wimpel69
12-04-2013, 01:31 PM
The sharing period of this album has ended. No more requests, and no re-ups of my rip, please. Thank you!
On the Beach is a 2000 apocalyptic television film directed by Russell Mulcahy and starring Armand Assante,
Bryan Brown and Rachel Ward. It was originally aired on Showtime. It is a remake of the 1959 film of the same title,
based on the 1957 novel by Nevil Shute, and updates the setting of the story to the film's then-future of 2006,
starting with placing the crew on the fictional Los Angeles-class submarine USS Charleston (SSN-704) (there
has never been a submarine named USS Charleston, and SSN-704 is named Baltimore).
Music Composed, Orchestrated and Conducted by
Christopher Gordon
Tracks:
1. The World At War (04:07)
2. A New Day (01:22)
3. A Matter Of Months (00:56)
4. Melbourne Decays (01:46)
5. Decommission (01:39)
6. Nordstrom's Theory (01:08)
7. Through The Darkness (02:26)
8. Moira And Towers Meet (02:36)
9. Christmas Memory (01:17)
10. On The Jetty (01:45)
11. The Great Ocean Road (04:03)
12. The Beginning Of The End (01:03)
13. Prepare To Dive (01:29)
14. Voyage North (03:15)
15. Anchorage (05:46)
16. Alien Landscape (04:52)
17. Swain Returns Home (03:24)
18. The Vote (02:29)
19. At The Taj Mahal (00:49)
20. Homecoming (00:48)
21. Hirsch (03:51)
22. Flight Through The Apostles/Elegy (05:57)
23. Final Farewells (04:55)
24. Lacrimosa (02:53)
25. Lux Perpetua (02:25)
26. From The Beach, Silently Weeping (06:34)
Total Time: 73'35
"Above all else, Gordon's interpretation of the circumstances of On the Beach is grounded in an
extremely melodic mindset. He writes two primary themes, one of heroism for the submarine and
a standard romance theme for the character interactions. But his score extends its motifs to several
other concepts, including an idea for the tragedy of impending death, one for mournful remembrance
of the world that once was, as well as a distinctly robust war-related theme in the opening cue to
accompany the film's quick summary of how the nuclear holocaust was initiated. The combination
of the war theme and the overarching melody for the heroic attempts of the American crew to find
hope make "The World at War" a powerhouse of dissonant magnificence; Gordon takes grand
ensemble majesty and twists its into a distinctly unpleasant result until the heroic theme explodes
in the final minute of the cue. The theme of impending doom is explored on solo strings in the
"Melbourne" suite on album, returning to inspire several sequences in the final "The Burial Cloud"
suite. The heroic theme for the submarine is heard in harmonic beauty in the first two cues of the
"Message from the North" suite, including an elongated mid-range brass performance in "Voyage
North." The war theme is given another rendition for the special effects-laden scene of destruction
in San Francisco (heard during "Alien Landscape"). The two darker themes of doom and
remembrance are strongly restated in lengthy string performances of considerable anguish in the
final suite, which is punctuated by two perhaps overly melodramatic choral pieces, first for
ensemble and then for boy soprano. The most enjoyable suite on album is ironically "On the Beach,"
the most flighty and positive romantic representation. Both "Moira and Towers Meet" and
"The Great Ocean Road" are flourishing and exuberant rhythmic expressions of the love theme
that defy the serious tone of the rest of the score. Overall, Gordon's version of On the Beach is
a superior work, and it definitely deserved a better showing on the album sales charts. But its
downside exists in its necessary sense of gravity; there's only so much doom and gloom you can
tolerate before returning to the attractive cues in the "On the Beach" suite. It's an extremely
effective score that remains among Gordon's best, but be prepared for its inevitable despair."
Filmtracks
Source: Var�se Sarabande 302 066 153 2
Format: FLAC(RAR), DDD Stereo, Level: -5
File Size: 368 MB (incl. artwork/booklet)
The sharing period of this album has ended. No more requests, and no re-ups of my rip, please. Thank you!
On the Beach is a 2000 apocalyptic television film directed by Russell Mulcahy and starring Armand Assante,
Bryan Brown and Rachel Ward. It was originally aired on Showtime. It is a remake of the 1959 film of the same title,
based on the 1957 novel by Nevil Shute, and updates the setting of the story to the film's then-future of 2006,
starting with placing the crew on the fictional Los Angeles-class submarine USS Charleston (SSN-704) (there
has never been a submarine named USS Charleston, and SSN-704 is named Baltimore).
Music Composed, Orchestrated and Conducted by
Christopher Gordon
Tracks:
1. The World At War (04:07)
2. A New Day (01:22)
3. A Matter Of Months (00:56)
4. Melbourne Decays (01:46)
5. Decommission (01:39)
6. Nordstrom's Theory (01:08)
7. Through The Darkness (02:26)
8. Moira And Towers Meet (02:36)
9. Christmas Memory (01:17)
10. On The Jetty (01:45)
11. The Great Ocean Road (04:03)
12. The Beginning Of The End (01:03)
13. Prepare To Dive (01:29)
14. Voyage North (03:15)
15. Anchorage (05:46)
16. Alien Landscape (04:52)
17. Swain Returns Home (03:24)
18. The Vote (02:29)
19. At The Taj Mahal (00:49)
20. Homecoming (00:48)
21. Hirsch (03:51)
22. Flight Through The Apostles/Elegy (05:57)
23. Final Farewells (04:55)
24. Lacrimosa (02:53)
25. Lux Perpetua (02:25)
26. From The Beach, Silently Weeping (06:34)
Total Time: 73'35
"Above all else, Gordon's interpretation of the circumstances of On the Beach is grounded in an
extremely melodic mindset. He writes two primary themes, one of heroism for the submarine and
a standard romance theme for the character interactions. But his score extends its motifs to several
other concepts, including an idea for the tragedy of impending death, one for mournful remembrance
of the world that once was, as well as a distinctly robust war-related theme in the opening cue to
accompany the film's quick summary of how the nuclear holocaust was initiated. The combination
of the war theme and the overarching melody for the heroic attempts of the American crew to find
hope make "The World at War" a powerhouse of dissonant magnificence; Gordon takes grand
ensemble majesty and twists its into a distinctly unpleasant result until the heroic theme explodes
in the final minute of the cue. The theme of impending doom is explored on solo strings in the
"Melbourne" suite on album, returning to inspire several sequences in the final "The Burial Cloud"
suite. The heroic theme for the submarine is heard in harmonic beauty in the first two cues of the
"Message from the North" suite, including an elongated mid-range brass performance in "Voyage
North." The war theme is given another rendition for the special effects-laden scene of destruction
in San Francisco (heard during "Alien Landscape"). The two darker themes of doom and
remembrance are strongly restated in lengthy string performances of considerable anguish in the
final suite, which is punctuated by two perhaps overly melodramatic choral pieces, first for
ensemble and then for boy soprano. The most enjoyable suite on album is ironically "On the Beach,"
the most flighty and positive romantic representation. Both "Moira and Towers Meet" and
"The Great Ocean Road" are flourishing and exuberant rhythmic expressions of the love theme
that defy the serious tone of the rest of the score. Overall, Gordon's version of On the Beach is
a superior work, and it definitely deserved a better showing on the album sales charts. But its
downside exists in its necessary sense of gravity; there's only so much doom and gloom you can
tolerate before returning to the attractive cues in the "On the Beach" suite. It's an extremely
effective score that remains among Gordon's best, but be prepared for its inevitable despair."
Filmtracks
Source: Var�se Sarabande 302 066 153 2
Format: FLAC(RAR), DDD Stereo, Level: -5
File Size: 368 MB (incl. artwork/booklet)
The sharing period of this album has ended. No more requests, and no re-ups of my rip, please. Thank you!