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My main criticism is with the reviewer on AV Club that basically says that this kind of score is so out of touch and over the top.
Completely agree, like I said, why even have a score if it's not serving the story?
I'm rewatching DS9 right now and I have to agree that the music on DS9 in particular (at least the early seasons) is very nondescript, beyond doing that same key-change sting that they did constantly on TNG whenever they change to a new scene. There is emotion in the music but it is so subtle that if I was listening to it divorced from the visuals and dialogue, I'd have a hard time figuring out if the music was suppose to be scary or mysterious or depressed. I will say though that they are very good about establishing the TONE of scenes in the TNG/DS9 scores, even if the music is emotionally bland.
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Then you're listening to the wrong cues. LLL's TNG & DS9 CD-sets prove the opposite. At the moment I cannot listen to the "Disco" & "Picard"- stuff. It's so incredible boring.
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Then you're listening to the wrong cues. LLL's TNG & DS9 CD-sets prove the opposite. At the moment I cannot listen to the "Disco" & "Picard"- stuff. It's so incredible boring.
Don't get me wrong--there was some great stuff being done on TNG, especially by Ron Jones in those early seasons. Best of Both Worlds is classic. I just wish there was a bit more ooomph to some of the cues--for instance watching Voyager and the scores by David Bell and Paul Baillargeon were always really fantastic and helped pace the story perfectly. Chattaway and McCarthy had some good stuff too but the music's role tended to be less noticeable while watching the show. Some of McCarthy's music is downright ambient.
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Not to derail this thread too much, but I'm a huge fan of all the music from the TNG-ENT era of Star Trek. This week I was catching up on episodes of Voyager, since I missed most of it and watched the 2-part Unimatrix Zero, scored by Dennis McCarthy. Part 1 featured a gripping action cue for an attack in the "Unimatrix Zero" environment that had this halting brass ostinato, while Part 2 featured some lovely cues featuring flute and clarinet duos. Like, you could actually clearly hear the flute and clarinet lines in the music and all of this is to say that I missed hearing variety of tones in orchestral TV scoring. Russo's music for Discovery has been okay but it's often more of a bland mix of white-washed staccato or legato strings that just hangs around. Even though McCarthy's music was often fluid, more about instrumental colors than melodies, I still got a better sense of the 50-piece orchestra playing on each episode.
I remember when this episode originally aired! I was watching and thinking "wow, David Bell is really pulling out all the stops!" and then I saw the credits and developed a new appreciation for McCarthy.
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The work of McCarthy, Chattaway, Bell, etc is light years better then whats been done on Discovery and Picard. I just dont feel the same about it. Unlike the Berman era shows, none of this music sticks with me or resonates.
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