1. Bury the Hatchling
2. The Family That Strays Together
3. Welcome to Jurassic World
4. Does This Dino Make Jurassic Look Big
5. As the Jurassic World Turns
6. Clearly His First Rodeo
7. A Glorified Petting Zoo
8. Owen You Nothing
9. Indominus Wrecks
10. Gyrosphere of Influence
11. Pavane for a Dead Apatosaurus
12. Fits and Jumpstarts
13. The Dimorphodon Shuffle
14. Love in the Time of Pterosauria
15. Chasing the Dragons
16. Raptor Your Heart Out
17. Costa Rican Standoff
18. The Teeth Degree
19. Our Rex Is Bigger Than Yours
20. Growl and Make Up
21. Nine-To-Survival Job
22. The Park Is Closed
23. Jurassic World Suite
Some are a little corny, but for the most part they’re one of the things I always look forward to in a Giacchino OST
Agreed. Love his music but I wish someone would tell Giacchino that say something funny once and you’re a wit.
Say the same funny thing twice and you’re a halfwit.
Ahhh if life was as simple as saying "download please!" (in a REQUEST thread) and then simply getting it, I’d certainly be a happy camper
If that were the case I’d download a villa in the Alps, a nine figure bank account, a supermodel trophy wife and become a Bond super villain. (Oh, and minions. Got to have minions.)
Here (
).
I just wanted to request it before AFIREWILLRISE.
OOOOHHHH…. you are completely excused.
bruh i wasnt going to anyways, why you gotta call me out and assume that i’d request this? *sigh*
Perhaps it was just tongue-in-cheek. Like I pointed out, all of this requesting won’t make it appear here any faster. So it’s all pointless. :p
Oh come on. Don’t even act like you weren’t going to. Most of us are known for certain things, requesting new OSTs (and almost never buying them) is your thing.
I can’t believe it.
Michael Giacchino has never topped the original score in my opinion….
I can’t believe it.
Michael Giacchino has never topped the original score in my opinion….
Well Williams didn’t do the score for Jurassic Park 3 (that was Don Davis). And Williams was probably too hard at work on The Force Awakens to do Jurassic World.
All of Michael Giacchino’s soundtracks are worse than the originals…
I think they had to consult with James Newton Howard or Howard Shore instead.
I was expecting a new John Williams Jurassic World soundtrack this year!
Then you weren’t paying attention to this film’s news at all.
Just be glad we’re even getting a new Star Wars.
I don’t recall a single theme from him while I remember every second of John’s scores.
What a disappointment…
I don’t recall a single theme from him while I remember every second of John’s scores.
Probaly because you have listened to JW’s stuff 10,000x more than MG’s.
I don’t recall a single theme from him while I remember every second of John’s scores.
What a disappointment…
Giacchino has done some smashing stuff, just like Williams. Can you not hear his themes from The Incredibles, Ratatouille, Up, and Cars 2 right now?? And that’s just his work for Pixar.
They weren’t in 24-bit 192kHz FLAC, so he didn’t bother.
He made many sequel soundtracks.. but none of them were as successful as the originals.
Examples?
I’m no Giacchino diehard, but I’m astonished that you aren’t even bothering to give him credit for composing engrossing and frankly fun themes.
His Startrek sucks man… lol
He failed to gain much attention at all.
Well, I prefer composers such as Atticus Ross, Paul Leonard-Morgan, Nuno Malo, etc.
They’re relatively new composers but their music is still much more memorable.
He made many sequel soundtracks.. but none of them were as successful as the originals.
Doesn’t have strong character? Really??
Also, do you not count Up as an original movie that he scored and just happened to win Best Original Score with??
Also, do you not count Up as an original movie that he scored and just happened to win Best Original Score with??
Yes, that wasn’t too bad.. but not amazing.
Who?
I don’t recall a single theme from him while I remember every second of John’s scores.
What a disappointment…
couldn’t we swap out almost any modern composer’s name with giacchino’s and say the same thing about williams? nobody compares to williams. but giacchino has done some standout work in my opinion, and as he’s one of the most sought-after composers working right now, i’d say that’s the opinion of a lot of other people as well.
If they have hired Howard Shore or James Newton Howard, James Horner, I would be more satisfied with that decision. We should do a petition against this!
Bring back John Williams! or at least Howard Shore! No more boring MG sequel music!
Bring back John Williams! or at least Howard Shore! No more boring MG sequel music!
If HDlossless would stop making dumb threads and dumber posts, I would be more satisfied with this forum. We should do a petition against them! Bring back valid requests! or at least ones that aren’t batshit crazy! No more predictable and pitiful behavior from HDlossless!
or at least Howard Shore
And when did Howard Shore do Jurassic Park anyway?
MG is going to do a good job as he always does… if he was as bad as you say he is, then he wouldn’t be scoring these big-budget films.
I don’t know about you guys, but I have high hopes for this movie. I think it’ll be pretty good, actually. The trailers are nice enough, except for the silly coloring…
His music is more memorable and characteristic.
Bring back John Williams! or at least Howard Shore! No more boring MG sequel music!
i think giacchino’s sensibility is closest to williams’, which makes him a fine choice for jurassic world. the only better choice i can think of is desplat. i love JNH, horner and howard shore as much as the next guy, but i don’t think they fit into the jurassic style… not that the series has been totally consistent…
Hans effing Zimmer, are you kidding me…
And yes, please, let’s have another heavy-arsed Wagneresque score by Howard Shore for our next dinosaur chase movie. Maybe he’ll bring that same lightness of touch that worked so well for the Hobbit trilogy.
And yes, please, let’s have another heavy-arsed Wagneresque score by Howard Shore for our next dinosaur chase movie. Maybe he’ll bring that same lightness of touch that worked so well for the Hobbit trilogy.
Well, the Hobbit Trilogy wasn’t intended to match LOTR series… it was more like a small follow-up for remaining LOTR fans.
LOTR score is still one of the best soundtracks ever made. It rivals Titanic, Star Wars, Dark Knight, etc.
It’s full of creativity and compositional genius. Try to read Howard Shore’s book about LOTR soundtrack.
You can understand how much research and effort were poured into the soundtrack. Only few composers alive today, including Hans Zimmer, James Horner, work in this manner.
Other guys just try to sound like them and never reach there. In my opinion, Brian Tyler and Michael Giacchino are in that category. They work on sequels and try to make something like the previous themes but in the end they make totally forgettable themes. Of course, they win awards sometimes, but it’s hard to imagine them gaining the same worldwide recognition.
don’t think you’re really convincing anyone.
changing the subject… has anyone noticed the similarities between "as the jurassic world turns" and the really great "the titus clipper" from jupiter ascending? i’d be happy if the whole score is in that vein.
changing the subject… has anyone noticed the similarities between "as the jurassic world turns" and the really great "the titus clipper" from jupiter ascending? i’d be happy if the whole score is in that vein.
If you think Michael Giacchino’s Mission Impossible is better than the originals by Hans Zimmer and Danny Elfman, you have totally misunderstood "soundtrack."
Hans Zimmer has contributed a great theme such as "Injection". His style (electronic, orchestra, world) was very innovative during his time (2000).
On the other hand, Michael Giacchino’s Mission Impossible (2006) theme was horrendous. His music was like fast food which has no substance. You definitely forget his score right after watching the movie. His Startrek wasn’t better than works by Jerry Goldsmith, James Horner.
He works on sequel movies with better technology in later time and fails to deliver even comparable music.
Brian Tyler’s Rambo, Call of Duty soundtracks were equally forgettable. Their music is extremely generic at their best. They work on sequels many years later only to write worse themes than the originals.
Hans Zimmer has contributed a great theme such as "Injection". His style (electronic, orchestra, world) was very innovative during his time (2000).
On the other hand, Michael Giacchino’s Mission Impossible (2006) theme was horrendous. His music was like fast food which has no substance. You definitely forget his score right after watching the movie. His Startrek wasn’t better than works by Jerry Goldsmith, James Horner. He works on sequel movies with better technology in later time and fails to deliver even comparable music.
Brian Tyler’s Rambo, Call of Duty soundtracks were equally forgettable. Their music is extremely generic at their best. They work on sequels many years later only to write worse themes than the originals.
like i said in my earlier comment about comparing giacchino to williams… he and brian tyler and desplat and powell and just about every other big modern composer is going to pale in comparison to goldsmith or horner in their heyday. (though frankly i never really cared for horner’s contributions to star trek, but i know i’m probably in the minority there.) the point is, giacchino’s output has been pretty good and hopefully jurassic world continues a trend of some really great work over the past couple of years.
as for understanding "soundtrack", well i’m not really sure what that means. personally, i love elfman’s M:I and don’t really like giacchino’s more frenetic, balls-to-the-wall take on the franchise. but listen to john carter, listen to portions of super 8, listen to dawn of the planet of the apes, listen to tomorrowland, yes even listen to his two star trek scores… they’re not goldsmith, but they’re not trying to be… there’s a lot of great material in these scores. giacchino may be the closest you’re going to get to williams in a modern blockbuster that’s not actually williams.
Hell no. I was disappointed by that Mission Impossible (2006) and Dawn of the Planet of the Apes (Danny Elfman did a better job). Any well-known composers such as Ennio Morricone, James Horner, Hans Zimmer would never make that kind of decision. When Hans works on sequels like Batman, it becomes a standard of action movie soundtracks. It makes other composers busy copying his music.
Your comment doesn’t make any sense. He’s not close to John Williams, not even Klaus Badelt. The company was likely searching for fast C-grade composers like Brian Tyler. I bet they’re known to work fast at lower salary and deliver just average music.
https://38.media.tumblr.com/7693502357f5479f399cb59c47801331/tumblr_nhih6tI4X51qbwyy1o1_250.gif
I rather like Giacchino. I have quite a few of his scores on my Ipod. Heck, while Jupiter Ascending may have been a forgettable Sci-Fi action flick, it’s score was certainly wonderful to listen to. It’s one of my go to scores to listen to. Same for his Star Trek scores. And Super 8. And others. He is a good composer. Which is why he keeps scoring movies. Fact is, many directors in Hollywood do care about the score for their films, this is why we hear about composers being fired, work being rejected or another composer being brought in to help (like with Avengers: Age of Ultron). Giacchino is a great composer and has worked with a lot of great directors. Frankly the fact that he’s able to make all his scores sound unique is a blessing. Even John Williams struggled with that, there’s even instances where he just lifted his scores from other movies (see the quidditch scene from Chamber of Secrets being nearly identical at times as the Zam Wessell chase from Attack of the Clones). I’m not saying Giacchino is a genius, far from it, but are his scores enjoyable? Yes. Do they work for the films? Yes. Do they sound good without the film? Yes. He’s a reliable composer who can do a good job which is why he keeps getting hired. Same for Zimmer and others.
Oh, ok. Spoken like someone who knows what the hell they are talking about.
I was starting to feel like I came on a bit strong with my post before, but you obviously argue with the same finesse with which you storm into people’s threads asking for FLAC. So yeah, I’m out too.
How does it become a request thread to a single argument?
How does it become a request thread to a single argument?
That is the essence of the Internet. Give people access to one of the greatest hubs of information exchange the world has created and most people use it to indulge in petty behavior.
http://i.imgur.com/5SouL2Q.gif
19 – The Park Is Closed: https://mega.co.nz/#!45YSjLzR
19 – The Park Is Closed: https://mega.co.nz/#!45YSjLzR
Awesome! Thank you! Can’t wait till my I get the CD… Both Soundtracks from John Williams are along my favorites forever.
19 – The Park Is Closed: https://mega.co.nz/#!45YSjLzR
What’s the decryption key?
Nine to Survival Job: https://mega.co.nz/#!08pETL4b!VE5gkS3FlprvKyrlf5o-MmB_aH_aDiHVjwV-wXaH-e4
The Park Is Closed: https://mega.co.nz/#!45YSjLzR!gnFLfIriwoRQ7fLiOS2hqFiVTz4sMuJhbeCF9pX lfgE
On June 21st I’ll reach my 40th year of collecting and listening to film music. During these last four decades, I have had the privilege and pleasure to meet and interview such esteemed composers as Roy Budd, Ron Goodwin, Bruce Broughton, John Williams and Jerry Goldsmith. During each of these mentioned composers life times only Goldsmith actually spent time working with the increasingly popular 80’s ‘dumbed Down’ electronically inspired forms of film score composition that are prevalent today. Its true that at one time many ‘Great’ film composers dabbled in the medium. Jarr�’s appalling Witness score as well as a hoard of his others (Gorilla’s in the Mist anybody?)and John Barry’s simply lamentable, ‘Jagged Edge’ are living proof of how wonderful film composers fell foul of ‘trendy’ methods of composition. Barry openly admitted that he’d fell flat on his face in working with a synthetic sound. Jarre less apologetic; he went on to curse our ears with After Dark My Sweet etc… And as for Goldsmith – his Link, Gladiator and the truly despicable, Runaway scores prove that even a great master of the arts could wander into the dark side and produce crap of the first order. Others, Broughton in particular moulded electronic sounds into fine orchestral works as did Goldsmith – The Russia House is a fine example as well as Best Shot (Hoosiers), Rudy and the underrated, Leviathan – each showing how well electronics can work with conventional orchestra scoring.
Whilst I desperately try to remain optimistic about the state of modern film composition, for me, we are living not in a golden age of film scoring but in an homogenised, almost soulless time. Scores lack punch and soul. Many have little grace, humour and most importantly, integrity. Integrity to mirror musically the images they accompany. This is not about personal musical taste. Each to is own I say, but about skill and ability. Today’s composers in general lack the score skills of composition. Many of the new blood try to emulate the greats and fail miserably. Look at Brian Tyler. A one trick sound pony if ever there was one (his delightful, elegantly scored Partition being an exception) Tyler’s Marvel scores are for me, simply bleak. Just noise. The kind of ‘music’ that rages with teen angst and placating the fan base for such movies but with little other merit.
Its true, I’m happier listening to the great film scores of the 40’s, 50’s 60’s etc, and whilst I dip in to as much as I can that’s being created for the medium – If I’m truthful, I’m not impressed by much of what I hear. Frederic Weismann’s ‘Field of Lost Shoes’ really made my head turn as did Gustavo Dudamel’s gorgeous ‘The Liberator’ – both scores well worth seeking out, I urge you. But, I’m struggling these days to pick out the ‘Wheat from the chaff’ – and there’s an awful lot of bloody chaff! By 1990 the change was a foot. Zimmer’s earlier, ‘Driving Miss Daisy’ was the nail in the coffin for me. A fine example of the bleakness that only electronic scoring can produce. Imagine if Broughton or David Shire had got there hands on that score. What we got was the turning of the tide… mass produced, copy cat Media Ventures, paint by numbers film scoring. And now, today the bloody film industry’s filled with ’em. All turning out ‘music’ that could have been written by any number of automats created in the shadow of the Media Ventures ‘Sound’ – Harry Gregson Williams (and bloody Rupert!), Henry Jackman, (Why do we have to tolerate him?), Ilan Eshkeri, Jon Ekstrand (his dire Child 44 made my ears bleed) and heaven’s preserve us; Junkie XL!
As for Giacchino, like John Ottman for me, he’s always been variable in his work. Super 8 being a stand out score – but his compositions hardly set me on fire. Which brings me to Jurassic World. I don’t live in hope on this one, but, hey, its always nice to be thrown a curve ball and perhaps Giacchino will give us a dark, Herrmanesque score which lives and breathes on its own musically, does wonders for the film images and honours William’s outstanding input into the series. Jupiter Ascending was perhaps a precursor that the composer was on the ball compositionally – his score was a highlight for me this year. Good but not great. Tomorrowland, whilst twee, sounded like Star Trek lite, had its moments but failed to gel together as a whole, a well crafted score.
One thing I am bolstered about, is the enthusiasm of younger listeners, especially here on the forum. Its wonderful to feel the buzz for new scores and composers many are raving about, (even by those composers I’ve mentioned in this post who do nothing for me musically) equally its the eagerness to share scores with each of us and the generosity in doing so that is so endearing and decent. I applaud that. Thank you guys. I just wish there was a little more heart and soul in the music. Still things change, and I’ve another 40 years at least (I hope) to witness the film scoring world go from strength to strength. Cheers M
Ennio Morricone: good film scores have been replaced by the bad and the ugly | Music | The Guardian (http://www.theguardian.com/music/2015/jun/03/ennio-morricone-good-film-scores-replaced-by-bad-and-ugly?CMP=share_btn_fb)
Tyler’s work is very hit and miss. I think he’s the type of composer who either perfectly gets the film he’s working on, or he doesn’t. Look at his score for Teenage Mutant Ninja Turtles. He "got" that film and delivered a very great modern sounding score. Age of Ultron he didn’t "get" which is probably why Danny Elfman was brought on which led to a clash of their styles leading to an… unusual score to say the least. If they’d gone with Elfman in the first place, AOU would probably have had a great score. I hope for Infinity War they stick with Elfman if they don’t bring Silvestri back considering Elfman’s work on AOU was the stronger material.
To claim modern scores have no heart or soul or that modern composers lack the proper skill or ability is a bit… well I’m not sure. It’s certainly not the truth. Composers are experimenting all the time. I’m overjoyed that modern composers are experimenting with different styles of music. It adds more variety and stops every score sounding the same. Yeah while most scores sound Zimmer-esque and sound similar, it doesn’t mean they lack heart or soul. Look at Man of Steel. It definitely captured the ideal of hope the movie tried to convey. As for experimenting, look at Zimmer experimenting at using dubstep and lyrics for The Amazing Spider-Man 2. It gave the film a very unique sound and feel compared to other scores. Honestly, I love modern scores. Because we’re seeing all these composers experimenting and trying to create new sounds, new ways to score movies. Joseph Bishara for example created very unique scores for Insidious, Insidious Chapter 2 and The Conjuring using almost unearthly sounds to convey the horror on screen.
Finally, I’d certainly say most modern scores have a lot of heart and soul in them. Hans Zimmer’s Pirates of the Caribbean scores have a lot of heart, soul and energy for example. No one had ever considered scoring a Pirate movie that way before. Yet Zimmer tried it. And it worked. And it led to some fantastic scores. I certainly think an issue is that older score listeners are slightly… resistant to change. This is saying anything bad. It’s just that the way the film industry works is change. New styles. New techniques. New blood. New energy. I think it has to be recognised that film scoring has to change too. It can’t stay the same. We’re past the age of John Williams esque scores. We’re in the age of Hans Zimmer esque scores. In fact, simply looking at the huge list of iconic movies he’s composed, Zimmer is almost certainly this generations John Williams. So in 20 years, we’ll have people who grew up with Zimmer not liking whatever film score style is popular then.
But in the end it’s just the mind’s way of trying out new iterations until something great comes of it. Now if only certain TV series would publish more often.
Also thanks for all the suggestions, the ones I don’t have already should occupy me for a while.
I would not wish readers to think I was posting an ‘anti Zimmer’ statement. Far from it, (his scores to the Thin Red Line, Last Samurai and Hannibal offer a great insight into the composers ability to create outstanding film music. But, I’m sorry, I draw the line at ‘Pirates Of The Caribbean’ and much that has followed. The Spiderman 2 score left me dead in the water. I don’t need ‘Dub Step’ in my film scores, thank you. But there are many that do and if it floats peoples boats all well and good. After all, the great thing about music is that if you don’t like it, you don’t have to listen to it. Ultimately with film music, the score needs to work in the picture and is secondary to a listening experience on album. Junkie XL’s latest work for Mad Max Fury Road works marvellously with the film, but at 80 minutes on disc, its a bloody nightmare. Unlistenable in my opinion. Just noise to my ears.
Composers like John Barry and Jerry Goldsmith worked unbelievably hard to create albums that worked as a listening experience. There was an elegance to those scores, to the way they were created and to the tireless endeavours of gifted editors like Bruce Botnick and Ken Wannberg who brought in marketable recordings for listeners to enjoy. Those same scores of course worked beautifully on screen. And, although not perhaps liked as an opinion, there is less skill from many of our new composers in a compositional sense. The age of the Moviola is, I understand, long gone. This is a shame. It is a composer tool applied by the greats and no longer deemed as appropriate with modern digital filming. That composers like Waxman, Herrmann, Barry and Williams poured their art through their hours of Moviola viewings – Frame By Frame scrutiny of the directors and editors work. Matching score to film frame. Those bewitching themes, counterpoints, timbre and atmosphere that came from those films composers is a skill set no longer in use by many (but not all) modern movie composers. One cannot hark back to things gone past, but we can remember and respect that elegant era of film composition and the new kids on the block could learn much from those ‘old’ methods. As for Marvel movies PottyAboutPotter1 (and their film scores), I doff my cap to you. I’m no fan of ‘Super Hero Movies’ full stop and the scores you mentioned in your reply, (Winter Soldier et al’) left me cold – both musically and visually. You clearly love them and more strength to you for doing so. I’m waiting for another John William’s (like) Superman score rather than a crash, bang Zimmer Superman score. (please no more tracks like ‘Terraforming’ – 9 mins 50 seconds of audio torture!) and a little more ‘The Fortress Of Solitude’ please. As for Brian Tyler’s later works for TMNT and Thor etc… I can’t find the words to express my bemused distain. Sorry. Cheers guys.
I’m a huge film score lover and I love any score as long as it’s well crafted, works with the film and is good to listen to on it’s own. And most modern scores achieve that. You don’t need an orchestra to create an amazing score. Many composers have proved that. Modern composers have made some truly fantastic scores often using no instruments at all. When more classical scores rear their head, they’re amazing sure, but it doesn’t mean everything else is bad. Film scores are just like Hollywood itself. Every year someone comes along and finds a new way to create something. Nothing stays the same for long. Film scores are always changing. Scores like Zimmer’s are well crafted and imaganitive. Man of Steel’s more action type pieces can be a bit intense sure, but what about the quiter pieces? What about the simple piano tune as Clark Kent’s theme that prevalent in most of the score? Or the amazing track "Rise" that encompasses the last 10 minutes of The Dark Knight Rises and manages to be stirring and moving? "Arena Crumbles" from The Hunger Games: Catching Fire. "I Don’t Think Now Is the Best Time" and "One Day" from Pirates of the Caribbean: At World’s End. "Time to Suit Up" from Captain America: The Winter Soldier. "Mutant and Proud" from X-Men: First Class. Any track from Inception. "Mother of Dragons", "Mhysa", "The Children" from Game of Thrones. Just a few examples of many different modern styles and modern techniques being used to create amazingly well crafted and beautiful scores, sometimes without an orchestra.
The Dark Knight as a trilogy is a fine work. Its amazing to hear it working alongside the films visuals, as albums, I can cherry pick at best those tracks I enjoy listening to. No more than ten to a dozen tracks. Again to my ears, the rest is simply noise to me. "Arena Crumbles" from The Hunger Games: Catching Fire, is all of 1 minute and 44 seconds of music, and whilst its not unlistenable, its hardly Miklos Rosza – and that’s my point. I’m not wanting to hark back to dead composers. I’m not constantly listening to old scores by long stiffed out geezers. What I want to listen to, is well crafted, melodic, experimental engaging and most importantly; original music. Ben Salisbury’s Ex_Machina comes to mind. Brave, thoughtful original film scoring. Jim Williams – A Field In England is a classic example of this and to the other extreme, Debbie Wiseman’s simply stunning Wolf Hall inspires with its solidly crafted, traditionally composed yet boundary pushing ‘listening experience’ within the scoring of a historical, period drama. That’s rare in itself in TV production today let alone movies.
Lastly, on a personal note. I work as a script writer here in the UK. New film composers such as the brilliant Carly Paradis and Danny Pemberton are currently working on productions I am involved in as well as Lorne Balfe. (whose work with Zimmer on The Bible was stunning) – I mention this purely to highlight that I continue to strive to hear new composers work with fresh ears constantly especially from a working perspective. My opinions viewed here are personal and on top of that I’m a miserable dyed in the wool old git! Best wishes 😉
When I first started collecting I had the impulse to keep the whole album intact ‘in case’ someone liked one of them, but over time I’ve adopted the approach of deleting tracks that I just don’t care for (and never have, because sometimes it’s a matter of my temperament). Personal taste is highly variable. Sometimes, I just don’t feel like having a certain type of emotional response so I avoid certain genres or sub-themes.
A more appropriate term than ‘noise’ might be ‘burn-out’ or even listening fatigue. Being organic we have built in sensory adaptation- when the brain receives a constant stimuli (or what’s perceived to be similar), it begins to filter it out in an attempt to pick out meaningful sounds from the ‘background noise’. They also don’t naturally regenerate in humans either, which is why someone who’s blasted heavy metal and rock for decades is most likely hard of hearing in the commonly used frequencies. So even with favorites sometimes I can’t go through the whole album in one sitting or I find myself not listening anymore.
I don’t think either of you have much to worry about in terms of missing out. Now my friend who only ever listens to country music… *shudder*. I really hope I don’t end up marrying someone like that, no offense to their chosen/inherent/whatever (possible lack of) taste. I have my limits.
———- Post added at 10:48 AM ———- Previous post was at 10:43 AM ———-
Oh come on. Don’t even act like you weren’t going to. Most of us are known for certain things, requesting new OSTs (and almost never buying them) is your thing.
you say that but guess what, i actually bought something *GASP* i mean not that you’d care or anything but just pointing it out.
Thread 190315
do yourself a favor and cancel it. pre-order it on itunes 🙂
———- Post added at 10:48 AM ———- Previous post was at 10:43 AM ———-
you say that but guess what, i actually bought something *GASP* i mean not that you’d care or anything but just pointing it out.
Thread 190315
FUCK ME!! You BOUGHT some music?!?! Hell hath frozen over. This is the day.
well i decided to buy something for once. nothing wrong with that?
Of course there isn’t. It’s what you’re supposed to do.
Now if we can get HDLossless to post something of his own and in the highest quality possible, I will ascend to Heaven.
he told me once, that he has the godfather in 24bit/192khz.
not yet, keeping my eyes peeled.
caught a screening of the film last night. giacchino keeps the williams material to a minimum but i think his new theme is strong. the tiny bit of the theme from lost world heard in the iTunes samples is as much as you get in the film btw.
1: Shout "Holy F#ck!"
2: Post it on this forum.
And then will follow the usual requests for FLAC, LOSSY, FLOSSY, or whatever format is not available at that moment and that will be followed by snarky comments of how Giacchino’s score is inferior to John Williams, how Giacchino is a hack compared to Williams and that state of affairs will then transition to trash talking Zimmer and how he and his musical minions are destroying movie scores and then supporters of Giacchino and Zimmer will mount a counterattack and the circle jerk will continue until the next tentpole film, probably Ant-Man.
Lather. Rinse. Repeat.
that will be a week for haters 😉
Williams is getting up there in years, sad to say. (Time is killing all of us.) He is not scoring Spielberg’s next film, a first, to focus his energies on Star Wars.
https://kat.cr/michael-giacchino-jurassic-world-original-motion-picture-soundtrack-2015-l-audio-l-movie-soundtrack-l-ost-l-260kbps-l-itunes-rip-digital-booklet-l-vbr-l-m4a-l-sn3h1t87-t10768579.html
And no, I didn’t upload it.
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