Personally, I think he's a great choice now that Faltermeyer himself is clearly off the project. If anyone has heard Balfe's superb, retro synth score for TETRIS this year (one of the best scores of the year!), they would hear that he's up to the task.
Personally, I think he's a great choice now that Faltermeyer himself is clearly off the project. If anyone has heard Balfe's superb, retro synth score for TETRIS this year (one of the best scores of the year!), they would hear that he's up to the task.
I was about to say the same thing, his score for TETRIS shows he could absolutely accomplish a retro synth score... but this is ALL dependent on what the director wants musically for this sequel so let's stop piling on Balfe.
Personally, I think he's a great choice now that Faltermeyer himself is clearly off the project. If anyone has heard Balfe's superb, retro synth score for TETRIS this year (one of the best scores of the year!), they would hear that he's up to the task.
I was about to say the same thing, his score for TETRIS shows he could absolutely accomplish a retro synth score... but this is ALL dependent on what the director wants musically for this sequel so let's stop piling on Balfe.
I can't find a single post where anyone is "piling" on Balfe. I simply see that Faltermeyer is the preferred composer and for obvious reasons. It's like getting mad at people because they'd rather have Williams do the next Star Wars film instead of Richard Band.
Surprisingly, the actual film footage looks well shot, and somewhat Tony Scott esque. For a first time film director, Mark Molloy looks like he's done a good job.
Let's hope the music is not too much of an orchestra generic mix.
On the matter of a "retro" synth score, I remain sad that the prevalent use of synthesizer scores in the 1980s (e.g. The Makioka Sisters, Gallipoli, A Nightmare on Elm Street, etc.) was determined to be a bad trend by the taste-makers, subsequently derided (the 1990s print issues of FSM are full of synth-bashing) and is now considered a funny quirk of its time. I think there was a lot of good potential in the tasteful application of synths for atmosphere, warmth and color.
On the matter of a "retro" synth score, I remain sad that the prevalent use of synthesizer scores in the 1980s (e.g. The Makioka Sisters, Gallipoli, A Nightmare on Elm Street, etc.) was determined to be a bad trend by the taste-makers, subsequently derided (the 1990s print issues of FSM are full of synth-bashing) and is now considered a funny quirk of its time. I think there was a lot of good potential in the tasteful application of synths for atmosphere, warmth and color.
There's a WHOLE nother community that adores synthwave, retrowave, shoegaze, all that stuff. They just ain't here. Mostly.
Unsure if this reaches to the scores you mention above, but I know what you mean, and am one that was taken aback then by such hate leveled at things.
I can't find a single post where anyone is "piling" on Balfe.
"Yuck. One more reason not to give a shit."
"If he did the hybrid orchestrations/electronics move, it's going to be trash."
"Sad."
Maybe it's just one pile made of multiple posts.
Again, these posts are "not piling" on him personally or expressing hate for his other scores or works. They are merely expressing that they would rather have Faltermeyer score BHC, and electronically. Faltermeyer is a trademark for this film series. If people were bashing him it would simply sound like "Balfe sucks!" or "I wouldn't want that film Balfed on." I'd probably go with "This score makes me want to Balfe". But, interpret as you wish.
I still think the 3rd one by Nil Rodgers would be a great release.I am not a big synth fan ( even though Faltermeyers score fits it perfect!) and the orchestral version of Foleys Theme is awesome...
There's a WHOLE nother community that adores synthwave, retrowave, shoegaze, all that stuff. They just ain't here. Mostly.
*raises hand*
"I'm here!"
In an ideal world, I would have loved to see a seasoned synthwaver take on the project in Faltermeyer's absence. Waveshaper, for example, who's already tapped into his sound beautifully on occasion, like in the score VIDEO MAN from a few years ago. But with the possible exception of Kavinsky, I can understand that few of these names are big enough for a tentpole picture like this. So Balfe is a good choice of the A listers.
Because, as we just said, when inspired, Balfe can write some good stuff (HIS DARK MATERIALS, AD ASTRA, GIRL RISING), and he's good at writing synth stuff. Again - see and listen to TETRIS, as previously mentioned.
On the matter of a "retro" synth score, I remain sad that the prevalent use of synthesizer scores in the 1980s (e.g. The Makioka Sisters, Gallipoli, A Nightmare on Elm Street, etc.) was determined to be a bad trend by the taste-makers, subsequently derided (the 1990s print issues of FSM are full of synth-bashing) and is now considered a funny quirk of its time. I think there was a lot of good potential in the tasteful application of synths for atmosphere, warmth and color.
There's a WHOLE nother community that adores synthwave, retrowave, shoegaze, all that stuff. They just ain't here. Mostly.
Unsure if this reaches to the scores you mention above, but I know what you mean, and am one that was taken aback then by such hate leveled at things.
Yes, I'm thinking of that soothing, airy, all-synth sound in the 1980s. But still with the use of strong melody or a hypnotic, evocative atmosphere.
