<a data-flickr-embed=ātrueā href=āhttps://www.flickr.com/photos/162181720@N04/46687958112/in/album-72157703885095835/ā title=āCaptain Marvel by Pinar Toprakā>
<a data-flickr-embed=ātrueā href=āhttps://www.flickr.com/photos/162181720@N04/46687958432/in/album-72157703885095835/ā title=āCaptain Marvel by Pinar Toprakā>
<a data-flickr-embed=ātrueā href=āhttps://www.flickr.com/photos/162181720@N04/46714258042/in/album-72157703885095835/ā title=āCaptain Marvel by Pinar Toprakā>
Does anyone knows if this will be a digital only release or if there will be a CD or vinyl?
Goddamn this score is stunning!
Thank you so much!
Cheers,
-S
Goddamn this score is stunning!
Thank you so much!
Cheers,
-S
What are you listening to and can you please share it with me? So far itās generic af, sounds like Brian Tyler (shock). The brass in Entering Enemy Territory sounds like it was pulled straight out of Star Wars.
They seem to be going out on a girl power with this one getting a female as its composer.
They seem to be going out on a girl power with this one getting a female as its composer.
Well she is straight out of the Zimmer factory.
Gosh, is that so..bummer, anyway i did say its decent and nice. For me it has its moments. Some parts of the opening theme also has the Thor Ragnarok vibe from Mothersbaugh which is 80āishā¦ neither good nor bad.
How much time did she actually spend working at RCP? Some of her music is decidedly un-RCP like.
"Having studied and practiced music from a very young age, Pinar earned a degree in film scoring and a masterās degree in composition at age 22 before working alongside legendary composers including Hans Zimmer and William Ross. Pinar then went on to make a name for herself scoring dozens of projects across many mediums including the massively popular video game FORTNITE, Syfy TV series KRYPTON, thriller THE RIVER MURDERS, period drama THE LIGHTKEEPERS and additional music on box office hit JUSTICE LEAGUE. Her additional credits include the films BEHIND ENEMY LINES II: AXIS OF EVIL, THE CHALLENGER, BREAKING POINT, LIGHT OF OLYMPIA, SAY IT IN RUSSIAN, THE ANGEL, and THE WIND GODS, video game NINETY-NINE NIGHTS, and TV series FALLING WATER.."
from her site.
I also made a cover, not too long ago actually!:
(
)
from her site.
I saw that. Pretty vague. Did she do additional music or orchestration on some RCP scores? Canāt find anything about that sort of thing. She doesnāt even appear on Hans-zimmer com, which strikes me as very unusual.
The score absolutely takes a few notes from John Williams, Michael Giacchino, John Powell, as well as SubVision, Visual Music, Daft Punk, Steve Roach, Matthew McCauley, David Fang, Sarah Schachner, Murray Gold, Michael Kamen, Alexander Brandon, James Horner, Basehead, and definitely Michael Stearns.
Look, I always like to remind everyone of the famous Latin phrase "de gustibus non est disputandum", as what works for or speaks to one person wonāt necessarily be true for others. And thatās okay.
That said, speaking for my particularly tastes: I love how the score hits the ground running in the opening track (āCaptain Marvelā) with a forceful, major-scale march, and reminds me a bit of James Hornerās work on The Rocketeer, and then segues in āWaking Upā to an echoing feminine sound reminiscent of Lisa Gerrardās work on Gladiator, before making this quirky shift to a tone that sounds like something that makes me think of outer space, starting at 00:33. It brings to mind Michael Stearnsā āPlanetary Unfoldingā, Sarah Schachnerās āAnthemā (particularly the first two tracks of that score ā Legion of Dawn/Valour), and David Fangās work on Andromeda (see for example: āCore, Logic, and Avatarā).
Itās terrific hearing little bits of sound-editing that bring to mind Baseheadās work on the Unreal score (āMothership Law and Core/Skaarj Generator/The Dardening (Erosion)ā) as well as a hint of Accadiaās āInto the Dawnā.
Track 04, Why Do You Fight? again, utilises counter-point by fusing a very mild base-beat with strings atop it, and then launches into āLetās Bring Him Homeā, that manages to bring to mind Mark Mothersbaughās work on Thor: Ragnarok (which is always OK, as I enjoyed that score) and a hint of Daft Punkās Tron: Legacy.
The little Don Davis flourishes circa his work on The Matrix (āMore Problemsā) brought a distinct smile to my face, as did the use of what I *think* are timpani drums in the background on occasion? I can never say to a timpani.
That Pinar manages to bring a slight Rachel Portman influence in "This Isnāt Goodbye" with the use of piano and strings was a nice touch as well before heading off into a rousing denouement/climax that reminded me a bit of 80ās era Alan Silvestri, with the use of strings overlaid atop a flute, with the use of some trills and a hint of a staccato to propel the piece, bringing immediately to mind the āEnd Credits (Raiders March)ā from Indiana Jones and the Last Crusade (particularly at about the 2:07 and onwards point in the 13-track edition score of the Last Crusade).
Thereās such a diverse sonic range to this score, so many interesting and diverse audio flourishes and touches, to many different styles and approaches integrated, including the utilisation of what I suspect are (but I cannot say for certain) synth effects and sounds, taking thus a cue from Vangelis as well.
Itās just this wonderful tapestry of different styles and approaches, all woven together. Every track offers something different. I can hear bits of Kamenās X-Men, Vangelisā The Bounty, bits of The Rocketeer, Willow, Tron: Legacy, Star Wars, Planetary Unfolding, and so much more. Each track is just so damn interesting.
It might not work for you ā which as I said before, is totally normal and okay! ā but it certainly speaks to me!
Cheers,
-S
āāā- Post added at 12:51 PM āāā- Previous post was at 12:45 PM āāā-
The score absolutely takes a few notes from John Williams, Michael Giacchino, John Powell, as well as SubVision, Visual Music, Daft Punk, Steve Roach, Matthew McCauley, David Fang, Sarah Schachner, Murray Gold, Michael Kamen, Alexander Brandon, James Horner, Basehead, and definitely Michael Stearns.
Look, I always like to remind everyone of the famous Latin phrase "de gustibus non est disputandum", as what works for or speaks to one person wonāt necessarily be true for others. And thatās okay.
That said, speaking for my particularly tastes: I love how the score hits the ground running in the opening track (āCaptain Marvelā) with a forceful, major-scale march, and reminds me a bit of James Hornerās work on The Rocketeer, and then segues in āWaking Upā to an echoing feminine sound reminiscent of Lisa Gerrardās work on Gladiator, before making this quirky shift to a tone that sounds like something that makes me think of outer space, starting at 00:33. It brings to mind Michael Stearnsā āPlanetary Unfoldingā, Sarah Schachnerās āAnthemā (particularly the first two tracks of that score ā Legion of Dawn/Valour), and David Fangās work on Andromeda (see for example: āCore, Logic, and Avatarā).
Itās terrific hearing little bits of sound-editing that bring to mind Baseheadās work on the Unreal score (āMothership Law and Core/Skaarj Generator/The Dardening (Erosion)ā) as well as a hint of Accadiaās āInto the Dawnā.
Track 04, Why Do You Fight? again, utilises counter-point by fusing a very mild base-beat with strings atop it, and then launches into āLetās Bring Him Homeā, that manages to bring to mind Mark Mothersbaughās work on Thor: Ragnarok (which is always OK, as I enjoyed that score) and a hint of Daft Punkās Tron: Legacy.
The little Don Davis flourishes circa his work on The Matrix (āMore Problemsā) brought a distinct smile to my face, as did the use of what I *think* are timpani drums in the background on occasion? I can never say to a timpani.
That Pinar manages to bring a slight Rachel Portman influence in "This Isnāt Goodbye" with the use of piano and strings was a nice touch as well before heading off into a rousing denouement/climax that reminded me a bit of 80ās era Alan Silvestri, with the use of strings overlaid atop a flute, with the use of some trills and a hint of a staccato to propel the piece, bringing immediately to mind the āEnd Credits (Raiders March)ā from Indiana Jones and the Last Crusade (particularly at about the 2:07 and onwards point in the 13-track edition score of the Last Crusade).
Thereās such a diverse sonic range to this score, so many interesting and diverse audio flourishes and touches, to many different styles and approaches integrated, including the utilisation of what I suspect are (but I cannot say for certain) synth effects and sounds, taking thus a cue from Vangelis as well.
Itās just this wonderful tapestry of different styles and approaches, all woven together. Every track offers something different. I can hear bits of Kamenās X-Men, Vangelisā The Bounty, bits of The Rocketeer, Willow, Tron: Legacy, Star Wars, Planetary Unfolding, and so much more. Each track is just so damn interesting.
It might not work for you ā which as I said before, is totally normal and okay! ā but it certainly speaks to me!
Cheers,
-S
No ofense, and i havenļæ½t listened to the score yet, but I donļæ½t know if this is some kind of joke or is serious. So is this a giant temp track or what?
āāā- Post added at 12:51 PM āāā- Previous post was at 12:45 PM āāā-
No ofense, and i havenļæ½t listened to the score yet, but I donļæ½t know if this is some kind of joke or is serious. So is this a giant temp track or what?
No joke intended. It is, as I said, a score that does uses different styles for differing scenes. Perhaps this release had tracks out of chronological order and is oddly edited? I canāt say.
But I enjoyed it and its varied flourishes and styles. Itās certainly not a temp track, as all the music is newly created for this score, rather than placeholder music, as temp scores often are (as I understand it).
Cheers,
-S
&
Do Marvin Marvellous & the Marvellettes do any OST tracks in this movie Captaino Marvellousness ? Jusā askinā
Of course you are. It features a beautiful woman on screen giving people sass in a NIN t-shirt (personally OKād by Trent Reznor himself!), lots of explosions, and Clark Gregg and Samuel L. Jackson *and* an adorable cat!
Itās got something for everyone!
<a data-flickr-embed=ātrueā href=āhttps://www.flickr.com/photos/162181720@N04/46405913075/in/dateposted-public/ā title=āCaptain Marvel by Pinar Toprakā>
Itās got something for everyone!
So has EBOLAā¦..But Iāll give it a whirl.
Itās a Marvel comic book movie. Go. Have fun. Be entertained!
<a data-flickr-embed=ātrueā href=āhttps://www.flickr.com/photos/162181720@N04/46405913075/in/dateposted-public/ā title=āCaptain Marvel by Pinar Toprakā>
Wonderful work hahah! ā I donāt think I did a very good job. :laugh:
Also, the movie has a ginger kitty cat! HOW CAN YOU SO NO TO A KITTY? š
https://io9.gizmodo.com/marvel-finally-learned-what-gmg-has-known-all-along-gi-1833133446
āāā- Post added at 02:32 AM āāā- Previous post was at 02:25 AM āāā-
An interview with composer Pinar Toprak at Game Informer.
This particular quote made me smile:
"I love video games. Iāve always been a huge video game fan. I actually even got this custom-built arcade machine thatās finally arrived after waiting for it for six/seven months. Itās got pretty much every game and every console. All the classic arcade games and a lot of the other console games, as well."
(A teenage friend of mine had a similar set-up ā a custom-built arcade machine with 336 games on it. It was *incredible*.)
Well she has absolutely no credits to any HZ / other RCP related films so Iām not sure she could have stayed there long, but it was enough to warrant HZ making a whole post about her saying how she had "put in the hours" for him when she had worked there, so I guess it was a long enough time for him to follow her work afterwards.
āāā- Post added at 08:44 PM āāā- Previous post was at 08:29 PM āāā-
The score absolutely takes a few notes from John Williams, Michael Giacchino, John Powell, as well as SubVision, Visual Music, Daft Punk, Steve Roach, Matthew McCauley, David Fang, Sarah Schachner, Murray Gold, Michael Kamen, Alexander Brandon, James Horner, Basehead, and definitely Michael Stearns.
Look, I always like to remind everyone of the famous Latin phrase "de gustibus non est disputandum", as what works for or speaks to one person wonāt necessarily be true for others. And thatās okay.
That said, speaking for my particularly tastes: I love how the score hits the ground running in the opening track (āCaptain Marvelā) with a forceful, major-scale march, and reminds me a bit of James Hornerās work on The Rocketeer, and then segues in āWaking Upā to an echoing feminine sound reminiscent of Lisa Gerrardās work on Gladiator, before making this quirky shift to a tone that sounds like something that makes me think of outer space, starting at 00:33. It brings to mind Michael Stearnsā āPlanetary Unfoldingā, Sarah Schachnerās āAnthemā (particularly the first two tracks of that score ā Legion of Dawn/Valour), and David Fangās work on Andromeda (see for example: āCore, Logic, and Avatarā).
Itās terrific hearing little bits of sound-editing that bring to mind Baseheadās work on the Unreal score (āMothership Law and Core/Skaarj Generator/The Dardening (Erosion)ā) as well as a hint of Accadiaās āInto the Dawnā.
Track 04, Why Do You Fight? again, utilises counter-point by fusing a very mild base-beat with strings atop it, and then launches into āLetās Bring Him Homeā, that manages to bring to mind Mark Mothersbaughās work on Thor: Ragnarok (which is always OK, as I enjoyed that score) and a hint of Daft Punkās Tron: Legacy.
The little Don Davis flourishes circa his work on The Matrix (āMore Problemsā) brought a distinct smile to my face, as did the use of what I *think* are timpani drums in the background on occasion? I can never say to a timpani.
That Pinar manages to bring a slight Rachel Portman influence in "This Isnāt Goodbye" with the use of piano and strings was a nice touch as well before heading off into a rousing denouement/climax that reminded me a bit of 80ās era Alan Silvestri, with the use of strings overlaid atop a flute, with the use of some trills and a hint of a staccato to propel the piece, bringing immediately to mind the āEnd Credits (Raiders March)ā from Indiana Jones and the Last Crusade (particularly at about the 2:07 and onwards point in the 13-track edition score of the Last Crusade).
Thereās such a diverse sonic range to this score, so many interesting and diverse audio flourishes and touches, to many different styles and approaches integrated, including the utilisation of what I suspect are (but I cannot say for certain) synth effects and sounds, taking thus a cue from Vangelis as well.
Itās just this wonderful tapestry of different styles and approaches, all woven together. Every track offers something different. I can hear bits of Kamenās X-Men, Vangelisā The Bounty, bits of The Rocketeer, Willow, Tron: Legacy, Star Wars, Planetary Unfolding, and so much more. Each track is just so damn interesting.
It might not work for you ā which as I said before, is totally normal and okay! ā but it certainly speaks to me!
Cheers,
-S
To me on my first listen before even having seen the film, I had felt she had gotten a heavy influence from Blake Neelyās Supergirl Main Theme, you can hear the exact string rhythm (albeit faster) in the Captain Marvel theme, which I believe is in the second half of the End Credits. The other score I felt like it "wanted" to be was Lockingtonās Percy 2. There were a few particular moments that had sounded a whole lot like Lockingtonās theme he wrote for Percy 2. And I agree with the Williamses / Giacchino references, some of the brass riffs / orchestrations sounded exactly like some of the Star Wars action cues of the most recent episodes. In terms of Giacchino, I think she had went the Incredibles route, as some of the cues sounded vaguely familiar from that particular score.
Some of the other Giacchino scores that it reminds me of would be Fallen Kingdom, Jurassic World, and obviously Incredibles 2 as well. Those are all pretty brass-heavy scores, and the orchestration here seems more or less the same. We know how much the Disney execs LOVE Giacchino, so it makes sense they are pretty used to having that sound in almost all of their films. Itās pretty much the whole reason he got the Rogue One job.
Honestly to me, the Lisa Gerrard reference doesnāt really stick with me much, as I donāt think she was trying to evoke an ethnic sort of vocal-work here. When I heard Waking Up I immediately thought of this track from Percy 2: https://www.youtube.com/watch?v=QVOLZQn1qEk
Another female that sounds a lot like this type of vocal style would be Tori Letzler in Thor 2: The Dark World, which would make a lot of sense considering how thatās actually a recurring theme in the MCU, more than you can say for most of them.
Why Do You Fight? is in the very beginning of the film when she is fighting Yon-Rogg (Jude Lawās character) right? Honestly, for some of the more "synth-heavy" cues I heard more Aquaman than I did Thor: Ragnarok. I would be curious to know if there were actually any additional composers on Captain Marvel, as it would be interesting to see if Andrew Kawczynski had worked on this film as well. š
Iām still going to give some time for the score to grow on me overall, nothing specifically had stood out to me in the film besides a few of the brass runs / synth arpeggiations were pretty neat and unique to my ears. I donāt know if it was the fact that the score didnāt seem to be mixed too loudly for the scenes that had music, but hopefully after a few more listens of the OST I will come to a proper conclusion as to what I think of the score. For me personally, during the post credits scene, the music that I heard playing during that scene was instantly recognizable to me. Not going to spoil anything obviously, but it was the most memorable piece out of the entire film, but thatās also because thatās one of my favorite scores of recent years, and I have listened to it a ton. I would ramble on more, but I see no point until I begin more familiar with the score.
Thank you for sharing your insight and thoughts, Shevchyk!
PS: Iād be quite interested to know what everyone thinks of the "sound"? heard @ about 1:52 in the cue Breaking Free on the OST. I canāt really make out what kind of Instrument would actually make that sound, but to me at first it had sounded like a woman screaming something. It almost sounds like straight-up dialogue. Would be curious to know if anyone else had heard that. Also, half-way through this cue reminded me of the "sound" of very high strings that you hear in almost all of Doyleās scores, but most notably the Goblet of Fire. He definitely does something very specific to the strings in his scores that make them sound the way they do, and that is definitely somewhat emulated halfway through this track.
Maybe itās just me, but does anyone hear sparking similarities to Dumbledoreās theme in Crimes of Grindelwald to the track "Learning the Truth" at 2:17ā¦maybe itās just me but thatās where I felt that cello line really wanted to go!
Also, I honestly canāt remember the last score I heard utilize the electric guitar in a classical film scoreā¦was it really just Attack of the Clones? (Track 8, Hot Pursuit.)
āāā- Post added at 08:44 PM āāā- Previous post was at 08:29 PM āāā-
To me on my first listen before even having seen the film, I had felt she had gotten a heavy influence from Blake Neelyās Supergirl Main Theme, you can hear the exact string rhythm (albeit faster) in the Captain Marvel theme, which I believe is in the second half of the End Credits. The other score I felt like it "wanted" to be was Lockingtonās Percy 2. There were a few particular moments that had sounded a whole lot like Lockingtonās theme he wrote for Percy 2. And I agree with the Williamses / Giacchino references, some of the brass riffs / orchestrations sounded exactly like some of the Star Wars action cues of the most recent episodes. In terms of Giacchino, I think she had went the Incredibles route, as some of the cues sounded vaguely familiar from that particular score.
Honestly to me, the Lisa Gerrard reference doesnāt really stick with me much, as I donāt think she was trying to evoke an ethnic sort of vocal-work here. When I heard Waking Up I immediately thought of this track from Percy 2: https://www.youtube.com/watch?v=QVOLZQn1qEk
Another female that sounds a lot like this type of vocal style would be Tori Letzler in Thor 2: The Dark World, which would make a lot of sense considering how thatās actually a recurring theme in the MCU, more than you can say for most of them.
Why Do You Fight? is in the very beginning of the film when she is fighting Yon-Rogg (Jude Lawās character) right? Honestly, for some of the more "synth-heavy" cues I heard more Aquaman than I did Thor: Ragnarok. I would be curious to know if there were actually any additional composers on Captain Marvel, as it would be interesting to see if Andrew Kawczynski had worked on this film as well. š
Iām still going to give some time for the score to grow on me overall, nothing specifically had stood out to me in the film besides a few of the brass runs / synth arpeggiations were pretty neat and unique to my ears. I donāt know if it was the fact that the score didnāt seem to be mixed too loudly for the scenes that had music, but hopefully after a few more listens of the OST I will come to a proper conclusion as to what I think of the score. For me personally, during the post credits scene, the music that I heard playing during that scene was instantly recognizable to me. Not going to spoil anything obviously, but it was the most memorable piece out of the entire film, but thatās also because thatās one of my favorite scores of recent years, and I have listened to it a ton. I would ramble on more, but I see no point until I begin more familiar with the score.
Thank you for sharing your insight and thoughts, Shevchyk!
Something I found out just today, Lockdown: she actually also worked on the Justice League soundtrack with Danny Elfman!
Give it up guys. Nobody cares that you didnāt like it.
Also, some of the action music in More Problems is quite similar to Silvestriās Infinity War.
MP3 320
http://uploaded.net/file/y72jg0r7
FLAC
http://uploaded.net/file/xuqlbj8i
23 Tracks
MP3 link page "Not found"!!!
Maybe like violin strings being stroked lightly with the bow while the tones goes downward?
Or maybe like an alarm system? Or futuristic doors thatās being closed?
edit: Oh no wait! It does sound alot like the "Door Close" sound from the game "Doom"!
Sound clip: https://www.youtube.com/watch?v=7BVygrVoxC8
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