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Now, listened the all thing... is tremendously good, old-school adventure score (expect everything from an action scoring by Silvestri, even the use of ticking clock, such a surprising aspect, not similar to what Pemberton did in Enola) which i have a good time listen it.
Among the best stuff from Silvestri's recent years.
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Listening now. I like it. A little funny story from yesterday: I was playing through the preview tracks in iTunes and at one point I was amazed by how some of the writing was really harmonically out there for Silvestri. I thought “wow he’s going the Bartok route and I love it”. Then I realized that I’d hit the play key on my Mac computer keyboard which had started playing Spotify over iTunes and the last thing I’d had on there was....The Miraculous Mandarin.
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Top notch effort from Silvestri, though I find the construction of the album a little odd. The super grandiloquent statement of the main theme comes unexpectedly in track 19 ("I Didn't Hear a Thing") followed by another action track before the end titles, which begin again with the grand main theme. Much like the READY PLAYER ONE end title suite, it consists primarily of action material, and ends on a soft note. Anyway, I have to say that getting such a magnificent fully orchestral score recorded during the pandemic gave me a huge boost!
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Best Silvestri since Ready Player One.
Oh, and yes, NO CD = NO SALE
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Best Silvestri since Ready Player One.
I found RPO and Welcome to Marwen much better scores, but this one also is really good, but those two are much stronger.
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I find the construction of the album a little odd. The super grandiloquent statement of the main theme comes unexpectedly in track 19 ("I Didn't Hear a Thing") followed by another action track before the end titles, which begin again with the grand main theme.
I watched the film last night and this is exactly what happens in the film.
Track 19 is the big finish to the movie. Then, a source cue ("We Are Family") starts playing over the final moments, and the credits begin rolling. Then, after a few screen credits, a "bonus scene" starts showing in between various credits, until eventually the scene finishes up without interruptions, this is the track 20 cue.
Then when that scene is over and the credits resume, track 21 plays.
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I find the construction of the album a little odd. The super grandiloquent statement of the main theme comes unexpectedly in track 19 ("I Didn't Hear a Thing") followed by another action track before the end titles, which begin again with the grand main theme.
I watched the film last night and this is exactly what happens in the film.
Track 19 is the big finish to the movie. Then, a source cue ("We Are Family") starts playing over the final moments, and the credits begin rolling. Then, after a few screen credits, a "bonus scene" starts showing in between various credits, until eventually the scene finishes up without interruptions, this is the track 20 cue.
Then when that scene is over and the credits resume, track 21 plays.
Thanks -- that makes sense. Track 19 is a helluva track.
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Best Silvestri since Ready Player One.
I found RPO and Welcome to Marwen much better scores, but this one also is really good, but those two are much stronger.
All good, but I put this one above Marwen (still RPO better). In any case, great to have another strong Silvestri score.
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Review of the album:
http://www.movie-wave.net/the-witches/
"preeminent composer of music for animated rodents". Love it.
LOL I snorted! I can't think of any other composers who even begin to compete with Silvestri in this category
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