c�d�master88
10-29-2013, 08:46 AM
Blood Wings Sinfonia
Symphony No. 5: Murder on the Night Plains Vol. 2
2013
5 tracks, TRT: 1:02:46, 320 MP3
https://mega.co.nz/#!U01QDTSb!Hr__STv8ZnbWfJsKy-lKzQ4cBAJrcYV4p5e-ov2wfh0
Note: I figured I'd spoil you guys and gals two days early and post this today. The suspense was killing me.
As you no doubt know by the multiple posts I've made across the forum, this project is a massive one for me. This is Vol. 2 of what will eventually be a 4 volume set. I find these little exercises of the imagination to be particularly amusing and given that this was mixed exclusively for the holiday season, you'll find much to enjoy here.
Starting off is the Overture which is basically a combination of 7 carefully edited pieces: 2 by Two Steps from Hell (Cemetery Waltz followed directly by Satellite Photos) leading into a small but amazingly convenient section of Danny Elfman's Mars Attacks before seamlessly sequing into the Main Title score for the film The Orphanage that leads to the Main Title sequence of Devil, both scores composed by Fernando Vel�zquez. I sprinkled a tiny tiny section of Kevin Kiner's Leprechaun Main Title music that made a huge difference in slightly beefing up the intensity. The piece concludes with Javier Navarette's "Not Human" cue from the Pan's Labyrinth score, the drum roll section at the end. Now when I mention intensity, the intensity in store for you is of a variety that I've only hinted at. This overture is more or less a recap of my general style but presenting it in a more toned down version while introducing some new ideas. The theme I try to establish here is toning things down a bit that way I can attempt to better establish suspense and even perhaps try to add a human layer to this score. More on that later. Despite none of this music being my own original work, I really do try to take these pre-existing sources and make something my own. I take no credit for anything other than editing, I just want to make that clear. I just greatly love doing these and sharing them to you guys and gals out there in LaLaLand or Cloud Nine, Imaginationland, whatever realm of existence you occupy.
Moving on to Movement 1, it begins with a gentle choral section that slowly builds over the course of 4 minutes but never explodes. It keeps itself under control. Then when things start slowing down, you're introduced to your first big action sequence. This was a particularly fun piece to mix because it allowed me to dig even further into my massive collection and uncover a multitude of amazing sources. Starting off was Steve Edward's score for the 2006 film, Feast and an old classic, Michael Kamen's Die Hard 2. It's amazing how adaptable Kamen's work was to Edwards and I assure you, it's a real...feast. No pun intended...maybe. After Kamen's material completes, Feast takes the reins and leads the piece to the next series of sections and is co-assisted by an assortment of various Ligeti pieces, one including an organ that created wonderful bridges between the material. Shortly thereafter, Joel McNeely's score for the 2007 box office turkey I Know Who Killed Me makes an appearance. To create consistency between Vol. 1 and Vol. 2, I was happy to discover that there was more of the fast piano that was present in the finale movement of Vol. 1. The pieces from Vol. 1 were from composer/director Mike Figgis' score to Cold Creek Manor. For this piece, I of course used McNeely's I Know Who Killed Me score and it really helps to tie the two works together nicely. The score concludes with an explosion from the orchestra under the baton of McNeely.
Movement 2 is where the stakes get raised a lot higher. This is my splurge movement. I can never pass up a moment to get really insane with the action pieces in my collection and this one I'm sure will delight. It's an off-and-on combination of Marco Beltrami's Joy Ride and Brian Tyler's The 4th Floor and The Final Destination with Beltrami's Joy Ride taking control of this piece. It really gets the blood pumping and keeps you on the edge of your seat.
Movement 3 is where I have a little bit of cheesy fun. For this I utilized a combination of Kurt Oldman's score for Marco Polo alongside Neighbor which introduces a new theme to the work that may make an appearance in a later volume. Keep an ear out! Don't think it's over quite yet though. There's a surprise starting at the 9:12 mark waiting for you. Telling what it is takes the fun out of this but I will promise you this: you SHOULDN'T jump or expect to be startled. In fact, that's where things get a bit more ethereal for lack of a better word that add an additional otherworldly quality to the overall work. A theme that carries into movement 4.
Movement 4 is where I throw all of the ideas established in the overture and the first 3 movements into a blender and create what I personally think is the absolute best finale piece I've mixed. I won't go into details about what I used here because my design for these movements are to inspire the imagination without giving too much away. This movement runs the typical 22 minutes but packs so much into it from the other works I've done that helps bring the overall volume to a spectacular cohesion and is an excellent companion album to Vol. 1. It also fits in wonderfully alongside the other Blood Wings Sinfonia works but is different enough to stand on its own.
As you'll notice, the running time is well over an hour. That's how dedicated I was to this project. Truth be told: the mockups for the overture and movement 1 have been done for a while and only needed a little polishing. Movements 2-4 on the other hand came in a mad fury. Don't mistake "fury" for "in a rush." I spent an entire day editing movements 2, 3 and 4 and not too surprisingly I had no mock-ups for those movements. They literally just fell into place and after two or three playthroughs, very little editing was required. They built themselves basically. Admittedly I was afraid I was gonna miss my originally promised deadline for Halloween but truth again be told: it's been done for 2 weeks. Now onto providing a score for a friend's film. So much to do and with Halloween only being 2 days away, the pressure is most definitely on.
I hope EVERYONE has a happy and safe Halloween and Blood Wings Sinfonia extends great thanks for your time to enjoy these projects. They really are a blast to do and I hope when you hear this particular work that it evokes a good Halloween vibe for you and encourages you to add it as part of your annual tradition. There's a lot of human progress in these works as those of you who personally know me will know that the works I do are largely influenced by the daily goings on of my life and needless to say, it can get pretty exciting but the sad reality is that some things aren't always meant to go the way you want so with that being said, you have to work harder and never expect to make it big. Making great connections along the way isn't necessarily a bad thing though. It's good to know that you've made that connection with someone and even if it isn't quite what you hoped it would be, it's the fact that it happened at all and so smoothly that makes all the difference. Just be patient because life has a way of repeating itself but in grander ways later on down the line. Something that was small beans to you say 5 years ago can mean life or death for you as the years grow on. It's bizarre. The same goes for people. You can talk to someone and make a connection even if it's through email. You can go years without talking but when you least expect it, you're meeting this person and they're showing you their newest (but still unreleased) film inside their house. Someone you have never met personally that can trust you enough to take you back to their place is not exactly a bad sign. I could tell you the ways that I could've been in danger but realistically, the trust factor was very strong so I never once felt threatened or intimidated, for good reason. It was also cool to be able to talk movies and music and picking out the pre-existing score pieces they used in the temp score prior to the final score being recorded. That inspired me to keep doing these. Looking back on their career, they started out very strong despite a major scandal and as Hollywood declines, the talented filmmakers can't afford to get their films made and distributed largely because of pirates like us. The ones that can end up going straight to video. There are several DTV movies that I think would've been great to see in a cinema; Trick 'r Treat coming immediately to mind. It's my goal to be a filmmaker so it pains me to think how even I myself am guilty of a lot of revenue lost. Ahh, the joys of having a non-restricted internet service. No data caps, semi decent download/upload speeds and I can download at almost 75% capacity without affecting the other users of the house's bandwidth. So far, I've never had a letter from any movie companies telling me to not download but a friend of mine has. Universal sent him a letter. I did have Grindhouse releasings request me years ago on Cinemageddon to remove my upload of Pieces or face legal complications. I had forgot that you can't post things on there unless they've been out for 12 months and it can't be really popular titles either.
Anyway, thanks for reading. Enjoy the music and the Halloween season. Feel free to leave comments below. I'm always curious to hear what you all think. These are designed for you as a collective in mind so enjoy!
Symphony No. 5: Murder on the Night Plains Vol. 2
2013
5 tracks, TRT: 1:02:46, 320 MP3
https://mega.co.nz/#!U01QDTSb!Hr__STv8ZnbWfJsKy-lKzQ4cBAJrcYV4p5e-ov2wfh0
Note: I figured I'd spoil you guys and gals two days early and post this today. The suspense was killing me.
As you no doubt know by the multiple posts I've made across the forum, this project is a massive one for me. This is Vol. 2 of what will eventually be a 4 volume set. I find these little exercises of the imagination to be particularly amusing and given that this was mixed exclusively for the holiday season, you'll find much to enjoy here.
Starting off is the Overture which is basically a combination of 7 carefully edited pieces: 2 by Two Steps from Hell (Cemetery Waltz followed directly by Satellite Photos) leading into a small but amazingly convenient section of Danny Elfman's Mars Attacks before seamlessly sequing into the Main Title score for the film The Orphanage that leads to the Main Title sequence of Devil, both scores composed by Fernando Vel�zquez. I sprinkled a tiny tiny section of Kevin Kiner's Leprechaun Main Title music that made a huge difference in slightly beefing up the intensity. The piece concludes with Javier Navarette's "Not Human" cue from the Pan's Labyrinth score, the drum roll section at the end. Now when I mention intensity, the intensity in store for you is of a variety that I've only hinted at. This overture is more or less a recap of my general style but presenting it in a more toned down version while introducing some new ideas. The theme I try to establish here is toning things down a bit that way I can attempt to better establish suspense and even perhaps try to add a human layer to this score. More on that later. Despite none of this music being my own original work, I really do try to take these pre-existing sources and make something my own. I take no credit for anything other than editing, I just want to make that clear. I just greatly love doing these and sharing them to you guys and gals out there in LaLaLand or Cloud Nine, Imaginationland, whatever realm of existence you occupy.
Moving on to Movement 1, it begins with a gentle choral section that slowly builds over the course of 4 minutes but never explodes. It keeps itself under control. Then when things start slowing down, you're introduced to your first big action sequence. This was a particularly fun piece to mix because it allowed me to dig even further into my massive collection and uncover a multitude of amazing sources. Starting off was Steve Edward's score for the 2006 film, Feast and an old classic, Michael Kamen's Die Hard 2. It's amazing how adaptable Kamen's work was to Edwards and I assure you, it's a real...feast. No pun intended...maybe. After Kamen's material completes, Feast takes the reins and leads the piece to the next series of sections and is co-assisted by an assortment of various Ligeti pieces, one including an organ that created wonderful bridges between the material. Shortly thereafter, Joel McNeely's score for the 2007 box office turkey I Know Who Killed Me makes an appearance. To create consistency between Vol. 1 and Vol. 2, I was happy to discover that there was more of the fast piano that was present in the finale movement of Vol. 1. The pieces from Vol. 1 were from composer/director Mike Figgis' score to Cold Creek Manor. For this piece, I of course used McNeely's I Know Who Killed Me score and it really helps to tie the two works together nicely. The score concludes with an explosion from the orchestra under the baton of McNeely.
Movement 2 is where the stakes get raised a lot higher. This is my splurge movement. I can never pass up a moment to get really insane with the action pieces in my collection and this one I'm sure will delight. It's an off-and-on combination of Marco Beltrami's Joy Ride and Brian Tyler's The 4th Floor and The Final Destination with Beltrami's Joy Ride taking control of this piece. It really gets the blood pumping and keeps you on the edge of your seat.
Movement 3 is where I have a little bit of cheesy fun. For this I utilized a combination of Kurt Oldman's score for Marco Polo alongside Neighbor which introduces a new theme to the work that may make an appearance in a later volume. Keep an ear out! Don't think it's over quite yet though. There's a surprise starting at the 9:12 mark waiting for you. Telling what it is takes the fun out of this but I will promise you this: you SHOULDN'T jump or expect to be startled. In fact, that's where things get a bit more ethereal for lack of a better word that add an additional otherworldly quality to the overall work. A theme that carries into movement 4.
Movement 4 is where I throw all of the ideas established in the overture and the first 3 movements into a blender and create what I personally think is the absolute best finale piece I've mixed. I won't go into details about what I used here because my design for these movements are to inspire the imagination without giving too much away. This movement runs the typical 22 minutes but packs so much into it from the other works I've done that helps bring the overall volume to a spectacular cohesion and is an excellent companion album to Vol. 1. It also fits in wonderfully alongside the other Blood Wings Sinfonia works but is different enough to stand on its own.
As you'll notice, the running time is well over an hour. That's how dedicated I was to this project. Truth be told: the mockups for the overture and movement 1 have been done for a while and only needed a little polishing. Movements 2-4 on the other hand came in a mad fury. Don't mistake "fury" for "in a rush." I spent an entire day editing movements 2, 3 and 4 and not too surprisingly I had no mock-ups for those movements. They literally just fell into place and after two or three playthroughs, very little editing was required. They built themselves basically. Admittedly I was afraid I was gonna miss my originally promised deadline for Halloween but truth again be told: it's been done for 2 weeks. Now onto providing a score for a friend's film. So much to do and with Halloween only being 2 days away, the pressure is most definitely on.
I hope EVERYONE has a happy and safe Halloween and Blood Wings Sinfonia extends great thanks for your time to enjoy these projects. They really are a blast to do and I hope when you hear this particular work that it evokes a good Halloween vibe for you and encourages you to add it as part of your annual tradition. There's a lot of human progress in these works as those of you who personally know me will know that the works I do are largely influenced by the daily goings on of my life and needless to say, it can get pretty exciting but the sad reality is that some things aren't always meant to go the way you want so with that being said, you have to work harder and never expect to make it big. Making great connections along the way isn't necessarily a bad thing though. It's good to know that you've made that connection with someone and even if it isn't quite what you hoped it would be, it's the fact that it happened at all and so smoothly that makes all the difference. Just be patient because life has a way of repeating itself but in grander ways later on down the line. Something that was small beans to you say 5 years ago can mean life or death for you as the years grow on. It's bizarre. The same goes for people. You can talk to someone and make a connection even if it's through email. You can go years without talking but when you least expect it, you're meeting this person and they're showing you their newest (but still unreleased) film inside their house. Someone you have never met personally that can trust you enough to take you back to their place is not exactly a bad sign. I could tell you the ways that I could've been in danger but realistically, the trust factor was very strong so I never once felt threatened or intimidated, for good reason. It was also cool to be able to talk movies and music and picking out the pre-existing score pieces they used in the temp score prior to the final score being recorded. That inspired me to keep doing these. Looking back on their career, they started out very strong despite a major scandal and as Hollywood declines, the talented filmmakers can't afford to get their films made and distributed largely because of pirates like us. The ones that can end up going straight to video. There are several DTV movies that I think would've been great to see in a cinema; Trick 'r Treat coming immediately to mind. It's my goal to be a filmmaker so it pains me to think how even I myself am guilty of a lot of revenue lost. Ahh, the joys of having a non-restricted internet service. No data caps, semi decent download/upload speeds and I can download at almost 75% capacity without affecting the other users of the house's bandwidth. So far, I've never had a letter from any movie companies telling me to not download but a friend of mine has. Universal sent him a letter. I did have Grindhouse releasings request me years ago on Cinemageddon to remove my upload of Pieces or face legal complications. I had forgot that you can't post things on there unless they've been out for 12 months and it can't be really popular titles either.
Anyway, thanks for reading. Enjoy the music and the Halloween season. Feel free to leave comments below. I'm always curious to hear what you all think. These are designed for you as a collective in mind so enjoy!