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| There are 528 Reviews Done |
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Krzesimir Debski - Ogniem I Mieczem
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| Krzesimir Debski most famous soundtrack work |
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Chorus are delightness , the pure virtuosity of some delicate polish instruments joined to the more heavy orchestra brings the greatest themes ! Balalaïka !
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1 of 1 found this review helpful |
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Bartosz Chajdecki - Czas Honoru
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| Bartosz is my Discovery of the Year. |
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It is great we have this music here. Thanks to our member molossus who donated the album. A few days after it was here we heard there would be a concert held during the Film Music Festival in Krakow. To promote the gathering I often requested from this album (when available). After I heard a few tracks from this album I thought Wow this is great music. And I already put it on my wishlist to buy it when I visit Poland. It was great to actually meet this 30 year old composer in Kraków. (See a lot of pictures in our gallery.) One of the famous one would be where Bartosz is requesting one of his own tracks on SST. The concert was amazing.
If SST would have a Discovery of the Year awards category, then I am sure Bartosz got my vote. Looking forward to hear new music from him.
My favorite tracks are Czolówka and Pogon. But it actually does not matter which track you choose, it will be a joy to listen too.
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4 of 4 found this review helpful |
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Jerry Goldsmith - Secret Of NIMH, The
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| The Anti-Animation Score from Goldsmith - NIMH |
| By: |
AdamR
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| Date: |
26 Jun 2011 |
| Rating: |
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Jerry Goldsmith changed composing for animated films when he agreed to work on Disney defector, Don Bluth and his first animated film, the Secret of NIMH. Goldsmith, working on his first animated film score, decided to do something radical - he scored the film as if it was real-life action film. As such, this is one of relatively few animated films that has a serious score, devoid of cartoony percussion and whimsy woodwind moments.
The main theme of NIMH is repeated and built on throughout the entire score, often played by the strings of the orchestra. It is heard in the main titles, after the intro by an all male choir, again as song lyrics in Flying Dreams (by Sally Stevens in the film, and by lyricist, Paul Williams during the credits), during the flight sequence in No Thanks, and at the final crescendo of House Raising to demonstrate Mrs. Brisby's courage to save her children. This theme holds the score together thematically and allows some sort of familiarity to always pop back in. Goldsmith's cues in action pieces such as Allergic Reaction/Athletic Type and the Tractor make strong use of percussion and brass instruments rotating around a sense of danger nearby. The low strings of Step Inside My House bring an air of spookiness to an owl's hallow, from the view of a mouse.
All in all, its an impressive score by Goldsmith, who would not score another animated film until Disney's Mulan, fifteen years later. Goldsmith showed that animated films don't automatically need to have the silly scores of the 1940s cartoons, and that a good solid score, can really drive the film medium.
--Adam R.
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2 of 2 found this review helpful |
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Yoko Kanno - Wolf's Rain
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| Wolf's Rain - Cry for the Wolves |
| By: |
AdamR
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| Date: |
26 Jun 2011 |
| Rating: |
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Composer Yoko Kanno provided the background music for the unusual but popular nonetheless, anime story about four wolves who take on the appearance of young humans to survive a sort of gloomy reality while searching for paradise. I remember watching the show, not totally grasping the point on the first go, but like the music I heard, both have grown on me, and I've a greater appreciation for both.
The main song, Stray by Steve Conte (absent on SST as of this writing!) is raspy, but provides the basic idea of the show--I'll do things my way, by myself if I must. Conte also provides vocals on another song, Could You Bite the Hand, often referring to the theme of dismay, disobedience, and dishonesty found in the show. Brazillian jazz vocalist, Joyce provides vocals on two pieces, only one of which is available to listen here, Run Wolf Warrior, a theme of searching for something, you know not necessarily what, but to continue through all roadblocks.
As for the background score, Kanno provides an eclectic mix of instrumentation. The firm piano theme of despair heard in Requiem sets the mood for the depressing tale, and repeats in Paradiso. A similar sad theme is heard in the string-based piece, Shiro. A spattering of unusual percussion instrumentation is present in Silver River, and Visions of a Flame, and while I cannot piece where exactly these were heard in the series, first time listeners will likely find these tracks unusual.
Overall, this is not a bad album, though if you've never watched the show, you might find some tracks rather odd and "out there". Its a unique sound, different, but not in a bad way.
--Adam R.
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2 of 2 found this review helpful |
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Joe Hisaishi - Ponyo On The Cliff By The Sea
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| Another gem from Joe Hisaishi |
| By: |
AdamR
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| Date: |
26 Jun 2011 |
| Rating: |
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Joe Hisaishi's "Ponyo on the Cliff by the Sea" represents the composers take on another well-told story from Hayao Miyazaki. This time we have Ponyo, a fish-girl, wishing to become human once she meets the young boy, Sosuke. This is another take on the Little Mermaid story of Hans Christian Andersen, and Hisaishi and Miyazaki hit another home run.
Like Hisaishi's previous works, he uses the orchestra to its fullest, and gives Ponyo's world, deep thematic material to live on. Starting with the choral passages in Deep Sea Ranch, all the way to Ponyo's theme heard in Flight of Ponyo and Ponyo of the Fish of the Wave, you get the feeling, this film is much lighter in material than something like Princess Mononoke, or even Spirited Away. The use of woodwind instruments throughout glorifies the childlike innocence of Sosuke and Ponyo as Sosuke tries to help Ponyo when it becomes apparent she cannot survive out of water.
The score as a whole is not as strong thematically as Princess Mononoke where main themes are revisted, and as such, what you have is a lot of underscore. It is fun, but not as memorable as other scores from Hisaishi. The score is excellent for the film and what is shown on screen, but less able to stand on its own.
--Adam R.
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3 of 3 found this review helpful |
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Vangelis - Themes (Vangelis)
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| Themes (Vangelis) |
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This album is really interesting as he gave you a clear view on Mr Evángelos Odysséas Papathanassíou (Vangelis real name)'s work on film score that he made in the past. You won't miss the second track eventhough it is Missing's Main Theme. There is, of course immortal music from Chariot of Fire and Blade Runner (taken out from the requested Track listing on SST, probably as those music are available on original album) but the versions of those songs on Themes are different (from their original) and worth to be listen to. You can also find original work from this great composer (China) who is not taken from a soundtrack. My favorite track is the one mentioned above (Missing) but I also like a lot Memories of Green (from Blade Runner), La Petite Fille de La Mer from Frédéric Rossif's documentary and Love Theme from Blade Runner.
This album made me discover someone who has been gifted to create electronic music that you think it is symphonic as the sounds he is using are like instruments he directs in an orchestra. He, like Hans Zimmer later has the ability to creates that. He cannot be only taken as the composer of Chariot and Blade Runner.
Funny to know : His 1968's hit song "Rain and Tears" he made with Aphrodite's Child, the group he formed with Demis Roussos, Lucas Sideras & Silver Koulouris gets an funny echo when he wrote "Tears In Rain" for Blade Runner's score and which come after very a famous quote :
"I've seen things you people wouldn't believe.
(SST member Alchemist' signature)
Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate.
All those moments will be lost in time, like Tears in Rain. Time to die."
But please be sure not to die before having listen to Mr Vangelis's heavenly music.
Evan Evans
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4 of 4 found this review helpful |
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Hans Zimmer, Gabriela Quintero Hans Zimmer, Eduardo Cruz, Rodrigo Sanchez, Hans Zimmer Rodrigo Sanchez, Gabriela Quintero (...) - Pirates Of The Caribbean: On Stranger Tides
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| Zimmer pirates, now with guitar! |
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I remember borrowing Klaus Badelt’s score album for the first POTC movie from a friend. Forty-five minutes and what sounded like two musical ideas later, having listened to the whole thing, I thought, “That’s it?” Since then I haven’t really paid attention to Zimmer’s scores for the franchise, content to note them when they came up in the queue. Those tracks were often Zimmer-long and Zimmer-bombastic, not styles of his I appreciate. So I prepared to hate this score, but I was pleasantly surprised. It’s not brilliant, but it features toe-tapping callbacks to the themes from the first film in a generally lighter setting.
One thing that makes it lighter is the inclusion of Spanish-influenced guitar from the duo of Rodrigo y Gabriela. On “Angelica,” the sound is acoustic, technically impressive stuff you expect from flamenco, but not from a recent Zimmer summer movie score (MI:2 was a while ago). “The Pirate That Should Not Be” is basically the Pirates themes in the flamenco style, which means the guitars are sometimes used more for rhythm than pitch, in a weird, urgent way. “South of Heaven’s Chanting Mermaids,” is the mermaid theme played on those guitars. Much of this is inoffensive, relaxing music. I’m not sure that’s what they were going for.
“Mermaids,” of course, begins with haunting, ethereal vocals, which is what history has taught us is the way mermaids sound. At this point, between the flamenco guitars for a character with a Spanish accent (Angelica is played by Penelope Cruz) and the ghostly female song for the sirens, I’m getting a little weary of the cliché in this score. “Mermaids” is the longest track, and it picks up tension as it goes, eventually busting out in full Zimmer action ostinato, reminiscent of “To Die For” from The Lion King, with some of the chromatic scale elements from Sherlock Holmes.
All the old themes are here. Tracks 1, 10 and 11 contain the most of what you’ve heard before. The latter two constitute what I assume is the “mega-happy ending” of the movie. They are pleasant. The rest of this album consists of remixes of nearly every track, which have not been uploaded to SST. That’s just fine.
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7 of 8 found this review helpful |
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Daft Punk - TRON: Legacy
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| Brilliant mixture of electronic and instrumental! |
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I love electronic music, but was never much of a fan of Daft Punk really. That has changed... I believe they have found their true calling. This entire score is so incredible a few words cannot do it justice. This is one of those that I am glad I bought the whole album on iTunes.
Hanz Zimmer's influence and guidance are recognized in a few songs. In fact, it often sound like the hauntingly beautiful score of inception (Recognizer), but more... epic.
Daft Punk and the film maker both had a vision of mixing electronic, because of the nature of the movie, and classical and it worked perfectly. The music REALLY contributes to the mood and movement of the film. In fact, it is what made the difference between simply a cool sequel with awesome action scenes and mesmerizing special effects and a great enjoyable movie.
For the more electronic dance flavor, check out Derezzed. It even mixes in the sound of someone getting derezzed from the original film. And it is an energetic groove. I dare you to try and listen without at least bobbing your head.
The one that is most like a classical flavor is Adagio... breath taking.
Disc Wars is a repetitive harmony with a progressive build up of instruments that will blow you away at the climax.
Apart from these mentioned, I enjoy the entire score, but Arena, Rinzler, Outlands, and End of Line are probably my other favorites.
All in all, I thought it was the score of the year.
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9 of 9 found this review helpful |
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Ennio Morricone - My Name Is Nobody
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| How I came in contact with soundtracks |
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The movie "My name is nobody" was played in a movie-theatre in my hometown, in the early 70ties. It had a great impact on me. I whisseld the tune on my way home, in the bus. Not much later I bought the L.P. (great black rond thing) of the movie, my first soundtrack I bought. The second or 3th LP I ever purchased, of about 200 in total (cd not included)
Ennio Morricone is never mentioned amoung the "great composers", but he nows how to make a movie come alive for you.
Every song on this album leaves a mark on your soul. Wether it is "the wild Horde" or "A dangerous barber" here the music and you see the movie.
Thank you Ennio Morricone for your letting me now the positive influence of good soundtracks.
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2 of 2 found this review helpful |
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