Faceplams Faceplams:  0
Results 1 to 9 of 9

Thread: Random score questions

  1. #1
    Join Date
    Feb 2018
    Location
    France
    Posts
    600
    Mentioned
    7 Post(s)

    Random score questions

    (it's exactly like the Random NIN questions thread but for scores)

    So I was wondering, what are your favorite "moments" from the soundtracks we have now ? It can be a track, a series of tracks seguing together, a single sound.

    For example that one thing that moved you deeply during the 3 hours of The Girl With The Dragon Tatoo soundtrack, like the singular aspect of a track (What If We Could?).

    Or even essentials moments of the soundtracks, that could be lost for some of us who do not have the attention span for so much listening.

  2. #2
    Join Date
    Dec 2011
    Location
    London
    Posts
    5,071
    Mentioned
    203 Post(s)
    Love and Mercy's Losing It is honestly what it sounds like to have sensory overload, and I've never heard that expressed quite right before.

    Quake's Hall of Souls [or whatever the real name is, come on Trent just tell us] has a beautiful way of making me feel nervous always

    Gone Girl's Technically Missing gradual buildup of a wall of sound is just damn beautiful

  3. #3
    Join Date
    Dec 2011
    Location
    Ontari-ari-ario
    Posts
    3,982
    Mentioned
    163 Post(s)
    I think "Procedural" and "Technically, Missing" are my favourite tracks from the Gone Girl soundtrack. Very tense, well-paced and layered -- but with a low-key vibe that suits me well, either for working in the office, commuting with headphones, or listening intently at home with the speakers on blast. Kind of like the best parts of the Social Network score but with an extra edge of paranoid mania.

  4. #4
    Join Date
    Dec 2011
    Location
    UK
    Posts
    3,347
    Mentioned
    38 Post(s)
    The piano at the end of Carbon Prevails from Social Network, I get goosebumps from the build up and pay off in Great Bird of Prey from Dragon Tattoo. 8 billion from Before the Flood has all the feels. Love The Night Drive from Patriots Day, Consummation from Gone Girl. Still processing The Vietnam War, I have the episodes recorded and would really like to watch them first but the subject is so depressing itís not something you really fancy watching after a hard day


    Sent from my iPad using Tapatalk

  5. #5
    Join Date
    Nov 2011
    Location
    Cincinnati, OH
    Posts
    1,724
    Mentioned
    45 Post(s)
    I'm gonna list a quick breakdown by album - if I've left the album out, it's because something hasn't stood out to me... yet.

    Social Network - Painted Sun In Abstract - the piano crescendo before the 80s chippy-synth kicks in was my morning wake-up alarm tone for the longest time. It's amazingly beautiful to me. Eventually We Find Our Way - the last two minutes of this are amazing and the subtlety in the outro still amazes me.

    TGWTDT - What If We Could? - I get misty-eyed during this one. Great Bird Of Prey - Intense and I love it. She Reminds Me Of You is another haunting track but not as haunting as Aphelion.

    Gone Girl - Sugar Storm, Just Like You (Mike Garson outro FTW), Appearances, Like Home, Technically, Missing, At Risk / Consummation (Reprise) - there's a lot of great music on this one for me.

    Before The Flood - And When The Sky Was Opened, At Dusk, 8 Billion and Before The Flood are my go-to tracks for reading.

    The Vietnam War - Less Likely is so damn depressing. I love it.

    Mid90s - All of it. I'd take a full-length album of this soundtrack.

    Bird Box - Careful What You Wish For still scares the holy hell out of me. Undercurrents is also dreadful in the best way possible.

  6. #6
    Join Date
    Nov 2011
    Location
    Switzerland
    Posts
    122
    Mentioned
    0 Post(s)
    So, I am wondering about something ...

    I do hear a lot of scores lately, which sound a LOT like TR/AR's score work. Was it THEM that started this kind of sound of score work and they have since been influencing others in the industry or have these kind of scores been existing een before?

    And I'm not only talking about some of their signature sounds which definitely seem to get copied by others. Rather if this kind of electronic / synth driven type of score has been done by others before.

    Maybe it's a bit of stupid question, but I don't follow other score writers that much,
    And, undoubtedly, there will have been other composers writing synth scores.

    I'm just wondering (wishing?) how much of an impact TR/AR had on score music ever since they started with TSN.

    Thanx fo any insight.

  7. #7
    Join Date
    Dec 2011
    Location
    Indiana
    Posts
    5,311
    Mentioned
    26 Post(s)
    A very common practice is producers/directors putting in music they like or think fits perfectly with any given scene they are in the process of editing, otherwise known as "temp" (temporary) music. What you're hearing is likely that other composer's interpretation of their work.

  8. #8
    Join Date
    Dec 2011
    Posts
    471
    Mentioned
    15 Post(s)
    Quote Originally Posted by opal View Post
    So, I am wondering about something ...

    I do hear a lot of scores lately, which sound a LOT like TR/AR's score work. Was it THEM that started this kind of sound of score work and they have since been influencing others in the industry or have these kind of scores been existing een before?

    And I'm not only talking about some of their signature sounds which definitely seem to get copied by others. Rather if this kind of electronic / synth driven type of score has been done by others before.

    Maybe it's a bit of stupid question, but I don't follow other score writers that much,
    And, undoubtedly, there will have been other composers writing synth scores.

    I'm just wondering (wishing?) how much of an impact TR/AR had on score music ever since they started with TSN.

    Thanx fo any insight.
    They weren't the first to do it, but they have definitely have made it more popular. Check out Clint Mansell's Moon score, it came out a year before The Social Network, and it's a very similar vibe to TR & AR's work. There's obviously more examples than just this one, but it's the first that pops into my head. That said, I do believe that the current sound of tense movie scores is a direct response to their work.

  9. #9
    Join Date
    Dec 2011
    Location
    UK
    Posts
    3,347
    Mentioned
    38 Post(s)
    My first experience of electronic music in tv / film was the theme to Dr Who in 1963 (note watching it in mid 70s, I’m not THAT old but 1963 is when it was created)
    https://en.m.wikipedia.org/wiki/Doctor_Who_theme_music

    also, Vangelis, the music to Terminator, music to John Carpenter films. But I don’t watch nearly enough films and there were probably loads of more electronic scores in the 70s and 80s

    there was also a controversy about Eurythmics writing the score to the film 1984 and being dissed by the director who had a ‘proper’ orchestral score ready to go and said he was forced to use the Eurythmics by Virgin who funded the film. It’s very interesting looking at how long it’s taken to get any respect for electronic scores!

    https://diffuser.fm/eurythmics-1984-soundtrack/

    I watched 1984 at the time and didn’t really like the film but not because of the music. I’d be very interested to go back now and watch it on a dvd where you can watch it with or without the electronic music and compare

Posting Permissions