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It's weird that it's better when you skip that first minute and a half and start with the part where the strings take up the melody. Still sounds like John Debney doing David Arnold/Nicholas Dodd but run through a computer algorithm.
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This is the best unabashedly superheroic theme since the Captain America March.
Check out Fernando Velázquez's SUPERLÓPEZ (2018).
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This is the best unabashedly superheroic theme since the Captain America March.
Check out Fernando Velázquez's SUPERLÓPEZ (2018).
That MT really takes off, so to speak, in the clips. I'd like to hear more of it!
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OMG! Fantastic score!!
I've been waiting for this.
This really sounds like 8-90's DC movies soundtrack!
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Wow! Amazing score!!
I'm completelly blown away, because they don't make it like this since the 90s.
Stunning! Loved it! Just brilliant!
And I really really hope they make a physical CD.
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...Wallfisch usually does that so well, in his more poetic scores like SUMMER IN FEBRUARY, DESERT DANCER or BHOPAL: A PRAYER FOR RAIN -- all absolutely brilliant...
Oh, please...
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No CD = No sale.
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Much as I'm looking forward to this film, as a CM fan from the 70s DC comic reprints and FINALLY getting hold of the classic movie serial after forty years of trying!, I can't see what others do in this music... so far. I mean, we have the Shazam! Theme itself here, and I'm not getting ANYTHING that rivals Williams' Superman or the Elfman Batman or Flash themes, the Goldenthal Batman theme or Goldsmith's Supergirl.
All these have clear lines of melody that are hummable and whistle-able from the off. Not getting that here.
In fact, and it may be just me, but the last genuinely theme filled hero based soundtrack for me that comes anywhere near close to those above is Zimmer's Lone Ranger score. Even without the William Tell Overture there are great themes of a quality in that score that even Zimmer himself doesn't seem to repeat since.
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As usual you have this backwards. No sales = No CD
No. More digital sales = less CDs.
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Meh.
It's not bad -- very skillfully orchestrated -- but as others have said, it's too "full on". There's no to very little dynamic range to speak of (so the 90s comparisons being touted about here don't really hold; they were usually far more defined and dynamic than this). Which is surprising, because Wallfisch usually does that so well, in his more poetic scores like SUMMER IN FEBRUARY, DESERT DANCER or BHOPAL: A PRAYER FOR RAIN -- all absolutely brilliant.
Hopefully, the album as a whole fares better, but I seriously doubt this is something I'm going to want in my collection.
That's sorta what I meant in my last post. It sounds like Cutthroat Island, which people love here, but Debney's score is just so busy (sounds like two different orchestras playing at the same time).
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Posted: |
Mar 29, 2019 - 8:14 AM
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By: |
Thor
(Member)
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That's sorta what I meant in my last post. It sounds like Cutthroat Island, which people love here, but Debney's score is just so busy (sounds like two different orchestras playing at the same time).
CUTTHROAT ISLAND is on a whole other level than this; not even comparable. It has a super-defined theme, and great dynamic range -- even if it's often loud and bombastic.
This score, however -- even if it's not the worst offender in this case -- speaks to a broader problem in contemporary, orchestral adventure scores: On the surface, it kinda sounds "appealing", due to the size, orchestration, big chord leaps and so on, but it's really empty wallpaper most of the time (Giacchino being the prime example). Few defined themes, whimsical structures, lots of percussion ostinati and the 'full on' knob turned to maximum. A lot of people like it, but I think it's "The Emperor's New Clothes" -- people dazzled by things that aren't really there.
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That's sorta what I meant in my last post. It sounds like Cutthroat Island, which people love here, but Debney's score is just so busy (sounds like two different orchestras playing at the same time).
CUTTHROAT ISLAND is on a whole other level than this; not even comparable. It has a super-defined theme, and great dynamic range -- even if it's often loud and bombastic.
This score, however -- even if it's not the worst offender in this case -- speaks to a broader problem in contemporary, orchestral adventure scores: On the surface, it kinda sounds "appealing", due to the size, orchestration, big chord leaps and so on, but it's really empty wallpaper most of the time (Giacchino being the prime example). Few defined themes, whimsical structures, lots of percussion ostinati and the 'full on' knob turned to maximum. A lot of people like it, but I think it's "The Emperor's New Clothes" -- people dazzled by things that aren't really there.
I mean that it sounds like it's trying to sound like Cutthroat Island, which itself was trying to sound like three or four scores in one cue sometimes, but all filtered through some composition app that makes everything sound incoherent.
Are there any modern superhero themes you would say are good?
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Silvestri's CAPTAIN AMERICA & AVENGERS themes are memorable to me and I like Chris Beck's ANT-MAN theme and I'm quite fond of MG's DR STRANGE too.
I was TALKING to THOR.
My picks for this Marvel era are Silvestri's abandoned Captain America: The First Avenger theme, Silvestri's original Avengers theme (shut up, Jens, etc), and Ant-Man. Tyler's end title version of his Iron Man theme is fine and I did like Giacchino's Spider-Man theme OK, too (the B theme is so well done in the end suite).
I'd need to listen to Strange again, but I did not think that Giacchino's score was professionally recorded enough to warrant inclusion.
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