Yeah, already posted about that 3 days ago before all this track names BS returned. Perhaps it's delayed in order to include some more recently recorded material during last pick up session(s).
The track lengths are now available - a nice hefty release - and while the physical CD may be delayed, it appears the digital copy will still be available on July 8th.
The track lengths are now available - a nice hefty release - and while the physical CD may be delayed, it appears the digital copy will still be available on July 8th.
Having read through the early reviews on Rotten Tomatoes, not a single one has anything bad to say about this score, and many point to the score as being a highlight of the film.
The reviews varying describe the score with reference to Goldsmith's original, the works of Maurice Jarre and Howard Shore's LOTR scores. Try and picture a score that sounds like all three of those! Having listened to the sound clips, I personally hear an extension of Giacchino's Lost sound into a bit more brutal territory. Definitely looking forward to this one!
The score seems to be inspired by Holst in a few ways, in that its main thematic idea sounds a bit like "Neptune, The Mystic" and the rest just lays there, totally lifeless.
Lifeless? You must be listening to something else.
What I hear from these samples is one of the most impressive scores of the year (so far), with a memorable main theme.
I don't know, with the exception of that one Goldsmith-y cue, you could put Lost: Season Whatever on the front cover and no one would be able to tell the difference.
Great review. I'd initially dismissed the score as being overly Lost-like from the clips. Indeed the early material is quite similar to that show's underscore, but the brutality that emerges in the second half is very different, especially for Giacchino. It's one of his best scores in a long while.
Special mention should be also made of the Ligeti-esque choral work which is quite prominent in the score. It produces a very creepy mood and is quite well done.
Given it a spin on Spotify and I am pleased beyond words. The score most definitely takes a 180° turn around the halfway point, but it still somehow isn't tonally jarring. His pastoral family theme that weaves in and out of the score -- ending with a tremendous finish in the finale and end credits -- is hugely satisfying.
Additionally, the small danger motif we get treated to in Close Encounters of the Furred Kind, Monkey to the City, and Enough Monkeying Around (I feel silly typing all that) is catchy and durable enough to be put through its paces.
The Goldsmithian hints seen throughout (esp. in the action writing) are a delight.
The most confident and complete score Giacchino's written yet. 10/10
