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I'm not the resident Isham-historian or whatever, but I always loved this score. It's dark, moody, and Isham's jazz specialties still seem to be applied with such a score that is focused on musique concrete in its opening half and then epic orchestral passages in its back half. I'm very excited to hear the whole score on album since that original release is missing A LOT of material from the movie.
How much of the missing music falls under the "epic orchestral passages"? I don't recall that stuff from the original album TBH and it's what I'm much more interested in.
Yavar
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Im a huge supporter of Varese, but for the love of Pete can they please hire a decent artist?
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The third act of the film is loaded with intense action that gets much of the larger orchestral scoring. On the original Varese release I would recommend to check the back half of the track "The Bleeding Stone" as well as the track "The Blood God" to get an indication of what that will sound like before diving into this larger release. The new release looks to have some shorter cues but the tracks 31 - 44 will have a lot of material that is more orchestral compared to the brooding musique concrete of the earlier sections. I find it to be a wonderful and evocative score throughout, myself. I think it has considerably more character than modern score with the same approach like, say, Benjamin Wallfisch's Alien: Romulus.
Thanks for this! I'm very interested to check out the sound clips (or maybe just the whole album if it gets put on Spotify) now. May need to reassess my opinion of the score, even if I make my own cut down 35 minutes highlights edition or something.
Yavar
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It's already on Spotify in every country where it's already Friday
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Posted: |
Nov 18, 2024 - 9:32 PM
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By: |
GoblinScore
(Member)
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Now serviceable, because Everything sounds like it!!!!
Moody, ambient tones everywhere, oversaturated.
In 97 (I was there, man!) it was a smoother, sleek and at the time unusual approach to Superhero'ing (Revell's Spawn is on the same zip code, but didn't hit like Isham did, nor did that film), that was unexpected (we were all still Elf-Man'ing). Cool zen tonality, makes a good film memorable, IMO, here.
I've loved Isham since the Russian Hill days, and in 97, like The Hitcher, it was rewarding to see him trod unfamiliar terrain, and I think he nailed it.
I'm getting this eventually but it's going to be a tough one to get used to.
The 33min. album nicely tells a story, building from dark electronic ambience to symphonic grandeur, even finishing with a moody, echoing piano motif at the end, reminding me of his earlier works.
Kudos, Mink for sharing your thoughts and spreadsheet. Excellent post, the best kind round here!
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Posted: |
Nov 18, 2024 - 10:48 PM
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By: |
nuts_score
(Member)
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Now serviceable, because Everything sounds like it!!!!
Moody, ambient tones everywhere, oversaturated.
In 97 (I was there, man!) it was a smoother, sleek and at the time unusual approach to Superhero'ing (Revell's Spawn is on the same zip code, but didn't hit like Isham did, nor did that film), that was unexpected (we were all still Elf-Man'ing). Cool zen tonality, makes a good film memorable, IMO, here.
It's so true! Although ironically enough none of the newer composers have come close to this sound. This was indeed a nice change of pace from what Elfman wrought with Batman and others, or even what Graeme Revell was doing like you said. Though its most kindred cousin is probably Revell's work in this 90s period. It was great to be there. I still remember seeing Blade for the first time. My brother brought it home the week of the VHS release. He had seen it in the theaters and talked it up rightfully so. I had known of Blade from old Tomb of Dracula comics and as a bit player in the darker fringes of the Marvel Comics universe. That movie really injected a shot of adrenaline into the idea of giving C-list characters over to creative people and a respectful studio.
P.S. Big respect to the shout-out to Isham's The Hitcher. That's my favorite score of his!
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Posted: |
Nov 18, 2024 - 11:36 PM
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By: |
GoblinScore
(Member)
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Now serviceable, because Everything sounds like it!!!!
Moody, ambient tones everywhere, oversaturated.
In 97 (I was there, man!) it was a smoother, sleek and at the time unusual approach to Superhero'ing (Revell's Spawn is on the same zip code, but didn't hit like Isham did, nor did that film), that was unexpected (we were all still Elf-Man'ing). Cool zen tonality, makes a good film memorable, IMO, here.
It's so true! Although ironically enough none of the newer composers have come close to this sound. This was indeed a nice change of pace from what Elfman wrought with Batman and others, or even what Graeme Revell was doing like you said. Though its most kindred cousin is probably Revell's work in this 90s period. It was great to be there. I still remember seeing Blade for the first time. My brother brought it home the week of the VHS release. He had seen it in the theaters and talked it up rightfully so. I had known of Blade from old Tomb of Dracula comics and as a bit player in the darker fringes of the Marvel Comics universe. That movie really injected a shot of adrenaline into the idea of giving C-list characters over to creative people and a respectful studio.
P.S. Big respect to the shout-out to Isham's The Hitcher. That's my favorite score of his!
Cheers, kudos and respect atcha nutsy.
A fave poster, I always read.
I was in a rigamorolle in 97, seeing every film, heading to Circuit City and buying the album cheap, after (Yo DEEP IMPACT!!!).
BLADE....got to me. It's follow to share then v. now, the style has been overdone.
The mythos, coolness, history....BLADE hit every cylinder in its mainstream, yet unique.
Listening now, even Isham....this would bomb, seated next to Warrior, Kiss The Girls, Twisted,etc. Ambient, unmemorable sludge.
Filed under "ya had to be there"
Hopefully others share their own view (Hi Mink!!!!!), as I have.
I get it.
I was there and its a happy memory I love to revisit (33m) and anticipate doubling.
-Sean
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