-fi classic, District 9.
Newcomer Ryan Amon provides an aggressive and exciting score for orchestra and electronics.
Columbia Pictures will open ELYSIUM?nationwide on August 8.
Varese Sarabande Catalog # 302 067 212 8
Release Date: 08/06/13
Track List:
1. Heaven and Earth (4:27)
2. Fire Up The Shuttle (1:44)
3. Unauthorized Entry (4:35)
4. Deportation (1:54)
5. Darkness (4:49)
6. Things to Come (4:35)
7. You Said You’d Do Anything (3:29)
8. A Political Sickness (3:47)
9. Arming Projectile (1:25)
10. Zero Injuries Sustained (1:29)
11. I’d Like Them Dead (1:20)
12. You Have No Idea (2:11)
13. The Raven (1:57)
14. Let the Girls Out (2:07)
15. I Don’t Want to Die (1:35)
16. Matilda (2:52)
17. Step Aboard (2:53)
18. Heading to Elysium (1:53)
19. Keep Them Busy (:52)
20. When He Wakes Up (1:39)
21. We Do the Hanging (1:06)
22. Kruger Suits Up (2:25)
23. The Armory (:58)
24. I’m Right Behind You (:37)
25. Fire and Water (2:01)
26. The Gantry (1:08)
27. Breaking a Promise (3:17)
28. Elysium (3:44)
29. New Heaven, New Earth (2:22)
http://www.varesesarabande.com/servlet/the-1117/Elysium/Detail
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Posted: |
Aug 4, 2013 - 8:10 PM
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By: |
BTTFFan
(Member)
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Just picked up this CD today only expecting your average Zimmer influenced electronic score. After first listen I have to say I really enjoyed it. A lot of of the electronics are really creative at times, almost experimental. I love the vocals, especially in the track "You Said You'd Do Anything" which is one of my favorites on the disc. Some of the electronics seem so avant garde that they almost sound organic. Standout tracks are Heaven And Earth, Things To Come, You Said You'd Do Anything, A Political Sickness, I Don't Want To Die, Matilda, Heading To Elysium, Breaking A Promise, and Elysium. While it does have some RC influenced percussive action cues, so many fun tracks makes this a keeper for me and makes me excited to see the film.
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Samples: Action music sounds very generic, some nicer bits in between. On the whole, not terribly interesting.
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Posted: |
Aug 10, 2013 - 6:05 PM
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By: |
MusicMaker
(Member)
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I posted this in another thread, but I think it is also relevant to this one, so I'm copy-pasting it here:
I found Ryan's Q&A answers at a guild screening last week to be very enlightening.
Ryan Amon composed many cues that included woodwinds and elaborate/intricate woodwind runs. Director Neil Blomkamp made it clear that he didn't like their inclusion. He also preferred the sampled/synth percussion that Amon used. Thus, the only live instruments are the strings and the brass (and the female vocals).
Additionally, it was Neil Blomkamp's idea and desire to use a solo "wailing" female voice. Ryan initially resisted the request, as he felt that the approach was cliché and overused, but Blomkamp continued to insist on these (supposedly for the "human" element), so Amon yielded and went with the flow (as would I in his position). Ryan decided to use these vocals in combination with a solo piano, which I think was a wise decision (a la Goldenthal on FINAL FANTASY) and helped to at least improve the situation.
Lastly, Amon said that he submitted nearly 200 cues for the film- almost NONE of which were composed to picture. He would fire off files of all different styles to Blomkamp and the editing team, who would start to place their favorites over sections of film. Amon said that he offered up synth cues, purely orchestral cues, hybrid cues, contemporary cues, classical-ish cues, sound-design-ish cues, melodic cues, etc. The style that you hear in the final film is definitely the direction that Blomkamp decided to go. Once this was determined, Amon then focused on that style for the rest of the score.
All this is to say that Amon did exactly what he was hired and directed to do. Which was a very smart thing to do for his first film, as it will ensure that it was not his last. He loved working with Blomkamp, and loved working on a film (he'd never done one before).
Do I like the score? Honestly, no. But I'd have done the same thing in Amon's place (well, not exactly the same thing, but you get the point). I don't dig the score, but for now I give Amon the benefit of the doubt when it comes to talent/ability. To have an informed opinion of Amon's ability as a composer, I'd need to hear a lot more of his work, and in very different circumstances.
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Posted: |
Aug 13, 2013 - 12:25 AM
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By: |
stay-puft
(Member)
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I posted this in another thread, but I think it is also relevant to this one, so I'm copy-pasting it here:
I found Ryan's Q&A answers at a guild screening last week to be very enlightening.
Ryan Amon composed many cues that included woodwinds and elaborate/intricate woodwind runs. Director Neil Blomkamp made it clear that he didn't like their inclusion. He also preferred the sampled/synth percussion that Amon used. Thus, the only live instruments are the strings and the brass (and the female vocals).
Additionally, it was Neil Blomkamp's idea and desire to use a solo "wailing" female voice. Ryan initially resisted the request, as he felt that the approach was cliché and overused, but Blomkamp continued to insist on these (supposedly for the "human" element), so Amon yielded and went with the flow (as would I in his position). Ryan decided to use these vocals in combination with a solo piano, which I think was a wise decision (a la Goldenthal on FINAL FANTASY) and helped to at least improve the situation.
Lastly, Amon said that he submitted nearly 200 cues for the film- almost NONE of which were composed to picture. He would fire off files of all different styles to Blomkamp and the editing team, who would start to place their favorites over sections of film. Amon said that he offered up synth cues, purely orchestral cues, hybrid cues, contemporary cues, classical-ish cues, sound-design-ish cues, melodic cues, etc. The style that you hear in the final film is definitely the direction that Blomkamp decided to go. Once this was determined, Amon then focused on that style for the rest of the score.
All this is to say that Amon did exactly what he was hired and directed to do. Which was a very smart thing to do for his first film, as it will ensure that it was not his last. He loved working with Blomkamp, and loved working on a film (he'd never done one before).
Do I like the score? Honestly, no. But I'd have done the same thing in Amon's place (well, not exactly the same thing, but you get the point). I don't dig the score, but for now I give Amon the benefit of the doubt when it comes to talent/ability. To have an informed opinion of Amon's ability as a composer, I'd need to hear a lot more of his work, and in very different circumstances.
interesting. Hopefully he gets more creative freedom with his next project
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Posted: |
Jul 7, 2016 - 6:09 PM
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By: |
nuts_score
(Member)
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Back then, I said:
This was a very disappointing, contrived film with an uninspired, uninvolving score.
I wish I could say opposite this, but it truly was my reaction to it last night.
Sorry to dig up old ghosts but I wanted to reflect on what reaction can be elicited by not only the separation of time but also the re-incorporation of pre-existing music into another film. While Michael Mann's Blackhat was a bit of a fizzle (I thought it was fine, though short of what he is capable of with a haphazard story and a blank romantic subplot) the director's notorious scoring tics allowed Amon's music to find its way into the film. While an official soundtrack for Blackhat will likely never see the light of day one could easily find which tracks from Elysium worked their way into Blackhat. Based upon how that music latched to my ear I sought out Amon's soundtrack album to give this a re-evaluation. I nearly loathed the film which it came from, but I figured a couple years to settle the memories and I could listen to the music with a fresh approach.
And I am so glad I have! Since the beginning of the year, Elysium has been one of my most re-played albums. I'm quite a fan of action scores but in the post-Inception/"Mind Heist" era of these films many composers and/or filmmakers would lean to heavily into temp track haywire and deliver things that just sounded like those progressive trendsetters. This is apparently what happened in the film as Amon's album is packed to the gills with organic rhythms that seem to sprout from a feeling of true intensity. Powerful brass and staccato strings join the primal percussion and took me on a whirlwind adventure. There's a feeling of ultimate heroism found in "You Have No Idea" that could give any recent superhero score a run. Tracks like the smooth, eventually tense "Darkness" or the equally mysterious "Things to Come" provide a jumpstart to some of the exciting power found within the score. While this is probably one of the least subtle scores around (especially compared to Hans Zimmer's absolutely mind-melting electronic score for the director's third film, Chappie) it is still one helluva ride I don't mind taking during a long car journey or a gym excursion. I imagine this one rattles some cages at FSM but I hope there are fans who can get behind this one.
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Posted: |
Jul 8, 2016 - 4:46 AM
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By: |
jkannry
(Member)
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Back then, I said:
This was a very disappointing, contrived film with an uninspired, uninvolving score.
I wish I could say opposite this, but it truly was my reaction to it last night.
Sorry to dig up old ghosts but I wanted to reflect on what reaction can be elicited by not only the separation of time but also the re-incorporation of pre-existing music into another film. While Michael Mann's Blackhat was a bit of a fizzle (I thought it was fine, though short of what he is capable of with a haphazard story and a blank romantic subplot) the director's notorious scoring tics allowed Amon's music to find its way into the film. While an official soundtrack for Blackhat will likely never see the light of day one could easily find which tracks from Elysium worked their way into Blackhat. Based upon how that music latched to my ear I sought out Amon's soundtrack album to give this a re-evaluation. I nearly loathed the film which it came from, but I figured a couple years to settle the memories and I could listen to the music with a fresh approach.
And I am so glad I have! Since the beginning of the year, Elysium has been one of my most re-played albums. I'm quite a fan of action scores but in the post-Inception/"Mind Heist" era of these films many composers and/or filmmakers would lean to heavily into temp track haywire and deliver things that just sounded like those progressive trendsetters. This is apparently what happened in the film as Amon's album is packed to the gills with organic rhythms that seem to sprout from a feeling of true intensity. Powerful brass and staccato strings join the primal percussion and took me on a whirlwind adventure. There's a feeling of ultimate heroism found in "You Have No Idea" that could give any recent superhero score a run. Tracks like the smooth, eventually tense "Darkness" or the equally mysterious "Things to Come" provide a jumpstart to some of the exciting power found within the score. While this is probably one of the least subtle scores around (especially compared to Hans Zimmer's absolutely mind-melting electronic score for the director's third film, Chappie) it is still one helluva ride I don't mind taking during a long car journey or a gym excursion. I imagine this one rattles some cages at FSM but I hope there are fans who can get behind this one.
You might enjoy this The Sketchbook by Ryan Amon
https://itun.es/us/AV7lbb
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