kingjames
01-05-2017, 10:38 PM
Tomas Newman - Passengers (2016) FLAC
1. The Starship Avalon (Main Title) 4:15
2. Hibernation Pod 1625 1:19
3. Command Ring 0:57
4. Rate 2 Mechanic 2:08
5. Awake for 7 Days 1:25
6. Crystalline 4:07
7. Precious Metals 2:07
8. Aurora 1:44
9. Robot Questions 2:52
10. The Sleeping Girl 3:14
11. Build a House and Live In It 2:07
12. I Tried Not To… 3:53
13. Spacewalk 3:06
14. Passengers 1:47
15. 50% of Light Speed 3:13
16. Cascade Failure 2:55
17. Zero – Gravity 2:44
18. Never Happy Here 1:21
19. Red Giant 1:25
20. Looking for Wrong 1:46
21. Chrysler Bldg. 2:25
22. Untethered 2:34
23. You Brought Me Back 5:41
24. Starlit 3:12
25. Accidental Happiness 3:03
26. Sugarcoat the Galaxy (End Title)
https://www.solidfiles.com/v/p36GvRKXr3Aa3
“Passengers” is a 2016 American romantic science fiction adventure film directed by Morten Tyldum and written by Jon Spaihts. It stars Jennifer Lawrence and Chris Pratt. The spaceship, Starship Avalon, in its 120-year voyage to a distant colony planet known as the “Homestead Colony” and transporting 5,259 people has a malfunction in two of its sleep chambers. As a result two hibernation pods open prematurely and the two people that awoke, Jim Preston (Chris Pratt) and Aurora Dunn (Jennifer Lawrence), are stranded on the spaceship, still 90 years from their destination.
I was surprised to find out Thomas Newman wrote the score because I didn’t imagine his sound fitting a Sci-fi story. But there is romance in here and lightness so maybe it can work. I remember Newman wrote a great score for a space stranded robot like Wall E.
I like the dreamy mood the composer sets right from the opening titles. I usually know what to expect from him, with a few exceptions as his style is quite unique and rarely strays away from its path but this scores opens with a light and chiming little theme that gives me the impression of floating through space with no care in the world. As “The starship Avalon” ends the music gets orchestral menacing and the thoughts I had gone into this score with vanish as if the air lock had been suddenly opened. I am enjoying the melodic sound of buttons being pressed and somehow the lightness of Thomas Newman’s music feels much better in a space setting. The Wall-E memory was not misplaced actually as there’s a certain sweetness in this score that makes me feel close to the story even if I don’t know the characters.
Still this is a Thomas Newman score; the core of the music is the familiar one we’ve grown to know and, most of us, love, for the past 30 years. In a cue like “Crystalline” I hear echoes of “The Shawshank redemption” and it gives me a very nice feeling. The music he writes is usually relaxing and comfortable to listen to and I can imagine it working very well in context as well. Then there are those moments when his music feels as if the sun is reflecting on the surface of the sea with glimmers coming from all sorts of places and the eternal Thomas Newman summer brings joy to my heart. The music is often reflective and soft as my favorite sheets so it’s no wonder I am enjoying it so much.
There’s more variety than I was expecting in “Passengers”; it feels like the composer brought his entire bag of tricks for this one and sprinkled his favorite motifs throughout the album. The ironic joy of “American beauty”, the thin veil of melancholy from “Shawshank”, the sweet playfulness and electronic simplicity of “Wall-E” and beautiful romance in cues like “Spacewalk” and “Build a house and live in it” meet on a space playground I didn’t even hope to discover.
I enjoyed this score much more than I was expecting; I like the way it makes me feel. I could even name it among my favorite Thomas Newman compositions. It’s like he took his usual sound and turned if Sci-fi and it just works so well. If I add the feeling from the music to the very pleasant on screen presences of Chris Pratt and Jennifer Lawrence I get a movie I want to see for sure despite the critical frowns it already received. For me the idea of being stuck on a space ship far away from the world and in a different time with the woman I love seems like a perfect dream. Fans of Thomas Newman will be happy to listen to this one and see the composer in top form.
by hanscastorp
a review by Melinda Newman "Hollywood Reporter"
For the score for sci-fi thriller Passengers, Thomas Newman combines traditional orchestration with electronics.
The film, which stars Jennifer Lawrence and Chris Pratt as passengers on a 120-year journey to another planet who wake up 90 years too soon, marks the 13-time Oscar nominee’s first sci-fi score (unless one counts his score for 2008’s animated feature, Wall-E).
Newman primarily used piano and electronic instrumentation for the 96-minute score, but occasionally expanded to a full orchestra, utilizing more than 60 string players and 13 brass musicians.
On these exclusive cues, Newman explains how he interpreted space. For “The Starship Avalon,” the atmospheric electronic score gives way briefly to a full orchestra as the tension mounts before sinking back into spareness. “'The Starship Avalon’ is perpetually mobile,” Newman says. “The music is designed to give the impression of endless sleep and endless journey with a significant interruption that guides the story that follows. It's color and pulse followed by great size.”
On end title cue, “Sugarcoat the Galaxy,” an otherworldly voice calls across the Milky Way before sprightly synth dance beats that bounce as lightly as rain drops take over. For it, Newman turned to real space exploration. “‘Sugarcoat the Galaxy’ is inspired by color-inflected photographs of galaxies,” he says. “It likens sounds to spun sugar and confection, wrapping static harmonies inside energy and pace.”
1. The Starship Avalon (Main Title) 4:15
2. Hibernation Pod 1625 1:19
3. Command Ring 0:57
4. Rate 2 Mechanic 2:08
5. Awake for 7 Days 1:25
6. Crystalline 4:07
7. Precious Metals 2:07
8. Aurora 1:44
9. Robot Questions 2:52
10. The Sleeping Girl 3:14
11. Build a House and Live In It 2:07
12. I Tried Not To… 3:53
13. Spacewalk 3:06
14. Passengers 1:47
15. 50% of Light Speed 3:13
16. Cascade Failure 2:55
17. Zero – Gravity 2:44
18. Never Happy Here 1:21
19. Red Giant 1:25
20. Looking for Wrong 1:46
21. Chrysler Bldg. 2:25
22. Untethered 2:34
23. You Brought Me Back 5:41
24. Starlit 3:12
25. Accidental Happiness 3:03
26. Sugarcoat the Galaxy (End Title)
https://www.solidfiles.com/v/p36GvRKXr3Aa3
“Passengers” is a 2016 American romantic science fiction adventure film directed by Morten Tyldum and written by Jon Spaihts. It stars Jennifer Lawrence and Chris Pratt. The spaceship, Starship Avalon, in its 120-year voyage to a distant colony planet known as the “Homestead Colony” and transporting 5,259 people has a malfunction in two of its sleep chambers. As a result two hibernation pods open prematurely and the two people that awoke, Jim Preston (Chris Pratt) and Aurora Dunn (Jennifer Lawrence), are stranded on the spaceship, still 90 years from their destination.
I was surprised to find out Thomas Newman wrote the score because I didn’t imagine his sound fitting a Sci-fi story. But there is romance in here and lightness so maybe it can work. I remember Newman wrote a great score for a space stranded robot like Wall E.
I like the dreamy mood the composer sets right from the opening titles. I usually know what to expect from him, with a few exceptions as his style is quite unique and rarely strays away from its path but this scores opens with a light and chiming little theme that gives me the impression of floating through space with no care in the world. As “The starship Avalon” ends the music gets orchestral menacing and the thoughts I had gone into this score with vanish as if the air lock had been suddenly opened. I am enjoying the melodic sound of buttons being pressed and somehow the lightness of Thomas Newman’s music feels much better in a space setting. The Wall-E memory was not misplaced actually as there’s a certain sweetness in this score that makes me feel close to the story even if I don’t know the characters.
Still this is a Thomas Newman score; the core of the music is the familiar one we’ve grown to know and, most of us, love, for the past 30 years. In a cue like “Crystalline” I hear echoes of “The Shawshank redemption” and it gives me a very nice feeling. The music he writes is usually relaxing and comfortable to listen to and I can imagine it working very well in context as well. Then there are those moments when his music feels as if the sun is reflecting on the surface of the sea with glimmers coming from all sorts of places and the eternal Thomas Newman summer brings joy to my heart. The music is often reflective and soft as my favorite sheets so it’s no wonder I am enjoying it so much.
There’s more variety than I was expecting in “Passengers”; it feels like the composer brought his entire bag of tricks for this one and sprinkled his favorite motifs throughout the album. The ironic joy of “American beauty”, the thin veil of melancholy from “Shawshank”, the sweet playfulness and electronic simplicity of “Wall-E” and beautiful romance in cues like “Spacewalk” and “Build a house and live in it” meet on a space playground I didn’t even hope to discover.
I enjoyed this score much more than I was expecting; I like the way it makes me feel. I could even name it among my favorite Thomas Newman compositions. It’s like he took his usual sound and turned if Sci-fi and it just works so well. If I add the feeling from the music to the very pleasant on screen presences of Chris Pratt and Jennifer Lawrence I get a movie I want to see for sure despite the critical frowns it already received. For me the idea of being stuck on a space ship far away from the world and in a different time with the woman I love seems like a perfect dream. Fans of Thomas Newman will be happy to listen to this one and see the composer in top form.
by hanscastorp
a review by Melinda Newman "Hollywood Reporter"
For the score for sci-fi thriller Passengers, Thomas Newman combines traditional orchestration with electronics.
The film, which stars Jennifer Lawrence and Chris Pratt as passengers on a 120-year journey to another planet who wake up 90 years too soon, marks the 13-time Oscar nominee’s first sci-fi score (unless one counts his score for 2008’s animated feature, Wall-E).
Newman primarily used piano and electronic instrumentation for the 96-minute score, but occasionally expanded to a full orchestra, utilizing more than 60 string players and 13 brass musicians.
On these exclusive cues, Newman explains how he interpreted space. For “The Starship Avalon,” the atmospheric electronic score gives way briefly to a full orchestra as the tension mounts before sinking back into spareness. “'The Starship Avalon’ is perpetually mobile,” Newman says. “The music is designed to give the impression of endless sleep and endless journey with a significant interruption that guides the story that follows. It's color and pulse followed by great size.”
On end title cue, “Sugarcoat the Galaxy,” an otherworldly voice calls across the Milky Way before sprightly synth dance beats that bounce as lightly as rain drops take over. For it, Newman turned to real space exploration. “‘Sugarcoat the Galaxy’ is inspired by color-inflected photographs of galaxies,” he says. “It likens sounds to spun sugar and confection, wrapping static harmonies inside energy and pace.”