It's hard for me to describe bobb (not being musically literate as some) but the opening minute or so of Welcome To Ireland has that same ebb and flow, like a churning nature to the music, that Kamen would often employ to evoke a sense of motion and forward thrust. The orchestration seems quite similar to that of Kamen in those moments.
Possibly. Those old 80s low budget horror films used to allow (budget) for a day (or a few hours) of orchestral sessions, so the composer would cram as much acoustic stuff as they could and cover the rest with synth or small ensembles. I remember MY DEMON LOVER by David Newman being a similar mix of synths with some (fantastic) orchestral tracks. The synth stuff in RAWHEAD REX is interesting though and I like the church/organ/voice feel amongst them. Very weird, but tied to the film plot and its lore, it works for me.
Kev, what Kamen piece did you post there? I'm getting one of the irritating 'This Video Won't Play in Your Region'-type warnings. Shame this post-DVD world didn't do away with that sort of region-locking thing...
Totally agreed with Spinmeister's assessment, I was thinking along the same line that Towns perhaps had enough in the music budget for a short session with 60 A-list London session players as detailed in his liner notes, determined which scenes needed that kind of scope/approach, and then did the rest in his home studio or something.
It's okay bobb, I just linked the Welcome To Ireland track from RHR, not a Kamen track. Although only half(?) the forum will hear it now. And I get the same block message on Dylan's two links
Drop some Kamen cue titles, my friend! I love that adrenal, surging style Towns invokes here, and don't know anything quite like that from the pen of Kamen. I might be missing out on some gems. I guess I can hear a wee bit if similarity in the way both of them phrase high stings in a cue like this:
Hopefully this link will work bobb...(it's a 15 minute suite from THE IRON GIANT off YouTube if it's blocked)
It features some of that tumultuous, driving style music that I hear connections between Towns and Kamen. I've also heard him use it in things like DEAD ZONE, BRAZIL, MONA LISA, HIGHLANDER and HUDSON HAWK. It's a familiar Kamen trope actually.
I guess I can hear that actually, Kev. Good ear. A similarly busy/bustling high-drama kind of sound in places.
In case anyone here isn't familiar with it, Towns' score to THE WOLVES OF WILLOUGHBY CHASE is ridiculously gorgeous, pastoral film music in the finest British tradition. The main theme is just such a winner, and there's some terrific action cues as well. It's overall, that I am aware of anyway, Towns' most full-bore symphonic effort:
In case anyone here isn't familiar with it, Towns' score to THE WOLVES OF WILLOUGHBY CHASE is ridiculously gorgeous, pastoral film music in the finest British tradition. The main theme is just such a winner, and there's some terrific action cues as well. It's overall, that I am aware of anyway, Towns' most full-bore symphonic effort.
Just gave this a spin( again the first time in ages). It's very lush. It does well evoking the Victorian (?) period. It reminds me of Young Sherlock( without rips, before anyone sez).
Now when i can cross Rawhead of my most wanted unreleased horrorscore released, I need the following 10 in this order too The Stepfather - Patrick Moriaz The Slayer - Robert Folk Watchers - Joel Goldsmith Nomads - Bill Conti Relentless - Jay Chattaway Fright Night 2 - Brad Fiedel Spontaneous Combustion - Graeme Revell Ghoulies 2 Fuzzbee Morse He knows You´re Alone - Mark & Alex Peskanov Silent Rage - Peter Bernstein First Power - Stewart Copeland Return to Salem´s Lot - Michael Minard
