c�d�master88
06-10-2014, 10:51 PM
Blood Wings Sinfonia
Symphony No. 8: There Will Be Only More Death
2014
6 tracks, TRT: 1:20:47, FLAC
https://mega.co.nz/#!Jx1z2RTa!4vRV7N9o_zDwo_-pcQo-iRgDuA1j2M0ZCoDV_M0mAF4
Note: I'm back again with yet another one of my fun little music projects. The morbid subject for this one being the dreaded "death". After having narrowly survived it myself many times this year already and watching as many faces I've grown to love and respect over the years pass away. Some go peacefully, others go in a blaze of fiery glory and the more common way to go these days is drug overdose. There are however so many more ways a person can die whether by accident or purposefully. While my realistic imagination only truely knows of certain ways, I've read hints from films and the media that the possibility of something so random, so unfortunate can happen at any time and we'd be none the wiser in the end. At the start, I'm sure you can imagine mass killings at first but then it starts thinning itself out as the cast of our musical story is reduce to a paltry handful. Our group is the most unlikely group of people you can imagine being put in a dangerous situation, such as what is going on around them, together. Now in some movies, you'll find that this can lead to some rather inane dialogue and facepalm moments of stupidity. My characters won't be like that. They won't be too smart for their own good but they won't be braindead paint-by-the-numbers caricatures of the horror genre who are reduced to yelling at each other and losing their calm every 5 seconds needlessly stopping the plot. The plot goes along at a steady pace, not quite like the music but the music gives you an idea of how certain scenes when filmed will carry those long moments of intense and rousing action. This is my bucket list film. Now that I have the music as a template and once I get back into filmmaking, the story will build itself as I mature as a written storyteller.
My last 4-volume project entitled "Murder on the Night Plains" was a dedication to my good friend, Victor Salva and gave me the opportunity to unleash all of the pent-up anxiety from having experienced so many new and exciting things to help keep my anticipation of it happening again up.
This project originally began as a tribute to Arvo P�rt, Henry Jackman and John Ottman. If I used ANY Beltrami material, it was very light. It eventually became a tribute to those composers plus Daniel Licht and the immortal Jerry Goldsmith. After a recent conversation with John Ottman, I was discussing his score for "Jack the Giant Slayer" (which I use in movement 4). I originally thought it was a nod to Silvestri's Death Becomes Her theme but the true fact came to be that both Ottman and Silvestri's themes were inspired by Goldsmith's score to the Twilight Zone movie segment entitled "Nightmare at 20,000 Feet". Since I had used the cue entitled "Kitchen Nightmare" which referenced the Goldsmith material in that movement, I found a moment in Goldsmith's music that fit perfectly in Ottman's material when it died down for a second that seamlessly integrated Ottman and Goldsmith into one for just a moment. Ottman's thoughts about the section has not been revealed but I think he'll get a kick out of it. The moment I'm referencing goes from 2:57-3:46 in Movement 4.
I incorporated a few other Goldsmith pieces from his score to "Deep Rising" in movements 3 and 4 but as it was a last minute development and every other puzzle piece had been put in its proper place, there unfortunately was no extra room for much more Goldsmith material but what is included is quite nice.
Now that I've filled you in on that little piece of knowledge, now for the inspirational section of this post. My real-world inspiration was the subject of death itself, it's was once a terrifying concept that now I've come to accept as just another thing that happens. Since I've seen some rather random and unfortunate near-death moments of my life, I realize without a doubt now that death can come from anywhere at any time when you least expect it. That kick-started another epic idea in my head which was as usual to take a large group of people, put them in a situation that would seem feasible to have a whole town congregating in one place for (i.e. the death of an important person in this town's history). The funeral is underscored by snippets of Arvo P�rt's "Adam's Lament" which was actually a piece that would randomly play when I plugged my iPad into my USB port in my car stereo. I heard the first 4 minutes at least 20 times and I loved it every time and wanted to use it in one of my projects. I also acquired Henry Jackman's "This is the End" score which helped complete movement 1 and get me halfway through movement 2 where I started switching gears and incorporating some rather awesome pieces from one of Two Steps from Hell's albums. I used that to conclude movement 2. To establish the dominant fright factor of movement 1, I use carefully edited layers of the 5.1 mixes of the video game score "Dead Space" by Jason Graves which later explode into more complete pieces. I get a great deal of fun playing with the "Dead Space" material and I hope you enjoy its repurposing.
Movement 3 is my game-changer movement. It has its moments of intense action but at 22 minutes, I cover a wide range of scores. I play around with John Debney's score for "The Relic" and for the opening build-up I overlaid some of Bennett Salvay's "Jeepers Creepers" score to amp the dread factor up just a little bit. Things transition over to Don Davis' score for Valentine which plays off and on again with more of Jason Graves' Dead Space score. Things refer back to their suspense-building with music from Daniel Licht's score to "Children of the Corn II: The Final Sacrifice" which continues to rise and build before meeting with Ramin Djawadi's score to "The Unborn", an album I have had for several years but never got around to hearing it. It made a wonderful bridge between the "Children of the Corn II" material and kept the flow going. There is a moment in the Licht material that reminds me of Zimmer's "Sherlock Holmes" material that worked extremely well in retrospect. No Zimmer was used this go around; the project musically had no place for any this go around. There will be room for more experimentation for Zimmer's experimentations later in another project.
Movements 4, 5 and the Coda are my penultimate and final showdown cues with the coda's resolution being left a mystery. Wouldn't want to spoil the ending now would I? ;)
As has been stated, this is my most hardcore project to date and marks an interesting new direction for my future projects. Feel free to leave comments.
As of 6/15/14, the final FINAL mixes have once again been re-uploaded and the original links have been deleted. New link is above. I've done several re-listenings and the mixes you are about to hear are the mixes I approve.
I hope you enjoy!
Symphony No. 8: There Will Be Only More Death
2014
6 tracks, TRT: 1:20:47, FLAC
https://mega.co.nz/#!Jx1z2RTa!4vRV7N9o_zDwo_-pcQo-iRgDuA1j2M0ZCoDV_M0mAF4
Note: I'm back again with yet another one of my fun little music projects. The morbid subject for this one being the dreaded "death". After having narrowly survived it myself many times this year already and watching as many faces I've grown to love and respect over the years pass away. Some go peacefully, others go in a blaze of fiery glory and the more common way to go these days is drug overdose. There are however so many more ways a person can die whether by accident or purposefully. While my realistic imagination only truely knows of certain ways, I've read hints from films and the media that the possibility of something so random, so unfortunate can happen at any time and we'd be none the wiser in the end. At the start, I'm sure you can imagine mass killings at first but then it starts thinning itself out as the cast of our musical story is reduce to a paltry handful. Our group is the most unlikely group of people you can imagine being put in a dangerous situation, such as what is going on around them, together. Now in some movies, you'll find that this can lead to some rather inane dialogue and facepalm moments of stupidity. My characters won't be like that. They won't be too smart for their own good but they won't be braindead paint-by-the-numbers caricatures of the horror genre who are reduced to yelling at each other and losing their calm every 5 seconds needlessly stopping the plot. The plot goes along at a steady pace, not quite like the music but the music gives you an idea of how certain scenes when filmed will carry those long moments of intense and rousing action. This is my bucket list film. Now that I have the music as a template and once I get back into filmmaking, the story will build itself as I mature as a written storyteller.
My last 4-volume project entitled "Murder on the Night Plains" was a dedication to my good friend, Victor Salva and gave me the opportunity to unleash all of the pent-up anxiety from having experienced so many new and exciting things to help keep my anticipation of it happening again up.
This project originally began as a tribute to Arvo P�rt, Henry Jackman and John Ottman. If I used ANY Beltrami material, it was very light. It eventually became a tribute to those composers plus Daniel Licht and the immortal Jerry Goldsmith. After a recent conversation with John Ottman, I was discussing his score for "Jack the Giant Slayer" (which I use in movement 4). I originally thought it was a nod to Silvestri's Death Becomes Her theme but the true fact came to be that both Ottman and Silvestri's themes were inspired by Goldsmith's score to the Twilight Zone movie segment entitled "Nightmare at 20,000 Feet". Since I had used the cue entitled "Kitchen Nightmare" which referenced the Goldsmith material in that movement, I found a moment in Goldsmith's music that fit perfectly in Ottman's material when it died down for a second that seamlessly integrated Ottman and Goldsmith into one for just a moment. Ottman's thoughts about the section has not been revealed but I think he'll get a kick out of it. The moment I'm referencing goes from 2:57-3:46 in Movement 4.
I incorporated a few other Goldsmith pieces from his score to "Deep Rising" in movements 3 and 4 but as it was a last minute development and every other puzzle piece had been put in its proper place, there unfortunately was no extra room for much more Goldsmith material but what is included is quite nice.
Now that I've filled you in on that little piece of knowledge, now for the inspirational section of this post. My real-world inspiration was the subject of death itself, it's was once a terrifying concept that now I've come to accept as just another thing that happens. Since I've seen some rather random and unfortunate near-death moments of my life, I realize without a doubt now that death can come from anywhere at any time when you least expect it. That kick-started another epic idea in my head which was as usual to take a large group of people, put them in a situation that would seem feasible to have a whole town congregating in one place for (i.e. the death of an important person in this town's history). The funeral is underscored by snippets of Arvo P�rt's "Adam's Lament" which was actually a piece that would randomly play when I plugged my iPad into my USB port in my car stereo. I heard the first 4 minutes at least 20 times and I loved it every time and wanted to use it in one of my projects. I also acquired Henry Jackman's "This is the End" score which helped complete movement 1 and get me halfway through movement 2 where I started switching gears and incorporating some rather awesome pieces from one of Two Steps from Hell's albums. I used that to conclude movement 2. To establish the dominant fright factor of movement 1, I use carefully edited layers of the 5.1 mixes of the video game score "Dead Space" by Jason Graves which later explode into more complete pieces. I get a great deal of fun playing with the "Dead Space" material and I hope you enjoy its repurposing.
Movement 3 is my game-changer movement. It has its moments of intense action but at 22 minutes, I cover a wide range of scores. I play around with John Debney's score for "The Relic" and for the opening build-up I overlaid some of Bennett Salvay's "Jeepers Creepers" score to amp the dread factor up just a little bit. Things transition over to Don Davis' score for Valentine which plays off and on again with more of Jason Graves' Dead Space score. Things refer back to their suspense-building with music from Daniel Licht's score to "Children of the Corn II: The Final Sacrifice" which continues to rise and build before meeting with Ramin Djawadi's score to "The Unborn", an album I have had for several years but never got around to hearing it. It made a wonderful bridge between the "Children of the Corn II" material and kept the flow going. There is a moment in the Licht material that reminds me of Zimmer's "Sherlock Holmes" material that worked extremely well in retrospect. No Zimmer was used this go around; the project musically had no place for any this go around. There will be room for more experimentation for Zimmer's experimentations later in another project.
Movements 4, 5 and the Coda are my penultimate and final showdown cues with the coda's resolution being left a mystery. Wouldn't want to spoil the ending now would I? ;)
As has been stated, this is my most hardcore project to date and marks an interesting new direction for my future projects. Feel free to leave comments.
As of 6/15/14, the final FINAL mixes have once again been re-uploaded and the original links have been deleted. New link is above. I've done several re-listenings and the mixes you are about to hear are the mixes I approve.
I hope you enjoy!