Currently in Earphones: "Flow Like Water" by James Newton Howard, from The Last Airbender
In case you all haven't noticed already, I'm about a month behind with posting new Track of the Weeks. To be truthful, most of this is due to laziness, but considering that I'm ramping up for grad school, this will be the way things are for the foreseeable future.
Episode 9 is (and has been for a while, sorry) about 75% done, so I should be getting that out before the end of July at the latest. I'm hoping to at least get a nice round 10 episodes completed before I have to give up all my time to work and school.
I've had a lot of wonderful feedback from folks concerning ideas for future podcasts, but the fact is that I've run out of interesting things to say that are currently in my memory banks. I could scrounge around for new ideas, but it would be a lot of work and research and would take away time I need for other things.
I've had a lot of fun doing these podcasts (and definitely learned a few things from experience about audio editing), but I'd rather have a concrete finish than a slow dying away as evidenced by my current output. The whole shebang should be done by the end of 2010.
Thanks to all of you who expressed interest and feedback for Track Bits, without you I would have spun out around Episode 2 :). So don't be sad, there's still a few more things to come!
- 'Till Next Time, Soundtrack Fans!
Showing posts with label Track of the Week. Show all posts
Showing posts with label Track of the Week. Show all posts
Tuesday, July 13, 2010
Monday, June 14, 2010
ToTW 6/13/2010
Track of the Week: "Angels in America (Main Title)" by Thomas Newman, from Angels in America
Newman's signeture plinkety style and plaintive oboe line serve these main titles well, giving a sense of sadness that's in line with the work as a whole. Normally his eclectic percussion is along the lightly kooky side, think a toned down Elfman or Goldenthal trying to write listenable tunes (zing!), but it's innate gentleness is another point in it's favor. Newman's work may not be my kind of high energy, but it has a pensive quality that I really enjoy.
- 'Till Next Time, Soundtrack Fans!
Newman's signeture plinkety style and plaintive oboe line serve these main titles well, giving a sense of sadness that's in line with the work as a whole. Normally his eclectic percussion is along the lightly kooky side, think a toned down Elfman or Goldenthal trying to write listenable tunes (zing!), but it's innate gentleness is another point in it's favor. Newman's work may not be my kind of high energy, but it has a pensive quality that I really enjoy.
- 'Till Next Time, Soundtrack Fans!
Friday, June 11, 2010
ToTW 6/6/2010
Track of the Week: "The Sand Volcano" by Jerry Goldsmith, from The Mummy
Jerry Goldsmith, the man who could write memorable melodies in his sleep, gives us a middle-eastern sounding adventure score. While not as free-wheeling as 13th Warrior, it still manages a handful of rousing action cues, this one being one of the best. Like the movie it accompanies, the music may not be terribly nourishing, but it is most definitely a lot of fun.
- 'Till Next Time, Soundtrack Fans!
Jerry Goldsmith, the man who could write memorable melodies in his sleep, gives us a middle-eastern sounding adventure score. While not as free-wheeling as 13th Warrior, it still manages a handful of rousing action cues, this one being one of the best. Like the movie it accompanies, the music may not be terribly nourishing, but it is most definitely a lot of fun.
- 'Till Next Time, Soundtrack Fans!
ToTW 5/30/2010
(Apologies for the lateness of the post, I was in LA at the time and only just remembered!)
Track of the Week: "The River" by Patrick Doyle, from East-West
Track of the Week: "The River" by Patrick Doyle, from East-West
Tuesday, May 25, 2010
ToTW 5/23/2010
Track of the Week: "Hard Rain (Main Titles)" by Christopher Young, from Hard Rain
Christopher Young tries his hand at Media Ventures/Remote Control, and does a damn fine job! Young's taste for the melodramatic fits well with the overblown sensibilities of Zimmer et al., and he even throws in some harmonica solos for good measure. While it may be a few steps away from the harmonic horror scores one is used to Young creating, it succeeds admirably in providing a fun action score with great brass layering.
- 'Till Next Time, Soundtrack Fans!
Christopher Young tries his hand at Media Ventures/Remote Control, and does a damn fine job! Young's taste for the melodramatic fits well with the overblown sensibilities of Zimmer et al., and he even throws in some harmonica solos for good measure. While it may be a few steps away from the harmonic horror scores one is used to Young creating, it succeeds admirably in providing a fun action score with great brass layering.
- 'Till Next Time, Soundtrack Fans!
Tuesday, May 18, 2010
ToTW 5/16/2010
Track of the Week: "Recapitulation" by John Morris, from The Elephant Man
Possibly the most un-Lynchian film by David Lynch, The Elephant Man not only is a soulful yarn on human decency, but also has wonderfully good music. While the Main Title features a sad little circus-like tune that encapsulates the mood of the film well, there's also a redemptive theme on the strings first heard in "John Merrick and Psalm," but brought to fruition in the final track "Recapitulation." It's a bit reminiscent of Vaughn-Williams' Tallis Fantasia or Barber's Adagio for Strings (the latter also a tune found in the movie), but fares better for not being as overplayed as said classical pieces.
- 'Till Next Time, Soundtrack Fans!
Possibly the most un-Lynchian film by David Lynch, The Elephant Man not only is a soulful yarn on human decency, but also has wonderfully good music. While the Main Title features a sad little circus-like tune that encapsulates the mood of the film well, there's also a redemptive theme on the strings first heard in "John Merrick and Psalm," but brought to fruition in the final track "Recapitulation." It's a bit reminiscent of Vaughn-Williams' Tallis Fantasia or Barber's Adagio for Strings (the latter also a tune found in the movie), but fares better for not being as overplayed as said classical pieces.
- 'Till Next Time, Soundtrack Fans!
Monday, May 10, 2010
ToTW 5/9/2010
Track of the Week: "Cleopatra" by Trevor Jones, from Cleopatra
Easily one of the best TV scores by Trevor Jones. This one wins out over Dinotopia for me (though I still consider the latter good score on it's own merits), being more raucous, more epic, more everything. It's got the usual Trevor Jones melody: a broad, mostly major key affair (see also Cliffhanger, Loch Ness, The Last of the Mohicans), but it stands out for me because of it's leanings toward a minor key. I am nothing if not a slavering supporter of the minor mode, and the score for Cleopatra satisfies my itch without deviating too far from Jones' comfort range. Definitely worth a listen.
- 'Till Next Time, Soundtrack Fans!
Easily one of the best TV scores by Trevor Jones. This one wins out over Dinotopia for me (though I still consider the latter good score on it's own merits), being more raucous, more epic, more everything. It's got the usual Trevor Jones melody: a broad, mostly major key affair (see also Cliffhanger, Loch Ness, The Last of the Mohicans), but it stands out for me because of it's leanings toward a minor key. I am nothing if not a slavering supporter of the minor mode, and the score for Cleopatra satisfies my itch without deviating too far from Jones' comfort range. Definitely worth a listen.
- 'Till Next Time, Soundtrack Fans!
Sunday, May 2, 2010
ToTW 5/2/2010
Track of the Week: "Long, Long Time Ago" by Javier Navarrete, from Pan's Labyrinth
This was my first taste of Navarrete's work, and I was very impressed. He captures the sweet, sad and forbidding mood of the film perfectly, and while I found his later work for Inkheart a bit hit-or-miss, the entirety of his score for Pan's Labyrinth is solid. It would almost feel at home in a Tim Burton film, were it not for the lack of Elfman's zany mannerisms and it's more weighty feel. Definitely worth a listen, if you don't mind getting your spirits depressed a bit.
- 'Till Next Time, Soundtrack Fans!
This was my first taste of Navarrete's work, and I was very impressed. He captures the sweet, sad and forbidding mood of the film perfectly, and while I found his later work for Inkheart a bit hit-or-miss, the entirety of his score for Pan's Labyrinth is solid. It would almost feel at home in a Tim Burton film, were it not for the lack of Elfman's zany mannerisms and it's more weighty feel. Definitely worth a listen, if you don't mind getting your spirits depressed a bit.
- 'Till Next Time, Soundtrack Fans!
Monday, April 26, 2010
ToTW 4/25/2010
Track of the Week: "Insomnia" by Christophe Beck, from Elektra
Most of you might recognize the kick-ass section in the middle of this cue from it's usage in the official trailer for "The Island" way back in 2005. Sadly, it's the only really rocking thing about this score, as the rest is mostly dissonant, experimental percussion. Beck has done more symphonic work, most notably the more recent Percy Jackson & The Olympians: The Lightning Thief. However, most of his output are comedies, so don't expect a laundry list of action and adventure scores, apart from The Seeker: The Dark is Rising. The score to Elektra is an interesting diversion, and worth at least a passing mention.
- 'Till Next Time, Soundtrack Fans!
Most of you might recognize the kick-ass section in the middle of this cue from it's usage in the official trailer for "The Island" way back in 2005. Sadly, it's the only really rocking thing about this score, as the rest is mostly dissonant, experimental percussion. Beck has done more symphonic work, most notably the more recent Percy Jackson & The Olympians: The Lightning Thief. However, most of his output are comedies, so don't expect a laundry list of action and adventure scores, apart from The Seeker: The Dark is Rising. The score to Elektra is an interesting diversion, and worth at least a passing mention.
- 'Till Next Time, Soundtrack Fans!
Sunday, April 18, 2010
ToTW 4/18/2010
Track of the Week: "Training Montage" by Edward Shearmur, from The Count of Monte Cristo
One of my absolute favorites (and used for temp tracks all to heck, I'm sure) is Shearmur's score to the 2002 incarnation of The Count of Monte Cristo. Introducing a swashbuckling cello rhythm a full year before Jack Sparrow swaggered on to the silver screen, "Training Montage" features just the right amount of fun, just the right amount of adventure, and just the right amount of suspense for the scene it illustrates. If you like your adventure scores with elegance and a flourish, Shearmur's effort is not to be missed!
- 'Till Next Time, Soundtrack Fans!
One of my absolute favorites (and used for temp tracks all to heck, I'm sure) is Shearmur's score to the 2002 incarnation of The Count of Monte Cristo. Introducing a swashbuckling cello rhythm a full year before Jack Sparrow swaggered on to the silver screen, "Training Montage" features just the right amount of fun, just the right amount of adventure, and just the right amount of suspense for the scene it illustrates. If you like your adventure scores with elegance and a flourish, Shearmur's effort is not to be missed!
- 'Till Next Time, Soundtrack Fans!
Sunday, April 11, 2010
ToTW 4/11/2010
Track of the Week: "The Gravel Road" by James Newton Howard, from The Village
While James Newton Howard can deliver on the grand, sweeping side of things (see Waterworld, Snow Falling on Cedars, etc.), he can also deliver soft and lyrical as well. The Village is a case in point: though featuring some eerie suspense and horror cues, it also has this lovely rolling violin theme played by Hilary Hahn. It's incredibly sweet and gentle, and a welcome relief from the more atmospheric music that peppers the album.
- 'Till Next Time, Soundtrack Fans!
While James Newton Howard can deliver on the grand, sweeping side of things (see Waterworld, Snow Falling on Cedars, etc.), he can also deliver soft and lyrical as well. The Village is a case in point: though featuring some eerie suspense and horror cues, it also has this lovely rolling violin theme played by Hilary Hahn. It's incredibly sweet and gentle, and a welcome relief from the more atmospheric music that peppers the album.
- 'Till Next Time, Soundtrack Fans!
Sunday, April 4, 2010
ToTW 4/4/2010
Track of the Week: "One Speed" by Graeme Revell, from The Chronicles of Riddick
While Graeme Revell may not be known for bold themes or ripping action music, he puts forth an admirable effort with this chase cue from the second Riddick move. A heroic horn theme for the title character was only partially explored in Revell's score for Pitch Black (see the cue "Race Against the Sun") but makes it's presence known in a grand way about 1:46 into this cue for The Chronicles of Riddick (1:56 into the video). The more heavily orchestral treatment for the music in this second movie (as opposed to more percussive and electronic in the earlier effort) gives it a high mark in my book.
- 'Till Next Time, Soundtrack Fans!
While Graeme Revell may not be known for bold themes or ripping action music, he puts forth an admirable effort with this chase cue from the second Riddick move. A heroic horn theme for the title character was only partially explored in Revell's score for Pitch Black (see the cue "Race Against the Sun") but makes it's presence known in a grand way about 1:46 into this cue for The Chronicles of Riddick (1:56 into the video). The more heavily orchestral treatment for the music in this second movie (as opposed to more percussive and electronic in the earlier effort) gives it a high mark in my book.
- 'Till Next Time, Soundtrack Fans!
Monday, March 29, 2010
ToTW 3/28/2010
Track of the Week: "Concerto to Hell" by Christopher Young, from Drag Me To Hell
It should be readily apparent how much a Christopher Young fan I am, as a quick look through past ToTWs will attest. The totality of Drag Me To Hell may not be the most listenable of Young's output, but what harmonic beauty there is is top notch, as in the realm of Species or The Fly II. As I mentioned in my recent Vlog, the gypsy fiddle theme has a wonderful, unresolved feeling that adds to the uncomfortable atmosphere that horror scores strive for, yet remains wonderfully smooth. Definitely one of Young's best efforts.
- 'Till Next Time, Soundtrack Fans!
It should be readily apparent how much a Christopher Young fan I am, as a quick look through past ToTWs will attest. The totality of Drag Me To Hell may not be the most listenable of Young's output, but what harmonic beauty there is is top notch, as in the realm of Species or The Fly II. As I mentioned in my recent Vlog, the gypsy fiddle theme has a wonderful, unresolved feeling that adds to the uncomfortable atmosphere that horror scores strive for, yet remains wonderfully smooth. Definitely one of Young's best efforts.
- 'Till Next Time, Soundtrack Fans!
Tuesday, March 23, 2010
ToTW 3/21/2010
Track of the Week: "Lost in the Wild" by Jerry Goldsmith, from The Edge
Ahh, Jerry Goldsmith. Is there ever a theme you can write that I won't find lovely and engaging? His effort for the 1997 survival film The Edge has it all: foreboding, hopefulness, majesty; all in a wonderfully smooth package. While the underscore kinda peters along, the moments in the movie where the main theme gets to shine through are always highlights. Having the beautiful Alaskan wilderness as a backdrop helps too :P
- 'Till Next Time, Soundtrack Fans!
Ahh, Jerry Goldsmith. Is there ever a theme you can write that I won't find lovely and engaging? His effort for the 1997 survival film The Edge has it all: foreboding, hopefulness, majesty; all in a wonderfully smooth package. While the underscore kinda peters along, the moments in the movie where the main theme gets to shine through are always highlights. Having the beautiful Alaskan wilderness as a backdrop helps too :P
- 'Till Next Time, Soundtrack Fans!
Monday, March 15, 2010
ToTW 3/14/2010
Track of the Week: "Plasma Pool" by Howard Shore, from The Fly
Having already paid tribute to Christopher Young's score to The Fly II, I thought I'd post something from Howard Shore's equally fantastic score to the first film, Cronenberg's The Fly. Having finally gone off the deep end, Goldblum's character Seth Brundle gives an impassioned speech on the wonders of his new teleportation device, while an incredulous Ronnie (Gina Davis) looks on in horror. I love the forbidding, slurred ostinato phrase in the strings that begins the cue, along with the faint hint of Seth's tragic theme in the high strings shortly afterward, finishing out with a more evil rendition of the theme with thudding low brass. My favorite cue of the album.
- 'Till Next Time, Soundtrack Fans!
Having already paid tribute to Christopher Young's score to The Fly II, I thought I'd post something from Howard Shore's equally fantastic score to the first film, Cronenberg's The Fly. Having finally gone off the deep end, Goldblum's character Seth Brundle gives an impassioned speech on the wonders of his new teleportation device, while an incredulous Ronnie (Gina Davis) looks on in horror. I love the forbidding, slurred ostinato phrase in the strings that begins the cue, along with the faint hint of Seth's tragic theme in the high strings shortly afterward, finishing out with a more evil rendition of the theme with thudding low brass. My favorite cue of the album.
- 'Till Next Time, Soundtrack Fans!
Monday, March 8, 2010
ToTW 3/7/2010
Track of the Week: "The Creation" by John Ottman, from Incognito
Proving once again that he can write stunning and captivating scores, John Ottman captures a certain baroque elegance in his score to Incognito, as befits a movie concerning renaissance paintings. The fluidity heard in the main title to his earlier score for The Usual Suspects carries over to his work here. I personally like the intrigue that his music engenders simply in it's style. A damn fine score.
- 'Till Next Time, Soundtrack Fans!
Proving once again that he can write stunning and captivating scores, John Ottman captures a certain baroque elegance in his score to Incognito, as befits a movie concerning renaissance paintings. The fluidity heard in the main title to his earlier score for The Usual Suspects carries over to his work here. I personally like the intrigue that his music engenders simply in it's style. A damn fine score.
- 'Till Next Time, Soundtrack Fans!
Sunday, February 28, 2010
ToTW 2/28/2010
Track of the Week: "S.O.P. Theme #1: Standard Operating Procedure" by Danny Elfman, from Standard Operating Procedure
If there is anyone who can do melancholy well, it's Danny Elfman. If you can forget for a moment that Standard Operating Procedure is about the Abu-Ghraib atrocities, Elfman's music is reminiscent of his work on Wanted in being menacing, weighty, and mysterious. Much like Debney's Passion of Christ, however, the subject material is forever associated with the music, which can be annoying when the emotional response to the score runs contrary to the movie. Whatever you're opinion of film, Elfman's work is still worth a listen, even if you have to conjure up something more pleasant in you're imagination to go with this music.
- 'Till Next Time, Soundtrack Fans!
If there is anyone who can do melancholy well, it's Danny Elfman. If you can forget for a moment that Standard Operating Procedure is about the Abu-Ghraib atrocities, Elfman's music is reminiscent of his work on Wanted in being menacing, weighty, and mysterious. Much like Debney's Passion of Christ, however, the subject material is forever associated with the music, which can be annoying when the emotional response to the score runs contrary to the movie. Whatever you're opinion of film, Elfman's work is still worth a listen, even if you have to conjure up something more pleasant in you're imagination to go with this music.
- 'Till Next Time, Soundtrack Fans!
Sunday, February 21, 2010
ToTW 2/21/2010
Track of the Week: "Rjuken Sabotage" by Michael Giacchino, from Medal of Honor
I've always liked Giacchino's music to Lost, and was happy to find nearly all of his work for the first Medal of Honor game entirely to my liking. Though some would argue that the score to the first game was too derivative of John Williams, and that Giacchino would later mature into his own sound for the subsequent games, it's still enjoyable and an achievement in it's own right. Too bad it's become rather rare on the secondary market, as it's a very solid effort.
- 'Till Next Time, Soundtrack Fans!
I've always liked Giacchino's music to Lost, and was happy to find nearly all of his work for the first Medal of Honor game entirely to my liking. Though some would argue that the score to the first game was too derivative of John Williams, and that Giacchino would later mature into his own sound for the subsequent games, it's still enjoyable and an achievement in it's own right. Too bad it's become rather rare on the secondary market, as it's a very solid effort.
- 'Till Next Time, Soundtrack Fans!
Sunday, February 14, 2010
ToTW 2/14/2010
Track of the Week: "Main Title" by Jerry Goldsmith, from Night Crossing
Night Crossing has the distinction of being the most expensive soundtrack I've ever paid for. I won't tell you the exact amount, but suffice to say that Intrada Records (a soundtrack specialist based out of Oakland, of all places!) continues to suck money out of my wallet with their limited releases, which sell out quickly and fetch high prices on the secondary market. Thankfully, the above album is the last of their back catalog that I was interested in tracking down, and it's spirited and menacing theme should give you an idea of why I was desirous of a copy. It manages to be both dangerous sounding but also upbeat, and from Jerry Goldsmith I would expect no less.
- 'Till Next Time, Soundtrack Fans!
Night Crossing has the distinction of being the most expensive soundtrack I've ever paid for. I won't tell you the exact amount, but suffice to say that Intrada Records (a soundtrack specialist based out of Oakland, of all places!) continues to suck money out of my wallet with their limited releases, which sell out quickly and fetch high prices on the secondary market. Thankfully, the above album is the last of their back catalog that I was interested in tracking down, and it's spirited and menacing theme should give you an idea of why I was desirous of a copy. It manages to be both dangerous sounding but also upbeat, and from Jerry Goldsmith I would expect no less.
- 'Till Next Time, Soundtrack Fans!
Monday, February 8, 2010
ToTW: 2/7/2010
Track of the Week: "Waters of Irrawaddy" by Hans Zimmer, from Beyond Rangoon
This'll be the last of Zimmer and Media Ventures for a while (I know it seems like I've been on a kick, I'll be mixing it up as the weeks go on). I don't normally associate the descriptor "quiet" with any of Hans' stuff, but it's very fitting for his work on the score to Beyond Rangoon (with Nick Glennie-Smith lending a hand here and there). It's a nice change of pace from the usual bombast, and I like the pulsating gong lines that keep time in the background, along with the female vocals. Very Pretty.
- 'Till Next Time, Soundtrack Fans!
This'll be the last of Zimmer and Media Ventures for a while (I know it seems like I've been on a kick, I'll be mixing it up as the weeks go on). I don't normally associate the descriptor "quiet" with any of Hans' stuff, but it's very fitting for his work on the score to Beyond Rangoon (with Nick Glennie-Smith lending a hand here and there). It's a nice change of pace from the usual bombast, and I like the pulsating gong lines that keep time in the background, along with the female vocals. Very Pretty.
- 'Till Next Time, Soundtrack Fans!
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