i really love the theme at the end of t�mar is kidnapped. its the away team theme i guess. chad may i humble request that you upload the gorn boss fight when he tries to escape with the shuttle? that is the most impressive action cue in the score for me.would love hearing it wiithout sounds and the game.
is there a chance for some form of release?

Well it seems today is the premiere of Thomas Boeker's Final Symphony. I am really looking forward to hearing this. Valtonen's work with the previous "Symphonic" entries is just phenomenal! In addition to Valtonen, Masashi Hamauzu will be providing arrangement to the FFX suite. I hope that he does a full orchestra arrangement this time as I know he is capable (i.e. Chocobo's Mysterious Dungeon and Coi Vanni Gialli). Did anyone get the chance to go to this concert?

Wow, that's today? Hope somebody gets onto recording that somehow.

Wow, that's today? Hope somebody gets onto recording that somehow.

Me too! I am quite surprised that they did not set up a live stream this year. Maybe they plan on doing that for the London concert...

It seems someone made a rough recording of one of the pieces from the concert. It sounds like an original by Valtonen to me.

Fantasy Overture - A Circle Within a Circle Within a Circle: https://www.youtube.com/watch?v=X-DfU1VT41c

Final Fantasy VI - Born with the Gift of Magic: https://www.youtube.com/watch?v=Q7zDD43TSkU

This is a real concert audience. They are quiet and even for an audience recording this is still decent quality.

Oh and Hamauzu did go with a concerto format for FFX but it is more of a full sound than his previous effort. His experimentation is very welcome in his suite.

Scoped the new short ad for Trigger's Kill la Kill. Music sounds pretty Sawano to me. Could be Narasaki or Tatsuya Kato, tho. In either of those last two cases, eww.

Ok, I really really enjoyed Hamauzu's three movement concerto for FFX. It possesses color and is powerful where it needs to be, but gentle and delicate also. My favorite parts would be Besaid Island and in the third movement Assault and Decisive Battle which are vast improvements on the originals. I guess he can orchestrate and the timbres he created throughout are lush and fresh. A perfect example would be in Assault... the brass is powerful, but not too overbearing as the battle between dissonance and consonance wages. I loved every second of it. Oh and it seems that Mr. Boecker will be working on a recording for next year. That is probably the worst news, but I seem to suspect that someone out there will make a bootleg in the meantime ;).

Thanks for the concert bootleg links. Here are my thoughts:

Fantasy Overture:
-good orchestration, very Tchaikovskian with all those swirling strings

Born with the Gift of Magic:
-jamming the empire theme theme with terra's theme: sounds surprisingly good
-i already had the idea of turning the empire theme into a mahler 5-ish funeral march :( and i have the midi to prove it
-kefka's theme is wacky and waltzy, neat ideas
-this guy definitely has a knack for orchestration, but the melody to sfx ratio is a bit low for my tastes
-nice weaving of different themes and terra's theme after the kefka section
-the random sfx get a bit tiresome, i really wish most of this was straight textbook style early 20th century
-not liking the battle music, always seems forced to orchestrate pop/rock in a classical style
-kefka's theme interrupting the other themes is a neat touch
-not sure what the slow cello part is playing near the end, is it the baroque harmonies from the final battle with kefka?
-terra theme ending seems like a cop-out because it's been done, i was hoping for original stuff like the previous 15 minutes

I don't know what you'd call this style of music. It's definitely not "orchestrated game music" in the traditional sense, and it's not film music. But it's also not classical by any means. Maybe it's an expressionist piece: throw everything at the canvas and see what you get type deal. I like it, but it could be better. It's funny how it sounds like a ton of themes were all shoved together randomly, but we somehow still heard Terra's theme 100 times. Maybe the structure needs to be more rigid.

FFX Piano Concerto:
-the orchestration is good here, but it feels more like a piano fantasia rather than concerto, even cinematic in parts
-i don't know FFX's music too well to know what i'm listening for, but it's very good
-has an impressionistic (french) feel to it

I like the direction these game music orchestrations are going. Much improvement over the stupid VGL concerts, and the orchestrations are definitely stepping things up as well.

Nice comments, streichorchester. I agree with pretty much all that you posted on the FFVI suite. I wished there were more themes included (Gau, Cyan, and Celes), but it did tell a story. It seems the FF VII pieces are up, including the two encore pieces.

https://www.youtube.com/watch?v=6dGPUn6Eix4

On a side note, I think this is Valtonen's contribution as it has more solid orchestration technique than FFVI. I believe Wanamo did that one. I'm not entirely sure, but I can clearly tell a difference between VII and VI.

DIE NIBELUNGEN
Composed by
Gottfried Huppertz
European Filmphilharmonic Orchestra
Frankfurt Radio Symphony Orchestra
Conducted by Frank Strobel



An opera singer and writer of lieder by trade, Gottfried Huppertz had also dabbled in music for theatre and even acting, appearing in minor roles in "Vier um die Frau" and "Dr. Mabuse Der Spieler". It was through these short screen appearances that his professional collaboration with film maker Fritz Lang began.

Well aware of Huppertz musical abilities, Lang offered him the modest job of writing two full length scores for 60 piece orchestra for his epic screen diptych on the Nibelungsaga. Huppertz initially refused thinking this would all be very much in the shadow of Wagner (can you blame him?). It was only after reading the the full script that he saw this to be an original vision of the myths and quite independent of the famous opera cycle.

Indeed, the prevailing feeling seemed to be that Lang should have stuck to the familar strains of Wagner's Ring, and the US and French releases of the film did use arrangements of it. The most obvious thing to point out that no corrupting 'ring' appears in Lang's version, which is a less ecclectic telling and closer to the original Nibelungenlied. There is, however, the gold and its symbolising transferal of guilt/power. Interestingly, the score seems to link Brunhild's armlet, so instrumental in Siegfried's downfall, with the curse of the gold in an intermingling of themes.
Of course Huppertz doesn't throw the baby out with the bath water; many of the familar Wagnerian (and Straussian) touchstones are here, especially in the heroic forest and hunting music for the title character. Like Metropolis, it also looks forward to certain ways of characterising and scene building that would become staples in the Hollywood Golden Age. It's every bit the film score! Just try the spooky panoramas that accompany Siegfried's meeting with Alberich and the conquering of the fiery Brunhild.


"I voluntarily chose a composer who knows cinema, is interested in it and has even performing in it. I asked him to write an original score for the film; this artist, this specialist is called Gottfried Huppertz. He is young and his many lieder have given him a much deserved reputation" - Fritz Lang

Though Huppertz kept his end of the bargain, finishing the music in time (primarily to Thea Von Harbou's script) for the premiere on the 14th of February 1924, the event was by all accounts a disaster. Lang hadn't yet produced the final edit and kept working to the last second, with reels delivered by police escort for the screening. The conductor Ern� Rap�e had a tough time trying to get hit synchronisation points and get it all to work. Part 2's debut on the 26th of April didn't fare any better, with the entire final reel having to be left unshown.

The score as we have it now required some adaptation, repeats and edits to fit the restored picture. The recording is by the same excellent team who did the recent Metropolis restoration and it's wonderful to finally hear the music in all its glory. Anyone familiar with the dreadfully distorted 70s version from the DVD will appreciate the difference!

For this presentation I've ripped and resampled the lossless stereo PCM track from the blu-ray and edited it into a form more appropriate to standalone listing. Cutting 5 hours of music down to 2 (a cd's worth for each film) wasn't as easy as I thought it would be, but I'm happy with the final result. Unvaried repetition is avoided, but all the main themes and motifs get a full airing. I like to think Huppertz storytelling is unbroken too, although some passages have been shuffled slightly to make better musical sense.

All in all, not bad for his first attempt at film scoring ;)


"Die Nibelungen was designed to stress the inexorability with which the first guilt entails the last atonement" - Thea von Harbou


PART I

FLAC
https://mega.co.nz/#!ww4BAYQS!Tb1dLT1z71dDDt7TrSmgEyiTVh5SXURAD-eXpP-nrp8

PART II

FLAC
https://mega.co.nz/#!l8pSwTiQ!A5po31R2NL7_7OPt2mbHUDwO8dxbwee1vMfv-Pt0064

Thanks for all the recent posts and discussions - doing my best to catch up!
Enjoy! :)

Ah, more comments then:

FFVII Symphony
Mvt I:
-i heard the opening theme, sephiroth's theme, jenova's theme, one winged angel, bits of other themes
-orchestrations are really well done, again cinematic with a bit of a modern classical twist, i'm thinking berio?
-for a symphony the structure isn't very concise, kinda all over the place, but it's not bad
-not as many sfx as the FFVI piece, which is a plus

Mvt II:
-interrupted by fireworks sounds great here
-percussive modernisms and sfx follow for some reason, then aeris's theme, then the main theme, then tifa's theme, then main theme again, then aeris's theme
-this technique of themes morphing into other themes is neat, but not very symphony-like. if anything it's more overture-like or movie end credits-like
-suddenly one-winged angel and sephiroth's theme out of nowhere
-nice textures afterwards, but the sudden end is inconsistent with the rest of the movement

Mvt III:
-airship theme and cid's theme, then red xiii's theme
-the constant metamorphosis of themes is dizzying
-the "clock ticking" motif is interesting, what is that from?
-jenova final battle theme, things are getting more cinematic again
-back to some orchestral modernisms and effects, kinda reminds me of penderecki
-if they just called this a film score or tone poem it would be great, but no, it had to be called a symphony, so it is a very odd free-form, stream-of-conciousness symphony with little structure
-some ending cinematics music
-ending might be a bit cut off

Overall this is full of really good orchestrations, some inspired by modern classical music (like Penderecki) and some inspired by film scores. It's very long and drawn out, and the FFVII themes are woven throughout in almost random fashion. It makes me wonder if it was following a script or story (not necessarily the story of FFVII since one-winged angel was at the beginning...) This is a highly textural piece full of orchestral color and my only real gripe is the lack of solid structure, similar to my criticism of the FFVI piece. I'm also kind of sad I wasn't blown away by anything. The 40 minutes of orchestral music passed by without much capturing my attention, but that might be due to the poor bootleg recording. I'll have to listen to these again when they're officially released.

Encore 1:
-nice arrangement of anxious heart. i think many would have preferred this treatment of the other themes from the FFVII "symphony": singular pieces that are each orchestrated suites unto themselves. this is easily the best piece of the entire program, and it's only 4 minutes! i guess they just got carried away with the idea of making full-length concertos and symphonies and missed out on what makes game arrangements. the other pieces are very good and ambitious, but to me not as good as this one, so what does that say?

Encore 2:
-fierce battle theme from FFVI, then mog's theme
-actually, this is all mog's theme? then why the fierce battle opening? that's pretty dumb, but i guess it was done for comedic effect
-mog theme is good though

The bootleg recording quality is utter crap. Don't get me wrong, it might be OK for an audience recording but it doesn't hold a candle against the acoustics in the Stadthalle.

Lens, I have no idea what I am about to listen to, but MY GOD I love the imagery of these covers here. Simple, just elegant in communicating the themes of the piece.

On one respect I kinda wish we could have more stuff like this, but on the other I understand that most people prefer more mainstream posters. Not saying today's posters can be bad - there are plenty of great posters if we look beyond the red/white, blue/yellow dynamics - but these covers just speak on a totally different level.

The bootleg recording quality is utter crap. Don't get me wrong, it might be OK for an audience recording but it doesn't hold a candle against the acoustics in the Stadthalle.

It doesn't hold a candle to the acoustics in my toilet...

I'm quite upset that there was no live stream... but at the same time hopeful that there is some release, somehow. The pieces are all flawed but the arrangers are making an effort and that must be applauded. Structure may be faulty, flow may be interrupted... but what's most important to me is that there's an attempt to implement these things in the first place! People like to throw around the word "symphony" as almost a branding exercise... but here, somebody has clearly tried to write a symphony... and the audience has responded by listening intently and with respect. (Instead of turning into a braying mob, laughing like a hyenas every time they hear a tune they recognise, which is what you get when you present unchallenging music to unchallengable people.)

These guys are doing stuff that's massively outside of their comfort zone... you can almost perceive them getting better and making new connections in their heads as the music progresses.

Again, in stark contrast with some other "symphony" projects I could mention.

I wouldn't bet on an official release. When the concert was announced, people were already asking if an official release was going to happen. IIRC this was negated some weeks later, probably on the official Facebook page. Maybe this has changed in the meantime, but let's just face things: Us getting such concerts here in Germany is close to a miracle. Getting permission to livestream the concert is even more improbable. An official release... only when the stars are aligned correctly. We were lucky lots of times in that regard.

Concerning the behaviour of the audience. This doesn't have anything to do with Valtonnen writing a symphony. This is just basic common sense. Common sense which the attendance at the concert has always displayed. And I think I can do this claim, since I've attended the Symphonic Game Music Concerts series since the beginning, even when it was still the opening concert for the Games Convention in Leipzig. And I'm very happy (and also proud) that we're not like the type of audience tango has described in the post above. And even more happy about the fact that Thomas B�cker has always made clear, that the series is _never_ going to go in that direction.

I thought that an official release had been confirmed, it not strongly hinted, by Boecker? In any case, since this series has had probably a 90% success rate with releases, and obviously the preceding releases sold well enough to make the next release viable... so unless something terrible happened (likely to do with rights issues) or the last CD sold badly... I would suspect that this will be released, sooner or later. I think, at the very least, the odds are in favour of a release, even if it's not a raging certainty.

An audience goes into a concert hall with a certain expectation; how that expectation is managed determines what sort of people will go and how they will carry themselves when they get there. These concerts are sold as concerts - and the "orchestrators" (in quotations because it's obvious that in this concert series in particular, they are in fact fully occupying the role of composer, using existing melodies as a creative springboard) are briefed to write music.

I've seen audiences collectively adjust to the environment and to the musical atmosphere in a concert hall. Humans instinctively know something is happening that's worth paying attention to. I've seen people who go in with the Zelda mob mentality and leave with tears in their eyes and a passionate respect for musical art. That's what this is about for me.

Just making some pedestrian arrangements of fun tunes for orchestra, and filling up a symphony hall with a load of cosplaying idiots who believe they're the mutt's nuts because they identified One Winged Angel and Chocobo's Theme... well, that has a predictable outcome; shitty music, disrespectful audience, waste of time. I'm sure there's a market for that kind of event... The phenomenal success of the Zelda concerts is testament to that. I think it's obvious which sort of concert will get my enthusiasm.

Medley nights can be really great if they're done well... look at the old Orchestral Game Music concerts from the early nineties. Pretty light selections - no pretences about symphonies or concerti - but tastefully arranged one-off themes, well performed, a good mixture of moods, and an audience who repaid the generosity of the orchestra in playing for them by listening in silence, and conveyed their appreciation at the end with applause; rather than by drowning out the music every thirty seconds with fanatical screeching that is more befitting a Justin Bieber concert... :)

On the subject of game concerts, I thought I'd give this one a plug for anyone in the vicinity of Malm�, Sweden.

Joystick 5.0
Score � 130531 Malmo (http://scoreconcert.com/130531-malmo/)

Press release:
http://scoreconcert.com/wp-content/uploads/2013/05/Joystick-5-Graves-press-release-2-May-English-final.pdf

I think I might be going.

A big thanks to the contributors in this thread, be it uploads or musical discussion!

I thought that an official release had been confirmed, it not strongly hinted, by Boecker? In any case, since this series has had probably a 90% success rate with releases, and obviously the preceding releases sold well enough to make the next release viable... so unless something terrible happened (likely to do with rights issues) or the last CD sold badly... I would suspect that this will be released, sooner or later. I think, at the very least, the odds are in favour of a release, even if it's not a raging certainty.

I received word from Thomas on a possible 2014 release over Facebook. The information regarding no release was over the fact that a recording would not be made of the concert in Germany. It would be a safe bet to say there will be a release. Like you said, unless the previous album sold poorly (which they probably didn't) a release looks likely ;).

That's certainly nice to hear. Looks like I've got my first preorder for 2014 set :)

2014? Waah... Oh well, as long as it's coming!

So, from this we surmise that the release may be a studio recording of the same material, and not a recording of the actual concert? Innnnnnnnteresting... that's rather expensive...

There was no recording equipment present during the concert in Wuppertal, so either they go the studio way, or the maybe record it during the London concert. Or recording during rehearsal, who knows...

Again, in stark contrast with some other "symphony" projects I could mention.

It's nice to be vindicated every once in a while. :)

Hello,

I just thought I�d chime in as it has been really interesting to read a more in depth reviews of the pieces! The pieces are recorded from the 1st concert. It was good, but the 2nd concert was _absolutely_ fabulous! I just wanted to write my thoughts concerning the symphony as I am the person responsible for the VII Symphony as well as the overture and the first encore.


So, here is how I thought and structured the music:

The Symphony is quite free in form as mentioned above. At first I was doing the traditional sonata-form thing 1st movement, etc, but it was taking the music way too much to my own no matter what I tried. So. Instead I am following the idea of a symphony and sticking more with the original music and story. Movements : 1. Fast. 2. Slow.3. Fast. Yes, I am missing the scherzo and thought long if I should do it or not. Then the music got overtime (in minutes) and decided to leave it out.

* 1st movement : in c-minor. Fast. (Mediant harmony). Has the most weight and is loosely following the story what happened in Nibelheim.
* 2nd movement : in D and F major. Slow. (More traditional harmony = c-minor : V/V (deceptive cadence) - III# - IV(nat)). VERY loose variation/development form (starting after fireworks). This is all about the struggle that Cloud goes thru deciding Tifa or Aerith.
* 3rd movement : in g-minor, ends in C-major. Fast movement (Rondo), I�m using the "Countdown Begins" piece as the reoccurring element, but slowly dissolving it to the background as the movement progresses. The last time you hear it it�s dissolved to a texture just before the aleatoric part in the strings (on the 36:25 of the bootleg recording).

So the whole piece moves in c-minor I-V/V-IV-V(b)-I-I(natural) and follows the characteristics of movements in a symphony.


Movement I : Nibelheim Incident
This movement is all about Sephiroth finding himself.

* (00:16) "One Chosen by the Planet" = I really consider this to be the main theme of Sephiroth. This theme is present in several of the other original pieces and places throughout the game.
* (01:24) "Opening" and "Prelude" = These two pieces are combined and layered on top of each other. Doing the Wagner thing here. (Main theme of FF7 introduced, I really think this is the main theme (later CID�s theme) and I�m using it as such)
* (02:16) "Who am I ?" and "Who am I ? + Sephiroth" = Sephiroth is finding out about his past and in the end of this section he loses control.
* (04:02) "Sephiroth Goes Mad" = Fragments of OWA thrown around. Sephiroth is finding bits and pieces of his past, but the pieces are not yet together. So he is losing it bad time. I wanted this place to have the illusion/feel of a development section (Sonata-form) as it really is OWA all over the place and then you have the "recapitulation" in the end of this movement. :)
* (04:49) "Jenova" and (06:19) "Jenova (repeat)" = OWA fragments are still under the first occurring of the Jenova theme. The next time Jenova gets full attention, it is the original music orchestrated.
* (07:22) "Main theme" = (Theme in the Opening) almost takes over but turns evil and Sephiroth theme takes over.
* (08:06) "Trail of Blood" = This is pretty much the same as the original music except the "OWA hits/motive" interrupting.
* (09:41) "OWA" = Starts as One Winged Angel. Abrupt stop. (11:40) Rest of the OWA music (themes) start to build on top of each other. Then all the previous themes that have occurred before start to build up on top of the OWA music. (Oh yes, It�s Berio time!-) ). Things go to full cacophony, and then (Oh yes, It�s Penderecki time!-) in 13:12) things clear out and the OWA motive is now clear and bright. So Sephiroth has found out his purpose and who he is. (This is also the reason why the music is here and not in the end)

Movement II : Words Drowned by Fireworks
This movement is about the uncertainty that Cloud goes deciding between Aerith and Tifa. So basically you have this very innocent love triangle going on. I�m also gradually increasing the dissonance level on the movement as it progresses. This ends to death and last breaths of Aerith.

* (13:58) "Aeriths Theme" shortly introduced.
* (14:18) "Words Drowned by Fireworks" (oh yes, Messiaen birds) = Aerith and Cloud go on a date, things get heated up but-- ->
* (17:06) Fireworks (in this recording the percussion is unfortunately not in sync)" = so the words are drowned by fireworks.
* (18:02) "Aeriths Theme" short = Almost grows to full, but gets silenced and abruptly moves to clouds theme.
* (14:47) "Clouds Theme" = (I really think this is Clouds Theme and using it as such (and not the main theme)). Tifas and Aeriths motives are constantly popping out on the background.
* (19:22) "Tifas Theme" = Now Clouds and Aeriths motives are on the background while Tifa is on foreground.
* (21:07) 2nd part of the "Clouds theme" = feeling very small. Aerith tries to duet with cello. Messiaen birds again singing and reminding of the "words drowned"
* (22:08) Aeriths Theme = Emotions grow and Aeriths theme comes out.
* (22:51) 2nd part of the "Clouds theme" = even smaller and unsecured. (Aerith on the background)
* (22:25) Aeriths theme full (22:51 Aeriths theme 2nd part = now Aerith is feeling small, while Cloud is making appearances on the flutes)
* (23:24) Aeriths theme growing and finally in full in ->
* (23:50) Aeriths theme repeated but starts to dissonate
* (24:50) Aerith and Clouds themes are both presented equally loud (Layered). So they finally have each other, and it almost ends in a fanfare (25:12) that is anticipating an ending but ->
* (25:27) Sephiroth interrupts and things get more difficult for Aerith and Cloud (their themes are still layered but now it�s polytonal and getting more and more dissonating (in F-E-D#). OWA motive in 26:16 starts coming over them and turning the music of Cloud and Aerith more into cacophony and despair. Desperate fanfare emerges at 26:44 that has a short segment of Aeriths theme. Like a Aeriths last heroic standout. In 26:57 Aerith is breathing rapidly in this steady pulse that is also found on the beginning of OWA. 27:16 Sephiroth hits a killing blow on Aerith in (27:16) . Aerith having her last breaths and then she�s dead. (you have to turn up the volume for this as the recording gets very quiet)

Movement III : Planets Crisis
This is about moving towards the final confrontation with Sephiroth. (and the aftermath that is lifestream)

* (28:03) "Countdown Begins"
* (28:48) "How to become a warrior" (main theme = Cids theme shortly introduced as well)
* (30:59) "Countdown Begins" motive interrupts
* (31:06) "Cids Theme / Main Theme"
* (32:09) "Countdown Begins" motive interrupts = motive gets more into background texture when Cids theme makes a one more repeat
* (32:31) "Jenova Absolute" = Sephiroth is closing
* (33:46) "Countdown Begins" motive comes on top
* (33:56) Battle = Metal plate ("Weapon hit") stops the music. Metal hits continue to hit, and in every hit you hear you get a glimpse of a characters heme. This sort of follows the (fight) action in the game. There are pauses when you decide what to do and after you�ve decided then the different characters make their move. In my party I have chosen Cloud, Tifa and Cid. So these as well as Sephiroths motives are heard. At first the motives are more clear but then they get more contemporary and harder to recognize. Like the fighting and cause is getting messier and harder and you start to lose sense what is what. This is more related to real life though, but I thought it makes this part to have direction towards the ->
* (35:54) Sephiroths rhythm motive starts to build up in the strings (as well as a familiar fragment from the OWA keeps hitting on top)
* (36:11) "World in Crisis" = this is only a segment from the original piece as the piece was a bit too long, but I thought this was the coolest part of the piece. Sephiroth keeps pulsing on the strings
* (36:48) Countdown begins motive on top of the world in crisis
* (36:54) Final Conclusion (aleatoric cacophony!) leaving a question who won (like in the game it seems like Sephiroth got his way after all but ->)
* (37:39) "World in Crisis" = Lifestream appears and grows to all consuming and overwhelming size. (..and stops the meteor)
* (40:30) Glimmering field of lifestream. Day has been saved, and everything is peaceful again.

(EDIT - the timing is synced to this video : http://www.youtube.com/watch?v=6dGPUn6Eix4&src_vid=nhwJWCTm-YY&feature=iv&annotation_id=annotation_599106 )

In these days a symphony is mostly considered as a large orchestral work. (That�s also how I see it) The term has been used in baroque period to any music that was written for instruments and it has been evolving since to this day. So I see this work as a large scale work with a heavy nod towards program music. It has the (more) familiar characteristics of a symphony in its movements. Today if a composer calls a work symphony it means that this is something that is the pinnacle of his or her work worthy of the name symphony. There are modern works that do follow the idea of a more traditional symphony and those which just don�t have anything to do with the tradition except the name. (More recent composers like Webern, Berio, Lutoslawski, Glass, Corigliano, Penderecki, Aho (Kalevi) and many others have all different takes on the subject!). This is of course how I humbly view things and I love to see how others view and discuss music! I�m really grateful that I found this forum with your detailed feedback/critique!

Good luck and a lot of success no matter what the style (and form) of music we write!
Jonne

Thank you Jonne, that was a really epic and informative post. I really appreciate you coming all the way to this forum and letting us know your thoughts behind the FF VII Symphony!


I received word from Thomas on a possible 2014 release over Facebook.
Looking forward to this!


...anyone in the vicinity of Malm�, Sweden.
Joystick 5.0
Score � 130531 Malmo (http://scoreconcert.com/130531-malmo/)

Press release:
http://scoreconcert.com/wp-content/uploads/2013/05/Joystick-5-Graves-press-release-2-May-English-final.pdf

I will be there :)

Mr Valtonen, I hope you'll forgive some shameless fanboy gushing... but to see you here and be able to talk with you is something of a dream come true, for me... I have always had limitless respect for your work; your services to good music simply cannot be overstated. I've so many thoughts which I'd like to articulate but I'm on my lunch hour at the moment and have about four minutes left... so I sincerely hope that you'll be coming back...!

:awsm:

Wow, either this guy has an epic google alert or someone tipped him off to the discussions here. This is just so fantastic to have the man himself join the discussion. I must say most of this is way over my head but I love the last part on what it means to be a symphony. Nothing makes me more excited than hearing game music transformed into a full orchestral work. Keep up the good work sir!

Hi everybody, just passing by to salute someone for whom I have a sincere admiration, since I consider he makes some of the finest arrangements you can find in today's music industry. Welcome, Jonne, and thank you for posting your detailed notes about these pieces, now they make EVEN more sense! Brilliant stuff, as usual with your works. And the kindness and humbleness you show in this post proves that not only you're an exceptional professional, but also a good man.

Just a funny apparte: you made this post the 14 (1+4=5) of month 5; it's the post 12272 (=5) in page 491 (=5) in a thread which number (in the address bar) is 57893 (=5), started a 23 (=5) of july; do I need to say you were born March 23 (=5), 1976 (=5)? And there are probably some more I haven't spotted!

Also, I noticed a recent trend where composers / arrangers tend to come and post here after we make comments on them. So I'd like to say this:

Frankly, John Williams' Tintin was rather a disappointment to me. Of course it's technically brilliant, complex, virtuosic and stuff (how could it be otherwise from the maestro?), but emotionally, it's so flat, boring and forgettable. Where are the big themes that become instant classics, the powerful melodies that penetrate your brain and never get forgotten?

There, I said it. Now make YOUR move, Johnny!

(Oh, and for those who wonder, I'm really not into music these days, since I've got other big, tough projects to handle, which means I can't download / listen / comment / upload, etc. So you can easily imagine my presence here would be a little contrived. But if one day I get again into the business of music, I'll be there. In the meantime, you guys handle the thread... pretty well! (And by that I mean that you freakin' rock)

Arthierr - Glad you are still around. If you can share some private messages of what you are up to with a few of us, I'm sure we'd be interested. But staying busy is always good so I'm happy for you.

Mr. Valtonen,

I really enjoyed your in-depth explanation of your process and walkthrough of the FFVII Symphony. It is because of successful composers like yourself, that inspire beginners like me to not go with the crowd and provide something truly unique. I have always appreciated that your arrangements have taken more creative turns rather than just reiterate the original material. It takes considerable risk to make something like that and it has payed off. I really hope Final Symphony will get a cd release someday, as an official announcement has yet to be made. I would pay good money to own it! Lastly, any hope of producing a concert here in the U.S.? At any rate, I wish you the best of luck and I hope we will be hearing more game concerts from you, Roger, and Thomas! They are the finest productions in the venue, seriously.

With pleasure, my friend. See you later. :)

Takashi Yoshimatsu
Piano Concerto: Memo Flora


I full-heartedly recommend these pieces to the thread regulars (and anyone else too, they are gorgeous). It is some of the most serene and beautiful orchestral writing. Its also a treat to hear compositions that are written to take advantage of the small orchestra size. Often with a smaller ensemble it is just scaled back and underpowered, with these tracks I wouldn't have it any other way. It is one of my favorite surprise finds. In particular "And Birds Are Still..." takes me to another place every time I hear it.

FLAC re-upload link (not my rip):https://mega.co.nz/#!5EBwCabY!OWSPMglbNJ0qF5krwKx-wAP4sugCkegFUNqZ6du5_V0
I think this is an overlooked gem and felt it is worth some attention. Wimpel has also uploaded some other concert work by Yoshimatsu in his threads, so you could go and check them out. :D

.

For those who enjoy the performances of Benyamin Nuss, he has just started a SoundCloud page and it includes a wonderful performance of George Gershwin's Piano Concerto in F. I find this rendition to be the most crisp performance of the concerto out there. Probably one of the best works by Gershwin, in my opinion. His compositions got me into orchestra music. I wouldn't call his work classical, but I guess classical anymore is used as a broad term. Anyway, here is the wonderful Piano Concerto in F by George Gershwin.

https://soundcloud.com/benyamin-nuss/gershwin-piano-concerto-in-f-1

https://soundcloud.com/benyamin-nuss/gershwin-piano-concerto-in-f-2

https://soundcloud.com/benyamin-nuss/gershwin-piano-concerto-in-f-3

Enjoy!

There's also Yoshimatsu's Saxophone Concerto in Wimpel's concerto thread: http://forums.ffshrine.org/f92/wimpel69-concerto-collection-flac-work-progress-130729/3.html#post2334514. Other concertos featured in the selection are also delightful and I highly recommend listening through all of them. I have listened to all his symphonies and concertos except the elusive bassoon concerto, which unfortunately was not featured in the series of his Chandos recordings. I definitely recommend Kamui-Chikap symphony if you liked Memo Flora.

EDIT: Just gonna upload the FLAC rip I found online awhile ago.


Takashi Yoshimatsu: Kamui-Chikap Symphony, Ode to Birds and Rainbow
FLAC|CUE|LOG|9 TRACKS~62:41
Not My Rip



Classics Today Review:

This is the third release on Chandos of material by contemporary Japanese composer Takashi Yoshimatsu (b. 1953). Yoshimatsu’s music has some of the polystylistic touches found in Alfred Schnittke, but his temperament is more closely allied with contemporary Scandinavian composers (Einojuhani Rautavaara and Leif Segerstam come to mind). However, Yoshimatsu is very much a Romantic at heart and his music remains mostly tonal throughout. Few will find his music unappealing. His Kamui-Chikap (Symphony No. 1) is particularly attractive because his occasional odd-note or atonal expression is carefully framed in a coherent tonality that sweeps the listener along. Some elements characteristic of American composers Steve Reich and Philip Glass appear in his tone poem, Ode to Birds and Rainbow. This piece also comes across as a homage to Ottorino Respighi without sounding anything at all like Respighi. Neat trick. The BBC Philharmonic beautifully performs both symphonies and each work is illuminated further by the robust Chandos sound. Yoshimatsu doesn't sound particularly Japanese (if we use Toru Takemitsu’s music as a gauge), but there’s nothing wrong with that. Yoshimatsu’s music is very approachable and begs repeated listenings. Very highly recommended.


http://i1084.photobucket.com/albums/j415/wimpel69/p10s10.gif

Download: https://mega.co.nz/#!ldYEVJAK!Hkn3LzH_7Jo076tCm4xAR3_yqiMUSV62XYyP9t_ Vxy0

Lens of Truth,

Thank s a bunch.

Trxscor

Here is Paramount Pictures silent "Wings" in two parts.

Dominic Hauser transcribed. Sound effects by Ben Burt.

Standard Zip.file.

Part 1. - wings pt.1.zip (http://www.megafileupload.com/en/file/418239/wings-pt-1-zip.html)
Part 2. - Wings pt.2 1927.zip (http://www.megafileupload.com/en/file/418240/Wings-pt-2-1927-zip.html)

.

Hey guys, on account that Zetsuen no Tempest Vol.2 will be out next week I went ahead and translated the tracks:

1. Defeat
2. Strange
3. Relief
4. Heart's Sensation
5. Hope
6. Memories
7. Ressurection
8. End
9. The Chain Sections
10. Tempest

Yes, on VGMDB Tempest is all in capitols. Personally, I think that looks stupid and breaks the flow of all the other track titles.

Well, I saw Star Trek Into Darkness on Friday... I'll avoid spoilers, but I will say that I've never been so offended and incensed by a movie in all my life - and that includes Indy 4. Michael Giacchino's ham-fisted score only made things worse - insensitively slathering music all over scenes which should have unfolded in silence and consistently underplaying in scenes that were just crying out for the music to come to the forefront. Bashing us over the head with that childish motif every four seconds - with increasing volume - is this score's height of sophistication.

Additionally, the film manages to infinitely cheapen very specific events in the Star Trek canon; it draws conspicuous attention to its own inferiority to the material it frequently leans on. It's quite happy to piss over iconic scenes and completely disrespect a character's history and personality traits if it provides an opportunity for YET ANOTHER POINTLESS FIGHT SCENE.

Utterly, utterly terrible... simply terrible.

And the cinema tried to sell me tickets based on the fact that it's directed by the man who's making the new Star Wars movies! Wow. You want me to see a movie today on the grounds that some of the same people are making another movie IN THE FUTURE? Riiiiight...

Oh, well... who's surprised? Not me! ;)

Bashing us over the head with that childish motif every four seconds - with increasing volume - is this score's height of sophistication.

Which one?

Kirks Motif, The Cadets/Crew Motif, Spocks Motif or the B section of the main motif?

No, it's the inverted F-section of the Klingon dermatologist's motif (you know, the one that goes: TATATA-TAAAA).

But, seriously, if the movie's that bad, perhaps they should have brought ol' William Shatner back to make things work better, in a more classic "trekky" fashion. As he said himself about some other event:


What else was happening on March 7, 2011? In addition to
recovering from the Comicon, I was preparing for the Genies,
which are the Canadian equivalent of the Oscars.

Why did they ask me? Well, the Oscars had tried to go �young�
and �hip� with James Franco and Anne Hathaway a few weeks
previous, and the results were such that the Genies decided to go
�old� and �me.�

It's not that bad at all - my gaming group and I (ie a bunch of nerds) went and had a blast. As a semi-Trekkie (I saw a certain movie it drew influences from and am starting to watch TOS), I thought it was a good "adaption". I don't think I enjoyed it *as* much as 2009, but if I had a chance to see it twice I wouldn't pass up the opportunity.

.

Can someone re-up Kushiro Marshland, composed by Akira Ifukube?

Hilary Hahn interviews Michiru Oshima. Oshima wrote "Memories" for Hilary's project, "In 27 Pieces: the Hilary Hahn Encores".

https://www.youtube.com/watch?v=MYFKQUpZEf8
This project looks interesting. There will be a 2 CD release this fall according to her Facebook.

.

Well, I saw Star Trek Into Darkness on Friday... I'll avoid spoilers, but I will say that I've never been so offended and incensed by a movie in all my life - and that includes Indy 4. Michael Giacchino's ham-fisted score only made things worse - insensitively slathering music all over scenes which should have unfolded in silence and consistently underplaying in scenes that were just crying out for the music to come to the forefront. Bashing us over the head with that childish motif every four seconds - with increasing volume - is this score's height of sophistication.

Additionally, the film manages to infinitely cheapen very specific events in the Star Trek canon; it draws conspicuous attention to its own inferiority to the material it frequently leans on. It's quite happy to piss over iconic scenes and completely disrespect a character's history and personality traits if it provides an opportunity for YET ANOTHER POINTLESS FIGHT SCENE.

Utterly, utterly terrible... simply terrible.

And the cinema tried to sell me tickets based on the fact that it's directed by the man who's making the new Star Wars movies! Wow. You want me to see a movie today on the grounds that some of the same people are making another movie IN THE FUTURE? Riiiiight...

Oh, well... who's surprised? Not me! ;)

dont blame jjabrahms for yet another lousy script bz damon lindoff, kurtzmann and orci.those guys are responsible for alot of dunb shit including prometheus and the transformers trilogy.star wars is in good hands.the story is from the guy who wrote toy story 3 and little miss sunshine, which both are fantastic.and the script is written by the writers of empire strikes back and return of the jedi.so nothing to fear.
also the new star wars animted series has been announced. star wars rebels.coming in fall 2014 in will deal with the begiining of the rebellion in between revenge and a new hope.which is a great opportunity.also they will use the original movies as an inspiration.

.

Brandon O'Brian, I didn't download Yen_'s share of Kushiro Marshland from 2010 (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/235.html#post1511120), but there's a Youtube video by kukikei from a NHK programme playing the complete music on TV back in 1993, in case you want to listen to it right now :'D

nextday: Thanks for the information :'D
Thanks.

The reason I'm asking for kushiro marshland is because I need it for a massive compilation of Akira Ifukube's film music I'm making.

Wow! I might not have wanted to check out this symphonic west side story stuff but for Akira Miyagawa's involvement. Sounds promising.

FLAC re-upload link (not my rip):https://mega.co.nz/#!5EBwCabY!OWSPMglbNJ0qF5krwKx-wAP4sugCkegFUNqZ6du5_V0
I think this is an overlooked gem and felt it is worth some attention. Wimpel has also uploaded some other concert work by Yoshimatsu in his threads, so you could go and check them out. :D

Whoa, first half of the first track is some of the most mind blowing classical music I've ever heard. And this is before the orchestra appears.

My two cents regarding Into Darkness: Pretty good first two acts nearly undone by clumsy, "fan-servicing" third act. I was mostly entertained and I appreciated that they tried to bring a bit of the morality tale back into Star Trek, but *mild spoilers* then they effectively negated it just so they could rehash a classic showdown. The fact that the situation played out in a near inversion of the prime universe was contrived beyond belief, and don't even get me started on "magic blood." I mean, Trek suffered from too much technobabble in the past but would it kill Bad Robot to hire ONE science advisor? In 2009 it was a supernova that devours galaxies, now we have submersible starships and friggin' magic blood! Jesus! Giacchino's score struck me, like his previous one, as serviceable but nothing too special, this time lacking a standout cue on the order of "Labor of Love," although the percussive Klingon battle music was a nice nod. Overall, it wasn't terrible but I'm not exactly eager to relive the experience.

I really just think that this creative team is not ideally suited to Star Trek, which has always been a bit hokey but also infused with intelligence and wit. I do think that Abrams' sensibilities are more suited to the Star Wars universe which has always had greater emphasis on spectacle and archetypes and hopefully, with more effort expended on story, we'll have better results.

These are all valid complaints about Into Darkness but to me they didn't ruin my experience. They brought it down from the level it could have reached, especially because I was much more interested in re-visiting Star Trek (2009) than I am Into Darkness. Giacchino's score only really stood out in the more somber pieces. The piano stuff was fantastic but his more explosive stuff lacked substance.

dont blame jjabrahms for yet another lousy script bz...

I'm not blaming Abrams - him being a shit director and Star Trek being shit are two relatively separate problems in this case... that said, he did direct the poxy thing so the buck does, in all seriousness, stop with him. Regardless of who wrote the script, Abrams stamped his name on the movie and took home the highest pay cheque out of anybody involved in the production; I think that entitles anybody to direct at him a substantial portion of the criticism for this cinematic train wreck.

If the film had been called "Big Dumb Modern Action Movie Into Darkness" I would probably have quite enjoyed it... at least I would have processed it in the part of my brain that values spectacle and bombast over integrity, competent storytelling, and craft. But this isn't that sort of movie, and it's obvious the writers and director didn't intend it to be that sort of movie, by their continuous back-referencing of another certain incredibly well-made Star Trek adventure.

Two hours of fighting, endless out-of-character outbursts... Contrived situations designed to put Person A in Location B to meet Important Character C in preparation for Showdown D completely illogically and unnaturally... this was a big problem for me with Star Trek 2009; Spock throws Kirk off the ship for no reason, shoots him off into space for no reason, puts his life at risk for no reason and nobody does or says a single thing. Later on, we discover that the reason he did this was that the writers couldn't think of a better way to get Kirk to meet up with Spock Prime - to they throw him into a nonsense situation which through a series of lunatic coincidences dumps him on a planet in the middle of nowhere where he meets up with New Trek's intergalactic Basil Exposition; don't have time to develop the plot in an organic and natural fashion? Worked yourself into a corner you can't get out of? No problem, phone up Leonard Nimoy for a quick information dump!

This insanity taken to new heights in Into Darkness where the characters actually ask Spock what happened in another movie in order to know how to proceed for God's sake.

I fully expect the next movie to have a scene where the senior staff of the Enterprise are sitting round a TV screen watching old Star Trek videos. Sound ludicrous? Bet you never thought we'd have Star Trek rebooting in a new tangental universe with regular guest appearances from a character from the prime universe who frequently drops by to offer hints and tips to help them in their five year mission to rehash old stories... seek out old plots, and convoluted scenarios... to boldly go to the same places we went before except they're not as interesting now...

.

.

I'd rather see another Firefly film. Serenity rocked.

Thank you Herr Salat and Tangotreats for the Amano uploads. As a request, could you guys do a Masamichi Amano Discography thread? If it's not too much to ask.


NineEyes9Nines

Aw, man! No. :'D

I don't have everything by Amano and there's also so much wind band music (which most of them even I don't like) I'd want to include were I creating an Amano discography thread.

Aw, man! No. :'D

I don't have everything by Amano and there's also so much wind band music (which most of them even I don't like) I'd want to include were I creating an Amano discography thread.
Yeah, your're probalbly right, most people would problably not be able to stand wind band music; if not an (almost) amano discography, would a Giant Robo and other anime works thread work better? I have enjoyed yours and Tangotreats previous uploads of Ruin Explorer Fam, Super Atragon and Giant Robo.


NineEyes9Nines

I've asked admin Jessie from the Video Game Music Download Links via PM section to move tango's Giant Robo thread (Thread 49552) to the Anime Music section. I've just posted the re-up links there :'D

Another person has just asked me via PM where Super Atragon was... (Tango, create a thread for it since NineEyes9Nines's the second one asking for it :'D)

Hello,
I just thought I�d chime in as it has been really interesting to read a more in depth reviews of the pieces! The pieces are recorded from the 1st concert. It was good, but the 2nd concert was _absolutely_ fabulous! I just wanted to write my thoughts concerning the symphony as I am the person responsible for the VII Symphony as well as the overture and the first encore.


So, here is how I thought and structured the music:
........
Good luck and a lot of success no matter what the style (and form) of music we write!
Jonne

Excellent analysis ...
...highly explanatory, Jonne Valtonen...

Thank you very much

Another person has just asked me via PM where Super Atragon was... (Tango, create a thread for it since NineEyes9Nines's the second one asking for it :'D)

I have made a new thread for this in the Anime section, and added a new MEGA link to compliment the old Mediafire two-parter that was miraculously still alive...

Many apologies for neglecting this thread in recent weeks... Having a love life again after all this time is taking its toll! ;)

...Additionally... it's that time again:

OHSHEEMA MITCHIROO BURASUTO NO TEMPURESUTURO originaru sandoturakkuro volumuro tsu donwldao PSL in FLCA or LosLLes!!!!! WERE IS????????????!

You know, I think I prefer this side of Tango...

Speaking of Oshima, Trigger decided to release Little Witch Academia on blu-ray this summer and it will come with some bonus goods. Maybe we can hope for a soundtrack to be included.

That would be glorious... it's not a long score (20 minutes, give or take) but it's pure Oshima gold... For them to get her, and go all the way to Moscow to record it, all for a one-off... somebody in the production has to care disproportionally about the score... so hopefully that same person will fight for some sort of release...

That would be most wonderful.
In other news, Majestic Prince, episode 8, is from start to finish a spectacle of music and visuals and shows the meat of Watanabe's SciFi cracker. There is still no news of an offical release and I have a feeling they will release it as a Blueray bundle but this is really the kind of music that Star Trek needed. But Hollywood releases disappointment after disappointment and even promising projects like Pacific Rim get Ramin Djawadi ... ugh.

That aside some uploads coming up soon.

That would be most wonderful.
In other news, Majestic Prince, episode 8, is from start to finish a spectacle of music and visuals and shows the meat of Watanabe's SciFi cracker. There is still no news of an offical release and I have a feeling they will release it as a Blueray bundle but this is really the kind of music that Star Trek needed. But Hollywood releases disappointment after disappointment and even promising projects like Pacific Rim get Ramin Djawadi ... ugh.
The blu-rays are already confirmed to only have drama CDs bundled so it's definitely going to be released. I don't think Watanabe would let another Space Brothers happen anyways.

The lack of a bonus CD is not a confirmation of a standalone release... it's just a confirmation of no bonus CD...

I really, REALLY hope you're right... but I won't believe anything until I have the CD here in front of me...

Well for what it's worth Toho (the publisher) created a new anime music label under which Majestic Prince's theme song CDs are sold.

Right now here's their catalog:
THCS-60000: Majestic Prince OP
THCS-60001: Majestic Prince ED
THCS-60002: ???
THCS-60003: ???
THCS-60004: Fantasista Doll OP
THCS-60005: Fantasista Doll ED

I speculate the soundtrack is there. If it was a new OP/ED we'd probably know about it by now.

Ooh, good find!

GNCA-1368 | THE UNLIMITED Kyosuke Hyoubu Original Soundtrack - VGMdb (http://vgmdb.net/album/38057)
Mmmmm can't wait to get my hands on the THE UNLIMITED Kyosuke Hyoubu Original Soundtrack.

Haven't heard anything from Kotaro Nakagawa since Code Geass which i absolutely loved so i'm VERY excited ^_^. Though does anyone know what's up with all the tv edits? I don't remember the show having that many openings and endings.

All I can say is once again Japan botches a great image with god awful font and text placements.

Okay guys, I just found out that a soundtrack that you ALL want but did not KNOW you wanted just came out today. And I will upload it as soon as I finish downloading it.

But first, a game to guess who was the composer of choice. A hint: it's a composer who is a master at his craft, but does not get enough work that is commercially released.

GNCA-1368 | THE UNLIMITED Kyosuke Hyoubu Original Soundtrack - VGMdb (http://vgmdb.net/album/38057)
Mmmmm can't wait to get my hands on the THE UNLIMITED Kyosuke Hyoubu Original Soundtrack.

Haven't heard anything from Kotaro Nakagawa since Code Geass which i absolutely loved so i'm VERY excited ^_^. Though does anyone know what's up with all the tv edits? I don't remember the show having that many openings and endings.

You haven't heard Gothic? Sure it wasn't Code Geass level quality but it was still solid at times. Thanks for the info about this new Nakagawa score. I missed it.

Okay guys, I just found out that a soundtrack that you ALL want but did not KNOW you wanted just came out today. And I will upload it as soon as I finish downloading it.

But first, a game to guess who was the composer of choice. A hint: it's a composer who is a master at his craft, but does not get enough work that is commercially released.

Mike Verta? But surely he'd drop by to tell us. Right? Right? He hasn't mentioned anything to look for immediately in his masterclasses, either... ah well.

RISING STORM
Chris Rickwood & Lennie Moore
http://vgmdb.net/db/covers-full.php?id=171816.jpg


https://mega.co.nz/#!bQYSmLpZ!dPkG4Q6yHXWuVrFk5YwpbjAwi9hVI6uNyHMr197 0Jfc

1. Chris Rickwood - Rising Storm (3:17)
2. Chris Rickwood - Mount Suribachi (2:12)
3. Chris Rickwood - Way of the Warrior (2:10)
4. Chris Rickwood - Charge (1:58)
5. Chris Rickwood - Guadalcanal at Night (2:36)
6. Chris Rickwood - The Fallen (0:32)
7. Chris Rickwood - Bushido (2:20)
8. Chris Rickwood - Saipan (2:13)
9. Chris Rickwood - Imperial Honor (2:19)
10. Chris Rickwood - Sakura, Sakura (2:16)
11. Chris Rickwood - Rising Sun (2:18)
12. Chris Rickwood - Banzai (0:32)
13. Lennie Moore - First Light (2:05)
14. Lennie Moore - A Hero's Call (2:11)
15. Lennie Moore - Scorched Earth (2:08)
16. Lennie Moore - No Quarter (2:01)
17. Lennie Moore - Breakout (2:03)
18. Lennie Moore - Fallen Soldier (0:36)
19. Lennie Moore - Fever Pitch (2:03)
20. Lennie Moore - Killing Field (2:06)
21. Lennie Moore - A Dire Situation (2:07)
22. Lennie Moore - Forlorn Hope (2:04)
23. Lennie Moore - Decisive Encounter (2:04)
24. Lennie Moore - On Leave! (0:35)

Music's reasonably good (Moore's stuff, anyway) but what a shame there's no orchestra. He's one of the best there is... and they gave him a keyboard and a solo trumpet. :(

You haven't heard Gothic? Sure it wasn't Code Geass level quality but it was still solid at times. Thanks for the info about this new Nakagawa score. I missed it.

That's an anime i still need to watch. Personally i usually watch the soundtrack's anime first instead of just listening to it's music willy nilly. It has MUCH more impact this way imo. Also just so you know Nakagawa is doing another anime called DEVIL SURVIVOR 2. However so far i haven't been very impressed by it but i've only watched 4 episodes so it could get better down the line.

Music's reasonably good (Moore's stuff, anyway) but what a shame there's no orchestra. He's one of the best there is... and they gave him a keyboard and a solo trumpet. :(

I'm surprised they could afford the trumpet! Tripwire is not exactly the big budget studio - they are essentially one step up from an indie team. They are finding some modest success amongst the hardcore realistic FPS crowd, but their games are by no means a big budget title.

That's an anime i still need to watch. Personally i usually watch the soundtrack's anime first instead of just listening to it's music willy nilly. It has MUCH more impact this way imo. Also just so you know Nakagawa is doing another anime called DEVIL SURVIVOR 2. However so far i haven't been very impressed by it but i've only watched 4 episodes so it could get better down the line.
I only watched a couple episodes of Devil Survivor 2 and none of the music really stood out much.

You should certainly check out his soundtrack for Gosick. His music for Cross Game was pretty good too but it unfortunately never got a soundtrack release.

Download (http://www.mirrorcreator.com/files/1KWKVHOJ/Hyouka.zip_links)
Mp3 / 320kbps / 40 Tracks / 80min

It's been almost a year but I believe the score for Hyouka is now complete. I put this together from 11 volumes afterall. There's also a surprisingly big amount of videos about the score: The Making of Hyouka BGM (http://www.youtube.com/watch?v=duBEwS7nz-o) (I wish more series would do this). Now about the score itself: It's pretty good, not Tanaka's best or a big firecracker but a well made mystery score with many classical influences and some pieces (Sicilienne) woven into the score. The only downside would be the absence of real brass since it's mostly strings, woodwinds and piano but like the show itself it's all well made so no complains from me. Feel free to give it a try if you're curious.

Enjoy

Thanks for the Hyouka compilation. From what I have skimmed so far, tracks 1, 7, and 27 are really nice. Track 1 especially is so damn cheerful I love it! :D

I was thinking about making an orchestral compilation for this anime from 1997 (http://anidb.net/perl-bin/animedb.pl?show=anime&aid=1083). There are three OST volumes and I'm missing the first one, which has many great orchestral cues. :( If any one of you could use your superior googling skills to help me out here, it would be really appreciated!

And here's a short cue from the second volume as a a sample: https://mega.co.nz/#!EEwAgQzC!KcBZEnibdVbSekrxh_35shGrSwI3aZ81ynSvcq-o8sE

Here you go. :)



Hot Shots! (Sylvester Levay) (1991)

MP3 128 kbps

Thanks to the original uploader








http://rapidshare.com/files/117721477/1991_Hot_Shots__-_Sylvester_Levay.rar



Any chance of a re-up?

I was thinking about making an orchestral compilation for this anime from 1997 (http://anidb.net/perl-bin/animedb.pl?show=anime&aid=1083). There are three OST volumes and I'm missing the first one, which has many great orchestral cues. :( If any one of you could use your superior googling skills to help me out here, it would be really appreciated!

And here's a short cue from the second volume as a a sample: https://mega.co.nz/#!EEwAgQzC!KcBZEnibdVbSekrxh_35shGrSwI3aZ81ynSvcq-o8sE

***** (http://www.xiami.com/album/527241) / Playlist (http://www.xiami.com/song/play?ids=/song/playlist/id/1771289767%2C1771289768%2C1771289769%2C1771289770% 2C1771289771%2C1771289772%2C1771289773%2C177128977 4%2C1771289775%2C1771289776%2C1771289777%2C1771289 778%2C1771289779%2C1771289780%2C1771289781%2C17712 89782%2C1771289783%2C1771289784%2C1771289785/object_name/default/object_id/0)

I'll download / upload the files tomorrow :'D

EDIT: Chou Mashin Eiyuuden Wataru OST 1, 320kbps

https://mega.co.nz/#!5V8kQAYR!c2ERlwtAdxH18ul1C80juTUQjSBbUhhEqA2qICY W0yk

.

EDIT: Chou Mashin Eiyuuden Wataru OST 1, 320kbps

WOT? This isn't Kohei Tanaka? :O

Edit: Daaamn, I wish Asakawa would compose more... This is amazing!

2007? This looks like a movie poster of a Mao-era flick from China. ;)

Listened to some of the Youtube Japanese game/anime music samples from above, and while some of them are very entertaining and polished, I do not detect a strong personal profile in any of them. Maybe one needs to listen to more of the output of certain composers, but where do I find the time?

Speaking of no strong profile, I listened again to the STAR TREK INTO DARKNESS score by Giacchino today. Lossless did not substantially increase its quality. ;) If anything, it's even drearier and more monotonous than his first effort. Already there are signs of rigor artis - like the endlessly repeated main theme from part I, like when Goldsmith used the same end title structure from STV in VIII, IX and X. As if repeating it ad nauseam would actually detract(!) anyone from noticing how bland and forgettable Giacchino's theme was in the first place. Another thing: Someone should declare a moratorium on the use of choirs in movie scores! Choirs have no place in Star Trek!!! The final rendition of the theme with choir seems even more bloated than the purely orchestral one, as if further proof was needed that Giacchino has no original ideas on ST. Where's the composer of Up! and Ratatouille?

Chou Mashin Eiyuuden Wataru OST 2+3 / FLAC+APE: https://mega.co.nz/#!tU5zDRaZ!H-zMURYyTtK3oea1qFG6-UR90wIy1-62lAUxMtMkOnE

Too lazy to make a pretty post... Some tracks are composed by Sahashi but I didn't really look for the composer breakdown. Just uploading them as I found them - sorry about the lazy post!

Choirs have no place in Star Trek!!!

The Cage (The first ever Trek score), Star Trek V (synth choir), Star Trek VI, and Star Trek Generations disagree with you.

The Cage (The first ever Trek score), Star Trek V (synth choir), Star Trek VI, and Star Trek Generations disagree with you.

The Cage, Generations and VI are all very mediocre scores, so in a sense they don't disagree with me. ;) - What I was actually hinting at, perhaps too subtly, was the general overuse of choirs in film music today. They're used as sugar coating, or as cheap-mysterious, or as bathos-intended all the time. They creep up into Star Wars, like anyone ever missed Carmina Burana in The Empire Strikes Back. It's a plague!

You just don't like choir at all do you?

There is a time and a place for choir... 99.99999% of modern film scores aren't them. It's not helped by the fact that not a single contemporary (Western) film composer has the faintest idea how to use them. The human voice can do a lot of things... and in modern film scores it does nothing but "ah ah ah ah ah ahhhhhhhh" and "oooooooooooooooh aaaaaaaaaaaaaaaaah AAAAAAAAAAAAAH"...

I personally think a well-placed choir could work awfully well in Star Trek. (In a mythical Star Trek score that's well written, symphonically constructed, competently orchestrated, and thematic... some genuinely creative use of the human voice would be a glorious thing... Sadly, we won't be getting that; we'll be getting more wall-of-sound wordless choral nothingness that "composers" like to slather on in a desperate attempt to cover up their lack of competence and subtlety...

The Cage, Generations and VI are all very mediocre scores, so in a sense they don't disagree with me. ;) - What I was actually hinting at, perhaps too subtly, was the general overuse of choirs in film music today. They're used as sugar coating, or as cheap-mysterious, or as bathos-intended all the time. They creep up into Star Wars, like anyone ever missed Carmina Burana in The Empire Strikes Back. It's a plague!

I strongly disagree with the belittlement of Courage's exotic score for "The Cage" but I do agree that the contemporary use of large chorus has served, more often than not, no thoughtful purpose other than to blandly amplify the supposed grandiosity of a given film sequence.

I tried listening to some of the original Star Trek scores from the original series but they were not my thing. The instrumentation/orchestration is a bit sparse and it never grabbed me like Goldsmith's ST:TMP or Horner's ST:Wrath of Khan or Search for Spock.

I tried listening to some of the original Star Trek scores from the original series but they were not my thing. The instrumentation/orchestration is a bit sparse and it never grabbed me like Goldsmith's ST:TMP or Horner's ST:Wrath of Khan or Search for Spock.

I would suggest listening to one score from each composer.

but eh, its your opinion, you don't have to like 'em

I listened to as much of the la la land box set as I could stand before it started to make me go crazy.

Very interesting discussion about choir. I already expressed my views about it in film music a number of times in this thread, but here's a more "advanced" version.

Choir can be extremely effective in film music, we all know this. It's generally used to bring up a special sense of awe, grandeur, drama, intensity, "epicness", etc. A way of saying: "Listen up, people, now it's getting f**king serious. Hold on to your pants."

Remember in First Knight? There's no choir during the whole score, except at the end, when the final battle breaks out and some serious asskicking takes place. Then you can hear the epic "Arhur's Farewell" starting to resonate in the background like a choral of angels descended from the sky to witness the folly of men. This is why this piece is so highly memorable (just like Battle of the Heroes in Revenge of the Sith or Charging Fort Wagner in Glory), because there's only one, extremely powerful and carefully chosen use of the choir in the score: at the climax, the highest, most dramatic point of the film. This is what *works* and why composers should strive to obtain a choir from directors and producers. Convince them to give you some extra budget to have that special choir moment that will propel the emotional intensity to the roof faster than it takes George Clooney to date a chick.

But (oh, you knew the but would come, didn't you?), you have to admit that at times, choir is used in a way that seems to be a little excessive and awkward, as if the composer (or other responsibles for the music) didn't really understood the philosophy of choir in film scores. I remember that guy I knew who almost never smiled, an when he eventually granted us with a timid little smile, it was like the sun shining after a storm: everybody noticed it! This does apply to choir in films, if you want it to be fully effective and powerful, use it scarcely, with parcimony, preferably only once, at the most intense moment of the film. And if you do that, you can be sure to obtain those coveted goosebumps all composers dream to provoke in their listeners! But if you use it too much, as if you clumsily tried to say: "This is important, that too, and wait, that even more!", you just cancel the choir effect, you take all substance and efficiency out of it. If there are too many standouts, there are in fact, none.

Very interesting discussion about choir. I already expressed my views about it in film music a number of times in this thread, but here's a more "advanced" version.

Choir can be extremely effective in film music, we all know this. It's generally used to bring up a special sense of awe, grandeur, drama, intensity, "epicness", etc. A way of saying: "Listen up, people, now it's getting f**king serious. Hold on to your pants."

Remember in First Knight? There's no choir during the whole score, except at the end, when the final battle breaks out and some serious asskicking takes place. Then you can hear the epic "Arhur's Farewell" starting to resonate in the background like a choral of angels descended from the sky to witness the folly of men. This is why this piece is so highly memorable (just like Battle of the Heroes in Revenge of the Sith or Charging Fort Wagner in Glory), because there's only one, extremely powerful and carefully chosen use of the choir in the score: at the climax, the highest, most dramatic point of the film. This is what *works* and why composers should strive to obtain a choir from directors and producers. Convince them to give you some extra budget to have that special choir moment that will propel the emotional intensity to the roof faster than it takes George Clooney to date a chick.

But (oh, you knew the but would come, didn't you?), you have to admit that at times, choir is used in a way that seems to be a little excessive and awkward, as if the composer (or other responsibles for the music) didn't really understood the philosophy of choir in film scores. I remember that guy I knew who almost never smiled, an when he eventually granted us with a timid little smile, it was like the sun shining after a storm: everybody noticed it! This does apply to choir in films, if you want it to be fully effective and powerful, use it scarcely, with parcimony, preferably only once, at the most intense moment of the film. And if you do that, you can be sure to obtain those coveted goosebumps all composers dream to provoke in their listeners! But if you use it too much, as if you clumsily tried to say: "This is important, that too, and wait, that even more!", you just cancel the choir effect, you take all substance and efficiency out of it. If there are too many standouts, there are in fact, none.

ADHD has become an aesthetic movement.

And retardation has become a form of sarcasm. :)

I should add that you can count me as one of the folk who find the original Star Trek TOS scores to be mostly piss-poor. I believe they are inflated to God-status by virtue of their connection to Star Trek... but taken on their own merits, they are extraordinarily dated and musically boring. If you'd never heard of Star Trek or didn't give a toss about it, and somebody handed you these scores to listen to... and you played them, and heard a roll call of 1960s stereotypes, tiny and fragmented cues, claustrophobic television-sized ensembles, poor sound quality... would you ever spin them again? They are great Star Trek scores, but they're atrocious music...

I should add that you can count me as one of the folk who find the original Star Trek TOS scores to be mostly piss-poor. I believe they are inflated to God-status by virtue of their connection to Star Trek... but taken on their own merits, they are extraordinarily dated and musically boring. If you'd never heard of Star Trek or didn't give a toss about it, and somebody handed you these scores to listen to... and you played them, and heard a roll call of 1960s stereotypes, tiny and fragmented cues, claustrophobic television-sized ensembles, poor sound quality... would you ever spin them again? They are great Star Trek scores, but they're atrocious music...

LOL. Are you trying to start an argument? <plays Sol Kaplan's "Doomsday Machine">

That's the problem with film music. It is hard to differentiate between scores that are good on their own and scores that are only popular because the source material is popular and people are overly nostalgic about them. Things like Star Trek The Original Series box set would not be selling out on their own merits. Then again, there are some really great scores that get released but don't sell at all because they are from films nobody ever heard of (Alfred Newman's A Certain Smile comes to mind).

LOL. Are you trying to start an argument? <plays Sol Kaplan's "Doomsday Machine">

No; I'm stating a counter-opinion.

I'm a die-hard Trekkie and I have the utmost respect for the roster of composers who worked on the original series... but when I evaluate most of these scores as pure music, suppress my natural Trek nostalgia and stop their accompanying iconic scenes from playing in my head as I listen... I reach the uncomfortable conclusion that they're massively, massively overrated. They are what they are; hastily written, poorly performed, atrociously recorded, monetarily constrained television scores from the 1960s. They are Star Trek. But, when all is said and done, they're just cheap television music scores. I doubt any of the composers would've argued with that; they wrote this stuff to pay their mortgages, not to become the next Beethoven. I find the William Shatner analogy pleasing; Shatner is Kirk is Trek... and nobody could've made a better Kirk... but at the same time Shatner is one of the most atrocious actors to ever work in TV... and if it hadn't been for his lucky break in 1966 (a miraculous piece of casting because the show and the character just happened to be a flawless fit for his acting style) his name would, today, be nothing more than a footnote in the Big Book Of Forgotten Actors.

:)

poorly performed, atrociously recorded, monetarily constrained scores.

:)

Funnily enough, I was thinking the same thing about Anime scores.

No; I'm stating a counter-opinion.

I'm a die-hard Trekkie and I have the utmost respect for the roster of composers who worked on the original series... but when I evaluate most of these scores as pure music, suppress my natural Trek nostalgia and stop their accompanying iconic scenes from playing in my head as I listen... I reach the uncomfortable conclusion that they're massively, massively overrated. They are what they are; hastily written, poorly performed, atrociously recorded, monetarily constrained television scores from the 1960s. They are Star Trek. But, when all is said and done, they're just cheap television music scores. I doubt any of the composers would've argued with that; they wrote this stuff to pay their mortgages, not to become the next Beethoven. I find the William Shatner analogy pleasing; Shatner is Kirk is Trek... and nobody could've made a better Kirk... but at the same time Shatner is one of the most atrocious actors to ever work in TV... and if it hadn't been for his lucky break in 1966 (a miraculous piece of casting because the show and the character just happened to be a flawless fit for his acting style) his name would, today, be nothing more than a footnote in the Big Book Of Forgotten Actors.

:)

That's a whole bunch of strawmen, false equivalency and outright unsubstantiated conjecture you got going there.

The only truly great Trek score is STTMP. WOK is great pulp; important mainly for launching James Horner's career into the mainstream and hurt as a listening experience over the years because of Horner's re-use of its material, but ultimately a lot of fun. The rest is mediocre to utter crap. You couldn't pay me to listen to any of the TV box sets... well, at least until we started talking six figures. :)


That's a whole bunch of strawmen, false equivalency and outright unsubstantiated conjecture you got going there.

Or perhaps he's not wearing rose-tinted glasses. Star Trek is cheesy, pulpy entertainment; that's not a knock against it, just a fact. Some of it is quite good, but a lot of it is quite bad. Recognizing that fact does not mean that one cannot love it despite its flaws.

Or perhaps he's not wearing rose-tinted glasses.

Or perhaps he just enjoys the music? Seriously as long as the music does not want me to kill myself or rip my headphones off my ears in disgust, the music could be performed with stuffed teddy bears, and written in 6/8 time.

Or perhaps he's not wearing rose-tinted glasses. Star Trek is cheesy, pulpy entertainment; that's not a knock against it, just a fact. Some of it is quite good, but a lot of it is quite bad. Recognizing that fact does not mean that one cannot love it despite its flaws.

Considering I wasn't evaluating the merits of the TV show or the Star Trek franchise itself your rebuttal is rather misplaced.

Funnily enough, I was thinking the same thing about Anime scores.

Well most anime scores are monetarily constrained and perhaps smaller ensembles but rarely are they poorly performed and atrociously recorded.

Or perhaps he just enjoys the music? Seriously as long as the music does not want me to kill myself or rip my headphones off my ears in disgust, the music could be performed with stuffed teddy bears, and written in 6/8 time.

He's free to enjoy it. Doesn't make it a profound work of great depth and musicality.


Considering I wasn't evaluating the merits of the TV show or the Star Trek franchise itself your rebuttal is rather misplaced.

Considering the music I heard while watching TOS this afternoon, I'd say my rebuttal was apt and applies equally to the show and the music. Star Trek is a cheesy '60s TV show with according production time and values, which obviously affects the creation of the musical score. I enjoy the show because I enjoy the characters, but the music I hear during the episodes is merely functional. Objectively speaking it isn't great music and not something that I would look forward to revisiting. That is my prerogative and you are free to disagree, as I am free to disagree with yours. Considering the shortness of our lives and the fact that the La-La Land set of TOS scores costs almost twice as much as the Solti recordings of Wagner's Ring, I know how I'll spend my time and money. ;)

<<< insert whistling while pissing sound effect here >>>

For once...I am going to be in complete agreement with the rest of the thread. TOS is bad...musically speaking. It is just pure, downright, cheese. I really don't think there is anything musically redeeming about it, to be frank.

Also, while we are on the topic of TOS...I am desperately trying to watch it. After JJTrek 09 and Into Darkness I want to watch the series that spawned the franchise. However I am five episodes in and I am absolutely struggling here. The writing is putting me to sleep, and besides Kirk, Spock, Bones and the rest of the main crew the acting is downright laughable. And then there are the special effects - although understandable given the time period and the budget - I just cannot take serious on any level.

The weird thing is, I *loved* Wrath of Khan. Thought it was an awesome film. I'm thinking I should just skip the TV show and just go straight into the movies.

I guess my question is, should I grin and bear it? Does it get better? Or is this essentially the type of quality I should be expecting for the rest of the show and just jump into the movies?

^I would recommend watching select episodes, "Space Seed" being an obvious choice. I also recommend "The Doomsday Machine" and "Journey to Babel," and also the Harlan Elison-penned "The City on the Edge of Forever." (You might also want to watch the "remastered" editions of the episodes; the re-done effects are much improved.) That's been my approach, and I've started branching out from there. I'll admit, though, that TOS really isn't a favorite incarnation of the franchise for me; I find the movies superior, although TMP is all about the score and visuals and you'll want to skip V. Just watch the "pain scene" on YouTube.

TNG was what was on while I was growing up and, from the third season forward, was more consistent than the original series (although more dire musically, IMO). Unfortunately, excepting Patrick Stewart, the cast just isn't as interesting and their films, excepting First Contact, are all fundamentally flawed. I've heard good things about Deep Space Nine, but it wasn't really on my radar when it was on TV and I haven't made the time to get into it as an adult. I choose to ignore Voyager and Enterprise.

Umm, the music in Amok Time was awesome. Definitely a must on any romantic mix tape.

I'm a die-hard Trekkie and I have the utmost respect for the roster of composers who worked on the original series... but when I evaluate most of these scores as pure music, suppress my natural Trek nostalgia and stop their accompanying iconic scenes from playing in my head as I listen... I reach the uncomfortable conclusion that they're massively, massively overrated. They are what they are; hastily written, poorly performed, atrociously recorded, monetarily constrained television scores from the 1960s.:)

+1! :)

Just listened to about 30s each of the cues in AFTER EARTH (James Newton Howard). Don't think I'll bother listening to more. Again, ffshrine might have saved me some money.

Tempest Vol.5 has surfaced on Share. Expect OST2 Vol.2 today.

Edit: Soon... (incomplete download)

MICHIRU OSHIMA - BLAST OF TEMPEST ORIGINAL SOUNDTRACK VOL.2
FLAC, LOG | 126 MB | 10 TRACKS - 27:06

VGMdb (http://vgmdb.net/album/38643)
Catalog Number: ANZX-6960
Release Date: May 22, 2013

Tracklist (translated)
01 Defeat [2:31]
02 Strange [2:29]
03 Relief [2:28]
04 Heart's Sensation [2:33]
05 Hope [3:07]
06 Memories [2:42]
07 Resurrection [3:12]
08 End [3:27]
09 Kusaribe [2:23]
10 TEMPEST [2:14]

Download: https://mega.co.nz/#!5F1VlBBD!RdeGcgfkTleoTxlzM-p7OSVoeX0vt_vvxDOudxpB9Ro



EDIT: The last track is cutting off about 15 seconds early for some reason. Reupload incoming.
EDIT2: Issue should be fixed now. Download link updated.

When I see these anime posters with the shapely young ladies and their big saucer eyes I cannot help but think of the disgusting 1980s/90s features in which they're sexually violated by all kinds of tentacled demons. MOST UNEROTIC THING I'VE EVER SEEN - and that includes me having sex!

extra

Thank you very much :)

THANK YOU VERY MUCH!!!!!!!!!!!!!!!!!

Thank you so much !!!!!
Do you know if there's a sheet music for 06 Memories ? I want to learn it so badly

I should add that you can count me as one of the folk who find the original Star Trek TOS scores to be mostly piss-poor. I believe they are inflated to God-status by virtue of their connection to Star Trek... but taken on their own merits, they are extraordinarily dated and musically boring. If you'd never heard of Star Trek or didn't give a toss about it, and somebody handed you these scores to listen to... and you played them, and heard a roll call of 1960s stereotypes, tiny and fragmented cues, claustrophobic television-sized ensembles, poor sound quality... would you ever spin them again? They are great Star Trek scores, but they're atrocious music...

I find the original Star Trek scores to be amazing works of art. Musically I think they are full of "filmisms" that have shaped how music in film and TV has developed. I'm glad people have gone back to watch TOS after the new movies, and are learning about these great composers. Instead of listening to all those things that you think make them suck, think about it this way - they were pretty much doing something on a large scale that wasn't done before. Scoring a television show is HARD. Like, REALLY hard. You get in grooves, but it's a lot of thought. You have people telling you what to do every day and there are many of them. You have very limited budgets, yet have to make it last for 20+ episodes. You are constantly negotiating with mixers, scoring stages, orchestra contractors and music preparation to help fit in your budget. You have to make a little mini movie in less than a week, then you have to do the whole thing again next week (if you even get the chance to wait that long). Having worked now with many of the people who worked on TNG, VOY, DS9, ENT... I can tell you, it's AWESOME that we have orchestras that are 50+ players, recorded on iconic scoring stages (many now closed, due to the dying art). It was not easy to pull that off. They all fought REALLY hard to make the quality as spectacular as it is.

If anything, I would look at TOS as a testament to how far we've come. The fact that now we have computers to do most tasks, those guys had to hand write. When I wrote the music to Fringe, I would have 2 (sometimes 3) days to write an entire 48 minutes of music, AND get it ready for orchestra (30ish players). These guys had a week or two. But it all had to be hand written, hand orchestrated, hand copied, week after week. They also had to measure out frames ON FILM to calculate their tempos and meters mathematically. Also, they had to record it to TAPE, and then take razor blades and diagonally cut the tape to split it together. Now we just draw a line in Pro Tools and it does the "crossfade" for you (where the term came from). You used to have to measure where in the tape the edit was, time it out by scrubbing with the machines and make the cut. Scary stuff, mostly because you can't see magnetic data (seriously, how do they work?) and if you do it wrong, your orch session just went to waste.

I think Star Trek has always been able to pull off something miraculous musically. Even if it's not at it's best, it has incredibly high production value. Today, the only things doing this in the same league are mostly Family Guy, American Dad, Simpsons, Revenge - although there are a few more, this is what is left. I wrote additional music on Revenge for a while, and the composer works very hard to get his production values in TV so high. He is really to be commended and I have a LOT of respect for him.

There is a fantastic interview with Jerry Goldsmith that was filmed shortly before he died, by Jon Burlingame, who is probably the most brilliant and well versed fllm music fan you will ever meet. In it, he speaks about working in the BEGINNING of television with John Williams et al. They would literally treat it like a stage play. They would time the rehearsals out with stopwatches, then score it, and conduct the orchestra LIVE while the show was going on, and you would pray that the actors performed it anything like they did in rehearsal. They would do it live for the East Coast feed, then go out to a bar to wait for the West Coast feed to start. If you guys haven't watched that documentary, it is fascinating and goes into a lot of the early tech of television. But Jerry Goldsmith is my favorite composer, hands down.

When it came time to do the Legend of Zelda album that came with Skyward Sword, first thing I did was call up Bruce Botnick, who was Jerry Goldsmith's recording engineer. I wanted that "Goldsmith sound" - which was tough to get since we didn't have the same orchestra or same halls available to us. The first score Jerry and Bruce worked together on was Star Trek: The Motion Picture in 1979. AND - it was the first film score to be recorded to digital tape, which you heard in the movie. All the Union reps thought that they were trying to replace live players with synthesizers. Thankfully, they backed up to Analog 2" 24-track tape. Just last year, I had dinner with Bruce and afterwards we went to his studio. He was REMIXING Star Trek TMP from the ORIGINAL TAPES which he finally found. After baking (yes, baking) the tapes, he recaptured all those takes at 24/192khz, then spliced them together and remixed the score to be 5.1 in his studio. I can tell you that it was one of the greatest moments of my life, listening to that score in literally the highest quality it had EVER been. It was a distinct honor to sit in his studio and know that I would be one of the few to hear it in this rare, immense quality.

It is a remarkable how sound and composition has developed and evolved in such a short amount of time.

So coming back around, I find listening to old scores to be a testament of the human race and our innovation in sound. This music was complex and hard to play, but still turned out "pretty good" for what they were able to do. I'm sure astronauts think the same thing of the space program of the 1960's vs. the space programs of now. All the tools were there, but now they are completely refined. So I would not call the original Star Trek scores atrocious, nor would I call them piss-poor.

---------- Post added at 10:55 AM ---------- Previous post was at 10:41 AM ----------

Here you go...

Jerry Goldsmith - Archive Interview (entire) - YouTube (http://www.youtube.com/watch?v=rQ7ICPKcqJc)

This is a link to the nearly 2 hour interview with Jerry Goldsmith that speaks of the days of early television. Lots of talk about Star Trek and the early days of his career. A must for any film music history buffs, Goldsmith fans, Trek fans, etc.

Wait, is this Chad Seiter? The same Seiter that we bashed over that Star Trek: The Game score?

Uh...Well, things to get really awkward if that is true.

When I wrote the music to Fringe, I would have 2 (sometimes 3) days to write an entire 48 minutes of music, AND get it ready for orchestra (30ish players).

As a writer, that sounds incredibly daunting and painful. I'm getting a headache just thinking about it. :)

Thanks for a very passionate and respectful post regarding the TOS scores, Mr. Seiter. It convinced me to give some of those samples from the LLL set another listen this evening. I still can't say that I enjoy the music, but I can certainly appreciate the effort that went into its creation. What's the saying? Filmmaking is so difficult that it's a wonder anything decent ever gets made.

My issue is that what I hear in those scores is textures, stingers, etc. but I don't hear music (insert heavenly choir here). As I said in a previous post, it all works fine in the context of the episodes, which is all the music was intended for and, considering the conditions you described, that is something of a miracle in and of itself. While on one hand it's incredibly unfair to compare that music with Wagner or Beethoven or Stravinsky or whomever because those men wrote their music outside of such constraints and often had total artistic control (has any film or TV composer ever had such a thing?), the reality is that when music is competing for my attention on my player it's all on the same playing field. Now, of course, one isn't always in the mood for Beethoven and we go instead for Goldsmith or Dylan or Daft Punk, but regardless of genre or artistic merit there always has to be something to the music that hooks me on a personal level. I'm not hearing it in the TOS scores. Perhaps if I were a composer myself I could better articulate what might be missing in musical terms, but alas I am not.

It's difficult to define, even for more recent material like Shirley Walker's B:TAS music. Again, in context it works marvelously and I would rate it higher than the TOS music, but I'm not infatuated with it. Yet I adore her score to Mask of the Phantasm. Or, to discuss Jerry Goldsmith, I greatly prefer his Lionheart score to First Knight; there's a charm and innocence to the Lionheart music that I find almost entirely lacking in First Knight, which to my ears sounds perfunctory -- it's Goldsmith, even epic Goldsmith, but otherwise generic and passionless, almost a parody. Perhaps what I'm missing is a sense of dramatic identity, which would seem to be easier to accomplish in film scoring over television scoring.

Let's look at Star Trek themes: Alexander Courage's fanfare is noble, enduring; the remainder of his titles theme is fun and breezy, but if it weren't linked to the show it wouldn't conjure up images of space-faring adventure... perhaps a travelogue? Goldsmith's theme for TMP is bold, majestic, equally-if-not-more noble than the fanfare. Horner's theme is lighter, more swashbuckling and adventurous; the least catchy of the themes under discussion. Giacchino's theme is... bold, and important somehow, but it doesn't quite communicate how this is so; it just is. In my mind, the clear winner is Goldsmith. His theme encapsulates the franchise in a way that none of the others quite accomplish; that was his genius. Some of my feelings can no doubt be traced to the fact that I grew aware of Star Trek while TNG was on the air and thus Goldsmith's theme was THE theme for both that show and the three TNG-era movies that he scored, but I do genuinely believe Goldsmith's Star Trek theme to be compositionally superior and in the end that is the theme that I prefer and that I listen to most.

TL;DR: Personal taste blah blah music that stands apart, which is obviously extraordinarily difficult to accomplish in short periods of time and probably why I don't particularly enjoy the TOS scores (and many others mwahahahahahaha)

One should not ramble when one half-asleep is. :P

Oh totally, it all comes down to personal preference, don't get me wrong. Not saying everybody should love them, or even force themselves to love them (or any music for that matter) - I just don't think it's fair to call it atrocious and piss-poor. Even if you don't like it, the music is HARDLY that. I find that to be crass and disrespectful to the all the hard work and passion that goes into making it, so that the project can even exist at all, for all to enjoy. After all, these are real people who make all this stuff, and you wouldn't speak to somebody you know that way. They may have been "doing it for the mortgage" but they also do it because they love it and worked HARD to get to where they were. I would not say that about something that somebody poured their heart and soul into.

My Star Trek game score took me 4 months to write (it has 120 minutes of music, all of which wasn't even in the game), and was the greatest experience of my life. I'm not particularly sensitive to negative criticism; seeing it called "anemic trash" and "absolutely atrocious" was kind of a buzz kill since I think it probably involved literal blood, sweat, and tears. But, at the end of the day, everybody was really happy with it. Paramount and Digital Extremes were happy, Michael was happy, and my friends and family were proud of me, which is what I strive for. That's just why I think it kind of sucks to liberally say things like that about somebody else's hard work and I'm a bit sensitive to it.

I enjoyed your music Chadley, it's great also that you are a member here and can offer insight that perhaps we wouldn't necessarily have another way. At the end of the day as long as the score works within its established medium: the game, it sits well as it is. Especially considering the small amount of time composers often have to do their craft.

I find the original Star Trek scores to be amazing works of art.

I strongly disagree. They're hack work, the whole lot of them. One can't really blame the composers only, as they had very little time to finish the assignments and orchestras, if you can actually call 'em that, were seriously understaffed. But even the re-recordings by e.g. Tony Bremner, done with slightly enlarged ensembles (although hardly more than 35-40 from the sound), reveal the music to be direly routine and unimaginative. Compare that to Bernard Herrmann's radio and TV work under similar conditions, and you'll see there's a world of a difference!

Gene Roddenberry is often quoted with "Don't give me electronic beep-beep, give me Captain Blood". In reality, he got neither. What he did get was tedious background scoring, occasionally graced with isolated original ideas. Very occasionally. That's not an "opinion", I once got my hands on some of the scores.

The later series fared a little better, i.e. until Rick Berman and Michael Piller decided he only wanted acoustic wallpapers with no themes and no shape. At least God struck down Michael Piller at 57 in return.

The fact that none of the composers who didn't have a career before Star Trek TOS/TNG/DS9 or Voyager had much of a career after speaks volumes.

Wimpel, your comment about Michael Piller was absolutely disgusting.

(And you should be aware that Piller had no input in the post-production of the show. He was head writer; Berman oversaw the physical production duties)

Chadley, you offer some fantastic insights into the world of scoring for TV projects. I was glad to get a bit of the same insights from Trevor Morris at the Fans of Film Music event last year and it really opens my eyes when I complain about the lack of stand-out work on TV scores. At the same time, I am typically comparing music from something like Star Trek The Original Series to Bernard Herrmann's music to The Alfred Hitchcock hour. I think it is a fair comparison. The Hitchcock Hour started 10 years prior to Star Trek and while it has small ensembles as well, the music is much more interesting to me.

While I can recognize why some might be emotionally connected to the music from their experiences with the show, I still can't figure out why anyone who didn't have that connection would buy the La La Land Records box set of the music from Star Trek The Original Series. On the other hand, I had zero connection with The Hitchcock Hour series when I heard the music for the first time on Varese's web site when they released the first volume of music. It immediately grabbed my attention and got me interested based on the quality of the writing and the emotions presented in the music.

Chad Seiter: don't be upset, the guys here (especially tangotreats) can bash the score he doesn't like into little specks of dust. I'm sure most listeners like it (I absolutely adore it!) and want to ask you if there's some kind of official release info on that score. I would love to buy the full score if it's released (and if Paramount doesn't want to release it, you should team up with the guys over at La La Land). Keep up the good work and I'm anxiously awaiting your next score!

Chad Seiter: don't be upset, the guys here (especially tangotreats) can bash the score he doesn't like into little specks of dust. I'm sure most listeners like it (I absolutely adore it!) and want to ask you if there's some kind of official release info on that score. I would love to buy the full score if it's released (and if Paramount doesn't want to release it, you should team up with the guys over at La La Land). Keep up the good work and I'm anxiously awaiting your next score!

Yeah, I quite agree. I did take the time to listen to the samples, and there's some quite good material at times, at least for a game score (especially loved the suite, excellent stuff). If most of the score is of the same caliber, this could lead to very appreciable and high quality game score indeed. Well done, Chad :) (and your recent posts are much better than your first ones in this thread!)

Here is Da Vinci's Demons by Bear McCreary. If you like this, I strongly encourage you to buy it. I found the score on the whole to be whimsical and strong thematically. Here is a breakdown of some of my favorites:

1. Main Title - The string writing in this one definitely suggests the period and using the viola da gamba to play the melody was a fine choice. The percussion is driving as one would expect and the melody soars.
2. The Glider - Driving bass and strings along with some nice percussion performances (by M.D. Gordy, of course). I like how playful and perilous this track is. For those who watch the show can easily identify this scene.
3. Flight of the Columbina - I love the hurdy gurdy section and yes the rendition of the main theme is present toward the latter half of the piece. It makes sense as Da Vinci's columbina takes flight and impresses all that behold his mechanical creation.
4. Lucrezia Donati - The harp in this is divine combined with the performance of the Calder Quartet. The melody is beautiful, innocent, yet seductive and dangerous. I love how McCreary uses dissonance in the string passages.
5. The Secret Archives - The Rome Theme is featured in this track. The melody is sinister and foreboding, yet ambiguous. That is due to the fact that Bear wrote the melody full of accidentals to make it seem all the more dark.
6. The Hidden Map - The best part of this piece is the ending, which I was hoping would be longer as it is so well written. I love the driving strings, percussion, and the flute glissando to usher the action along.
7. Prayer to St. Michael - Raya Yarbrough and choir. Enough said.

That is all so far as I haven't had time to listen to the entire album yet, but what I have heard so far is good and I enjoy every second of it :).

Thread 134522

Mr Seiter, a thousand thanks for your comments - I would like to clarify a few things that I thought were clear in my post but perhaps weren't after all...

Firstly, my respect for the original Trek scores as Trek scores is unwavering. My issue is only that I believe that what they actually are is frequently mixed up with where they came from and as such are described in hushed tones, with an almost supernatural reverence... when what you're actually getting is simple transference - Trek nostalgia, 60s nostalgia, and so on and so forth. What we have are scores which yes absolutely are a miracle of their era, and yes absolutely fit Trek like a glove, and yes absolutely some moments of pure white hot genius... but ultimately do not represent the best of TV scoring and certainly do not represent the best work of the composers concerned.

In my view, this denegrates the work of the composers in question (both their work on Trek and their body of work in general) because it praises them not for their musical skills, but for their choice of which project to work on - a choice that is frequently academic and often not even their decision.

Of course, it's proper to recognise the effort that was put in, and the miracles that are achieved on the television scoring stage every single day - as you so rightly say, you're effectively scoring a short movie every week with tiny budgets and endless micromanagement that distract you from your primary concern (writing good music) that you really don't have time to do anyway... but that's by the by. If we're talking about quality achieved versus expectation, or quality achieved versus expenditure that's one story... but as a purely musical evaluation - "is this stuff any good, regardless of whether it's a television score or a movie score or a symphony, regardless of whether it was written in a day or a week or a year or a decade, regardless of whether it had a performance by a high school marching band or the LSO" - I simply do not believe it's as good as people would have you believe it is. Or, put it another way... it receives attention and accolades that are disproportionate to its pure musical quality as a direct result of its connection to Star Trek.

Would there be box-sets of this stuff coming out left right and centre if Star Trek had flopped, or never achieved its cult status? Are there dozens of musically superior scores languishing in vaults (or, most likely, no longer in existence at all) still waiting for releases which they will almost certainly never get because the world has forgotten the show/movie they were written for?

That's an honest assessment by a die hard Trekkie, a man who worships every note Jerry Goldsmith ever wrote, a man who believes every single one of those Trek composers were geniuses in their fields.

As for the Trek game score, I did offer an apology to you in the relevant thread but I'm not sure if you saw it but I will say it again here:


I offer my unreserved apologies for any personal offence I have undoubtedly caused with my careless words... There's constructive criticism, and there's being stuck up, arrogant, and rude... and I've absolutely been guilty of the latter. It's a wonderful thing that promoters and musicians are interested in what their audiences want... and speaks volumes that they're even prepared to engage in dialogue with miserable bastards like me... and for me to be throwing around the adjectives with abandon... it's sticking two fingers up at hard working and talented people. Gentlemen, I am sorry.

That said, though it's fantastic that folk are singing the praises of the score I'm sure you know the old adage about one word of criticism holding more value than a thousand of praise. To me, what's missing from Giacchino's take on Star Trek (and is also missing in yours, to a lesser extent) is theme, elegance, structure. As you're a fan of Jerry Goldsmith you must have all that stuff internalised just as anybody who appreciates Jerry's work does. Obviously there is an "expectation" for what sort of score you should write these days... but sitting in Bruce Botnick's office listening to TMP - a masterclass in film scoring, musically flawless, and maybe Jerry's finest work, didn't that stir in you the desire to write a Trek score with similar intentions?

Every young composer says that their film scoring wet dream is a Star Wars score or a Trek score with loads of money and creative freedom. You're the young composer who's the protege of the man we all hoped would usher in a new golden age (after his game scores of the late nineties), a self-confessed Goldsmith nut, a great orchestrator, a tunesmith, a melodist... the man who wrote one of my favourite short film scores of all time and did it on a shoestring budget (Hijacked was JUST GREAT)... All that in mind, I listen to Star Trek, and to me it just doesn't add up.

As you observed, orchestral television scoring is almost completely dead in the West, and orchestral film scoring is going in the same direction. It's guys like you with the power to steer things back where they should be; real musicians, real music.

My only defence, ultimately, for my rudeness to you earlier, is my passionate love for the art-form and unwavering belief in the power and continuing viability of thematic, symphonic, orchestral scoring for contemporary film, television, and games. I know it's not a defence or an excuse, but I hope you will at least understand what initially motivated my obnoxiousness...

Oh totally, it all comes down to personal preference, don't get me wrong. Not saying everybody should love them, or even force themselves to love them (or any music for that matter) - I just don't think it's fair to call it atrocious and piss-poor. Even if you don't like it, the music is HARDLY that. I find that to be crass and disrespectful to the all the hard work and passion that goes into making it, so that the project can even exist at all, for all to enjoy. After all, these are real people who make all this stuff, and you wouldn't speak to somebody you know that way. They may have been "doing it for the mortgage" but they also do it because they love it and worked HARD to get to where they were. I would not say that about something that somebody poured their heart and soul into.

My Star Trek game score took me 4 months to write (it has 120 minutes of music, all of which wasn't even in the game), and was the greatest experience of my life. I'm not particularly sensitive to negative criticism; seeing it called "anemic trash" and "absolutely atrocious" was kind of a buzz kill since I think it probably involved literal blood, sweat, and tears. But, at the end of the day, everybody was really happy with it. Paramount and Digital Extremes were happy, Michael was happy, and my friends and family were proud of me, which is what I strive for. That's just why I think it kind of sucks to liberally say things like that about somebody else's hard work and I'm a bit sensitive to it.

Great post, Chad. And from one composer to another- great job on the Star Trek score. Even if we forget about the actual music, just sit back for a minute and feel good about what you did there. It's a hell of a world out there, a hell of a load of work and I'm sure it's also taken a hell of a load of work to get to where you are.

P.S: Any chance you'd be able to give us any indications to what your next major project will be?

JBarron2005, I agree with your take on Da Vinci's Demons. It is the first score I've heard by Bear McCreary that has really captured my attention with the quality of the themes. I might have to pick up the CD or at least buy the download because it is really quite good. I found myself whistling the theme after I finished a few listens and that says a lot.

Yes the theme just soars and it is nice to see McCreary bringing the orchestra full front and center. I liked Defiance, but at times the orchestration got covered up with the electronic effects. Here we get a touching orchestral approach. I can tell Bernard Hermann was a big influence, especially in the composition "The Secret Archives". The Rome theme just oozes darkness and power. I love the string chords in Lucrezia's Theme from 3:00 to 3:15 (especially the dissonance at 3:08). Then the final reprisal of the theme at the end of it just gave me goosebumps. At 4:24, the violin cutting through the other instruments just adds a level of warmth. But I love how the main theme is used throughout. I eagerly await a Season 2 soundtrack :). And I keep whistling the theme too lol.

Music For All: NEW-UP. CHANDOS. Fantaisie Triomphale - I. Tracey, F. Hunt, R. Gamba, BBC Philharmonic. SACD-ISO, FLAC 24bit 88.2kHz 2.0 (http://organ-music-for-all.blogspot.gr/2013/05/new-up-chandos-fantaisie-triomphale-i.html)

Fantasie Triomphale Chandos CHSA5048 [IL]: Classical CD Reviews - May 2007 MusicWeb-International (http://www.musicweb-international.com/classrev/2007/May07/Fantasie_triomphale_chan5048.htm)
Symphonic Organ Works - CHSA 5048 (http://www.chandos.net/details06.asp?CNumber=CHSA%205048)

Is it just me, or does this track from Broughton's Young Sherlock Holmes have some references to Horner's Aliens?

14. Stop! She's Alive!/Pastries & Crypts - Young Sherlock Holmes OST - YouTube (http://www.youtube.com/watch?v=BjaxQKloBkg&list=PL330971167EF231D4)

It almost hints at the Aliens horn motif at 2:23 and then there are the brass crescendos at 6:00 and of course the use of anvils and squeaking clarinets and strings throughout.

For anyone interested, here's a recording from yesterday's Final Symphony concert performed by the London Symphony Orchestra.

Final Fantasy Concert London Final Symphony (FFX) - YouTube (http://www.youtube.com/watch?feature=player_detailpage&v=zzlJHOJEB7I#t=61s)
Final Fantasy Concert London Final Symphony (FF7 1st movement) - YouTube (http://www.youtube.com/watch?feature=player_detailpage&v=Fxc3MtbJ0MU#t=181s)
Final Fantasy Concert London Final Symphony (FF7 2nd movement) - YouTube (http://www.youtube.com/watch?v=xc1Zwy21_48)
Final Fantasy Concert London Final Symphony (FF7 3rd movement) - YouTube (http://www.youtube.com/watch?v=PBtU7VSe6vk)
Final Fantasy Concert London Final Symphony (Encore) - YouTube (http://www.youtube.com/watch?feature=player_detailpage&v=ZCSk_6ttq5k#t=204s)

Conductor: Eckehard Stier
Orchestra: London Symphony Orchestra
Soloist: Benyamin Nuss
Consultant: Nobuo Uematsu
Composer: Nobuo Uematsu, Masashi Hamauzu
Arranger: Jonne Valtonen, Roger Wanamo, Masashi Hamauzu

YOSHIHIRO IKE, NORIHITO SUMITOMO, SUSUMU UEDA - ASURA ORIGINAL SOUND TRACK
FLAC, LOG | 383.4 MB | 22 TRACKS - 01:14:17


VGMdb (http://vgmdb.net/album/34182)
Catalog Number: TOCT-29068
Release Date: Sep 26, 2012

Tracklist
01 Fortress of Flames [6:03]
02 The Birth of... Asura [1:41]
03 Inside the Mind [2:15]
04 (Destiny) Enishi [2:02]
05 Prey [2:05]
06 Cruel Encounter [5:19]
07 Red Sky [1:54]
08 Fateful [2:07]
09 Maternal Eyes [2:59]
10 Grace of Heaven [1:59]
11 Transience [0:20]
12 Rain of the Heart [3:35]
13 Tragedy [2:23]
14 Torrent [7:26]
15 The Heart's Will [1:04]
16 Depleted Love [2:19]
17 Cry of the Heart - Asura [11:21]
18 Resting Place of the Spirit [2:44]
19 希望/Trash [3:55]
20 あこがれ (KYOTO ver.) [3:57]
21 流れる雲に (KYOTO ver.) [2:58]
22 失意からの逃走 (KYOTO ver.) [3:39]

Download: https://mega.co.nz/#!oNczTIhb!UfQPaRkvve1OBQX_PhVckhFWA3d2xmlUcnq3QWR iDwE (credit to xuwunixi@astost)

A few lengthy pieces by Yoshihiro Ike including an 11 minute theme.


KASHIWA DAISUKE - KOTONOHA NO NIWA SOUNDTRACKS
FLAC, LOG | 54.8 MB | 7 TRACKS - 14:42


VGMdb (http://vgmdb.net/album/38177)
Catalog Number: TBR23169D-2
Release Date: June 21, 2013

Tracklist
01 A Rainy Morning ~Main Title~ [0:50]
02 Greenery Rain [3:01]
03 Rain Of Recollection [1:08]
04 While Hearing Sound Of Rain [1:43]
05 A Silent Summer [4:09]
06 The Afternoon Of Rainy day [3:06]
07 A Rainy Morning ~Epilogue~ [0:45]

Download: https://mega.co.nz/#!JYsSUS7T!WhatpTFSK1kC6aOTzLbN9VbTmjNIlUu7UoPp2-dEdVU

A short but sweet piano soundtrack from neoclassical/experimental composer Kashiwa Daisuke.


In other news... A new TV drama soundtrack releasing on August 28th just showed up (http://www.amazon.co.jp/dp/B00D3FL6TS) on Amazon with music by Michiru Oshima.

Thanks :D

MASAMICHI AMANO
BATTLE ROYALE (2000)
The Warsaw Philharmonic Orchestra



Warning; here be dragons. If Amano's notorious musical kleptomania offends you in any way, don't even bother with these; the thievery really is in overdrive. Quality remains high, as one would expect, but originality is at an all time low. Amano lifts whole cues from his previous scores. He was, by all accounts, in a race against time in scoring this film (and Battle Royale II) - so I suppose you could justify it by saying he did what he needed to do, in order to get the job done. This is an exceptionally good score, make no mistake.

Warnings aside, here's a powerhouse live action Amano score full of all the big-orchestra theatrics we all know and love.

Not my rip, but the source is trustworthy.

Discogs (http://www.discogs.com/Masamichi-Amano-Battle-Royale-Original-Motion-Picture-Soundtrack/release/3098525)

DOWNLOAD
https://mega.co.nz/#!Vcd1HRgB!LtEgIH_up__4UGEkgAmtzDA1fjl-W-cNhZHyIcrDEpo

Scans from the French Milan CD release, from Yannis (Thread 127428):
http://www.adrive.com/public/zBSXjy

Thanks for the Amano, Tango, it will be my first step into a larger world ;)

TOSHIHIKO SAHASHI
Zyuden Sentai Kyoryuger (OST 1)
Studio Orchestra



Not my rip. A Google find courtesy of Mr Anonymous. WMA format at 192kbps. Sorry! Better than nothing.

MEGA: https://mega.co.nz/#!toxTTbDb!CeGkO0sW_HsJdi2Xgh26Q3Sc6547rnt4HGrVXoE yRDU

Hooray! It's here! Toshihiko Sahashi makes his massively unexpected return to the Super Sentai series, after a fifteen year absence. The folk who hate Super Sentai will be shaking their heads now, I don't doubt... but for the rest of you, enjoy! Sahashi, as usual, presents himself as two or three different composers at once; we have the expected symphonic score (with a great theme and that hopelessly optimistic major key heroism that you expect), some infectious orchestra/electronica/percussion pieces that are just plain fun... and some more moody synthy pieces for contrast. Not everybody will like all of it... but hopefully everybody will like some of it, which is certainly the way I view the Sentai scores. It is what it is. Sahashi sounds like Sahashi and we all know exactly what to expect. It wipes the floor with Ohashi's Go-Busters from last year, but it's more fun and less quality than Yamashita's 2011 Gokaiger... Overall, it's shaping up to be a really, really good score.

This being the first soundtrack of five, and following the expected pattern of Sentai releases, there is lashings of crap on here that I have removed; namely numerous repetitions of the main title song (which was arranged by Sahashi, so I suppose I should upload it separately) and a radio drama. The drama is not scored and it's in Japanese; therefore I've opted to save space and not bother uploading it.

As usual, you get 45 minutes of score, 12 minutes of which is purely orchestral. The good stuff will be coming on the next discs. OST 2 is just songs. OST 3 will contain the movie score and extras from the TV series, and OSTs 4 and 5 will be where the really brilliant music ends up. Thus begins a wait which won't be over until November!

Have fun! :D

Sucks that the tags from ASTOST are always in Japanese but at least I can tell what it is when there is a cover in the folder. My kanji is still pretty horrible.

EDIT: OMG Yoshihiro Ike uses the danger motif!

JERRY GOLDSMITH
HOLLYWOOD SYMPHONIC SPECTACULAR
The Kanagawa Philharmonic Orchestra, and Tokyo Cosmpolitan Chorus*
Conducted by Orie Suzuki

FLAC + LOG + SCANS | 6 Tracks | 00:29:02 | 218 MB

Release Date: 26.11.1998
Label: Volcano Records
Catalog Number: CPC8-1034



1. Supergirl (End Title)
2. Star Trek: The Motion Picture (End Title)
3. Alien (End Title)
4. The Swarm (The Bees Arrive)
5. Air Force One (Main Title)
6. The Omen: Suite* (Ave Santani / Killer's Storm / The New Ambassador / The Dog's Attack)

I can't say how these performances compare with the London Symphony Orchestra's, etc.

Why did the audience only applaud after Supergirl and Alien? :'D


The Star Trek 2009 theme is more of a motif because, well, in addition to other factors, it just isn't long enough. It's short and simple. A theme should practically be its own piece of music. Think about how Williams turns his themes in concert suites. How are you supposed to do that with just four bars of melody repeated back to back to back? Where else can it go? Usually themes have an ending as well.

DOWNLOAD
https://mega.co.nz/#!QUtBnABR!e0gdCHobmANaEqV3bMI3KRdKN9Idygo4JytgcH4 4fPk

YUGO KANNO - PSYCHO-PASS COMPLETE ORIGINAL SOUNDTRACK
FLAC, LOG | SCANS | 634.7 MB | 49 TRACKS - 02:01:39
Studio Orchestra, conducted by Koji Haishima


VGMdb (http://vgmdb.net/album/38314)
Catalog Number: SRCL-8295~6
Release Date: May 29, 2013

Tracklist
Disc 1
01 PSYCHO-PASS [6:39]
02 法と秩序 [2:37]
03 潜在犯 [2:14]
04 ドミネーター [3:11]
05 サイコハザード [2:53]
06 光 [2:20]
07 犯罪係数 [2:00]
08 廃棄区画 [1:59]
09 預言者 [1:39]
10 観察眼 [2:03]
11 刑事の勘 [1:50]
12 犯罪遊戯 [2:31]
13 シビュラの傀儡 [1:42]
14 チェックメイト [1:44]
15 命の在り方 [3:55]
16 誰も知らないあなたの仮面 [1:42]
17 甘い毒 [2:39]
18 精神構造 [1:38]
19 その銃口は、正義を支配する [5:24]
20 支配と権力 [3:13]
21 槇島聖護 [3:24]
22 Trigger Finger!!! [2:19]

Disc 2
01 PSYCHO-PASS Symphony [6:40]
02 シビュラシステム [4:22]
03 ボーダーライン [1:48]
04 命の重みと尊厳 [2:26]
05 人の心 [1:10]
06 公安局刑事課一係 [1:51]
07 猟犬の嗅覚 [1:39]
08 猟犬の習性 [2:08]
09 楽園 [2:21]
10 神託 [2:06]
11 聖者の晩餐 [2:15]
12 秩序 [1:50]
13 神の意識 [3:07]
14 偶像 [1:40]
15 免罪体質 [2:17]
16 矛盾に満ちた世界 [4:05]
17 強迫観念 [2:28]
18 レモネードキャンディ [0:34]
19 ホログラム [1:37]
20 精神の疫病 [2:04]
21 初期衝動 [2:08]
22 揺ぎない信念 [3:01]
23 望み [2:19]
24 abnormalize (TV edit) [1:29]
25 名前のない怪物 (TV Edit 92s ver) [1:38]
26 Out of Control -アニメバージョン- [1:30]
27 All Alone With You (TV Edit) [1:30]

Download: https://mega.co.nz/#!QYMBiazZ!duZATgP2aMzvWWvHE1F67Q10rOQc-fBss41N_TK1twk (ripped by phoenixluan@astost)

EDIT: Logs here (forgot to include)

Disc1
Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 2. June 2013, 13:06

菅野祐悟 / PSYCHO-PASS サイコパス Complete Original Soundtrack

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TOC of the extracted CD

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Disc2
Exact Audio Copy V1.0 beta 3 from 29. August 2011

EAC extraction logfile from 2. June 2013, 13:33

菅野祐悟 / PSYCHO-PASS サイコパス Complete Original Soundtrack

Used drive : ATAPI DVD A DH16A3L Adapter: 1 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 6
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Native Win32 interface for Win NT & 2000

Used output format : Internal WAV Routines
Sample format : 44.100 Hz; 16 Bit; Stereo


TOC of the extracted CD

Track | Start | Length | Start sector | End sector
---------------------------------------------------------
1 | 0:00.00 | 6:43.32 | 0 | 30256
2 | 6:43.32 | 4:25.16 | 30257 | 50147
3 | 11:08.48 | 1:48.40 | 50148 | 58287
4 | 12:57.13 | 2:27.01 | 58288 | 69313
5 | 15:24.14 | 1:12.18 | 69314 | 74731
6 | 16:36.32 | 1:53.03 | 74732 | 83209
7 | 18:29.35 | 1:40.24 | 83210 | 90733
8 | 20:09.59 | 2:10.42 | 90734 | 100525
9 | 22:20.26 | 2:23.00 | 100526 | 111250
10 | 24:43.26 | 2:07.69 | 111251 | 120844
11 | 26:51.20 | 2:18.36 | 120845 | 131230
12 | 29:09.56 | 1:50.04 | 131231 | 139484
13 | 30:59.60 | 3:09.17 | 139485 | 153676
14 | 34:09.02 | 1:43.06 | 153677 | 161407
15 | 35:52.08 | 2:17.13 | 161408 | 171695
16 | 38:09.21 | 4:07.34 | 171696 | 190254
17 | 42:16.55 | 2:28.40 | 190255 | 201394
18 | 44:45.20 | 0:34.56 | 201395 | 204000
19 | 45:20.01 | 1:37.18 | 204001 | 211293
20 | 46:57.19 | 2:05.43 | 211294 | 220711
21 | 49:02.62 | 2:09.62 | 220712 | 230448
22 | 51:12.49 | 3:03.17 | 230449 | 244190
23 | 54:15.66 | 2:22.19 | 244191 | 254859
24 | 56:38.10 | 1:32.60 | 254860 | 261819
25 | 58:10.70 | 1:42.17 | 261820 | 269486
26 | 59:53.12 | 1:34.24 | 269487 | 276560
27 | 61:27.36 | 1:30.59 | 276561 | 283369


Range status and errors

Selected range

Filename G:\菅野祐悟 - PSYCHO-PASS サイコパス Complete Original Soundtrack.wav

Peak level 100.0 %
Extraction speed 6.6 X
Range quality 100.0 %
Test CRC 171F225E
Copy CRC 171F225E
Copy OK

No errors occurred

End of status report

==== Log checksum D66A608978DD437C47C6EC0E57289A1DCDBAFB30CC9EC8E537 09FE103990A7EA ====


KOTARO NAKAGAWA - THE UNLIMITED KYOSUKE HYOUBU ORIGINAL SOUNDTRACK
320K MP3 | 233.4 MB | 45 TRACKS - 01:43:51


VGMdb (http://vgmdb.net/album/38057)
Catalog Number: GNCA-1368
Release Date: May 29, 2013

Tracklist
Disc 1
01 THE UNLIMITED [4:02]
02 LΛST RESOLUTION (ENGLISH ver. TV EDIT) [1:31]
03 無限を宿した男～兵部京介のテーマ～ [2:41]
04 危機はそこに [2:40]
05 忍び寄る影 [2:33]
06 ミッション開始 [2:34]
07 緊迫 [2:04]
08 グラスを片手に [2:04]
09 束の間の憩い [2:14]
10 高雅なるワルツ [1:24]
11 触れ合う心 [3:17]
12 可憐なる少女～ユウギリのテーマ～ [2:21]
13 さまよえる孤独な魂 [2:23]
14 LΛST RESOLUTION (JAPANESE ver. TV EDIT) [1:31]
15 戦闘開始 [2:14]
16 闇に光る眼 [2:22]
17 解禁! [2:25]
18 BRIGHTEST LIGHT (TV EDIT) [1:34]
19 街中にて [2:49]
20 玉が舞い鳩が飛ぶ [2:39]
21 天使か悪魔か [2:49]
22 友よ [2:13]
23 その瞳に孤独を映して～アンディ・ヒノミヤのテーマ～ [3:50]
24 DARKNESS NIGHT (TV EDIT) [1:31]

Disc 2
01 軍靴の行進 [1:34]
02 逃げられて誉められて [2:04]
03 お転婆令嬢 [2:27]
04 BRAND NEW EDEN (TV EDIT) [1:57]
05 月光の中で [2:58]
06 今、戦いの幕が開く [2:12]
07 ADVENT (TV EDIT) [1:49]
08 ドッグファイト! [2:21]
09 闇からの呼び声 [2:18]
10 カタストロフ [2:05]
11 DARKNESS NIGHT (Hyoubu arrange ver.) (TV EDIT) [1:36]
12 哀切のバラード [3:57]
13 空の涯て (TV EDIT) [1:41]
14 姿を見せた狂気 [2:11]
15 非情なる潜入捜査 [3:23]
16 DARKNESS NIGHT (Hinomiya arrange ver.) (TV EDIT) [1:33]
17 歪む運命 [1:40]
18 未来物語 (TV EDIT) [2:24]
19 刻よ永遠にとまれ [3:11]
20 別れの時 [1:08]
21 OUTLAWS (#12 TV EDIT) [1:37]

Download: https://mega.co.nz/#!9VkhTApI!Ovp1WBhg_OlML1TITKvG7SVXnLN0evYlGdZ5OTG qqz4


Have not had a chance to listen to either of these yet. Couldn't find a lossless rip for The Unlimited soundtrack. Will have full musician credits for Psycho-Pass on VGMdb later.

Quick sampling of that sounds like Nakagawa in 07 Ghost style. Will post thoughts later. Main theme is solid. Like most anime scores, there are a few silly cues that need to be cut out but seems pretty solid overall.

Did anyone ever post the Last Ranker OST here? It belongs in this thread.

I don't know if it was ever posted in the Thread, but I know for a fact that it was discussed here simply based off of the memory that Sirusjr hated the mastering. Yeah, I don't get it either.

I don't know if it was ever posted in the Thread, but I know for a fact that it was discussed here simply based off of the memory that Sirusjr hated the mastering. Yeah, I don't get it either.

I believe I may have posted it at some point. The mastering is pretty bad (mostly where there are vocals, just like the distortion in The Book of Bantorra and Death Note by Yoshihisa Hirano whenever there are big choir parts ) but nobody seems to notice. Just the same as NiER was horribly mastered. The score is nice and I even imported the CDs but I haven't listened to it much lately.

Last Ranker is a terrible mastering job... and from somebody who listens to a lot of cheap Japanese scores, that's saying a lot. It's not the worst ever, by a long shot... but it's pretty bad - tracks like Crudelis et Magnificus (track 9, disk 2 if memory serves) rendered almost unlistenable with the gain turned up so high that when the piece gets even vaguely loud, the sound literally crackles and caves in on itself. Hated most of the score too. As a rule, don't like Shimomura although she has done some stuff that interests me.

Chadley, you offer some fantastic insights into the world of scoring for TV projects. I was glad to get a bit of the same insights from Trevor Morris at the Fans of Film Music event last year and it really opens my eyes when I complain about the lack of stand-out work on TV scores. At the same time, I am typically comparing music from something like Star Trek The Original Series to Bernard Herrmann's music to The Alfred Hitchcock hour. I think it is a fair comparison. The Hitchcock Hour started 10 years prior to Star Trek and while it has small ensembles as well, the music is much more interesting to me.

It certainly is. That's the difference: TALENT!

Pressures on TV composers haven't changed much throughout the decades. When I wrote for a film music magazine for a decade and a half, we interviewed a lot of film and TV composers, from Europe and the US. They ALL complained about time pressures, and the TV composers always have had only a few days to complete their assignments, except on some very costly productions (and sometimes even then!). Time pressure doesn't excuse everything. Franz Waxman wrote the music for Hotel Berlin in just 4 days, too. Great composers can do marvels within a short period of time, and a small budget. Bernard Herrmann is the best example.

Music on an album is ALWAYS autonomous music. And that is the final litmus test: If it cannot stand on its own purely as a musical entity, it should never have been separated from the images and be put on a CD. It's a waste of everybody's time and money.

So Tango, last Ranker rankles you? Lol, sorry, couldn't resist the pun.

I am really enjoying the soundtrack to Game of Thrones Season 3. Djawadi's work on film really doesn't do much for me, but his vision for the sound of Westeros is fitting. I have given this a rough listen, but "A Lannister Always Pays His Debts" is a sublime instrumental version of "The Rains of Castamere". "Dracarys" has some good male vocal work with some pounding percussion giving a big, ponderous sound to suggest the strength of dragons. "I Paid the Iron Price" is very dreary and hopeless due to Theon's predicament. "Dark Wings, Dark Words" takes a bit to get interesting but the children's choir singing the Main Theme is a nice touch. It gives off a warmth that is surprising given the title. Very emotional. I love the cello features as they have been some of my favorite sections in the series' score. "You Know Nothing" is one of those instances that feels like it strains to be emotional and then it gradually pours it out. I think it is a perfect musical representation of the Jon and Ygritte romance arc. "Kingslayer" is another good cello focused composition and although it doesn't really feature a strong melody the emotion conveyed is appropriate for Jaime Lannister. "I Have to Go North" features the Main Theme and the theme associated with Robb Stark and is a good offering, but it would have been better with more development. "White Walkers" is terrifying with some interesting timbres the percussion sounds a little off at first but I think that, musically, it works. "The Bear and the Maiden Fair" is out of place and I don't really care for it much. "The Night is Dark" featuring the Lord of Light theme sounds mysterious and ominous, yet powerful but with some restraint. "The Lannisters Send their Regards" depicts the most pivotal moment in the series and perhaps the most gruesome and brutal scenes. It is relentless, tense, but displays a sense of sorrow and sadness. This is probably my favorite action track from Djawadi so far. "Heir to Winterfell" is sad and somber tune with the soft cello and lower registers."Mhysa" starts off with warm strings and choir. Interwoven into that, is the Main Theme and this is my favorite variation of it. It reminds me of Skyrim a little, in fact. At 1:37, Danaerys' Theme plays and it gave me chills. It is so beautiful, grandiose, and epic (yes, that word gets overused but it certainly applies here). And finally, "For the Realm" is an acoustic guitar version of the Main Theme and is a very interesting take on it. Overall, this score ups the ante from the previous seasons building upon already established themes and introducing a few new ones.

For those interested in hearing it, you may find it available in this thread:
Thread 134936

As I have been watching Season 2 of Game of Thrones I am noticing the music is getting better. Still about half of it is too ambient for my tastes.

Yeah I agree. The first season wasn't strong thematically, but you are right I think Djawadi gets better with each season. I just got done watching the latest episode in Season 3 and I am just as shocked about it as when I read it.

I've read all the books but I just recently convinced my boyfriend to check out the show so we are still catching up.

FLAC | CUE | LOG
not my rip


MSP-9612~3 | Symphonic Fantasies Tokyo - VGMdb (http://vgmdb.net/album/32972)


Original RIP by tri2061990
all credit for it does to him


SFT2012.7z.001 (http://www.mediafire.com/download/hny1nob66dobwgc/SFT2012.7z.001)
SFT2012.7z.002 (http://www.mediafire.com/download/4mp0jp2ufe8tzrb/SFT2012.7z.002)
SFT2012.7z.003 (http://www.mediafire.com/download/2j8y5nn5nu92w70/SFT2012.7z.003)

Alright just got a bunch of cds today so i'll share them here. Scans are in both mp3 and flac versions. It's funny that the 2 composers behind the masterpiece of code geass just happen to be behind 2 of the cds i bought xP.

MJSA-01066 | Dokidoki! Precure Original Soundtrack 1: Pretty Cure Sound... - VGMdb (http://vgmdb.net/album/38427)
(http://s455.photobucket.com/user/leatherhead93/media/38427-1367228519_zps71b1a900.jpg.html)

Title: Dokidoki! Precure Original Soundtrack 1: Pretty Cure Sound Love Link!!
Type OST: Anime Soundtrack
Composers: Hiroshi Takaki
No. of tracks: 43
Format: MP3 and FLAC
Bitrate: 320kbs and Loseless
Release Date: May 29, 2013
Size: MP3 129mb/ FLAC 355mb
Host: Zippyshare/MP3 Mega/FLAC

Tracklist

Disc 1

01 Saigo no Shugo Sha
02 Happy Go Lucky! DokiDoki! Precure (TV size)
03 Tobikkiri no Asa
04 Subtitle
05 Mana no Theme
06 Kyunkyun Shichau yo
07 Kokoro no Yami o Tokihanate!
08 Jikochuu Dai Abare
09 Precure Love Link!
10 Todoke! My Sweet Heart!
11 Shizuka na Yoru
12 Yuuga na Nichijou
13 Omoi ga Kenaijitai !?
14 Yuujou no Kizuna
15 Moshikashite, Moshikashite?
16 Hanpatsu Suru Kokoro
17 Samishi Sa o Kanjiru Toki
18 Taisetsu na Kimochi
19 Kono Sora no Mukou ～Heartful Instrumental～
20 Mana no Omoi
21 DokiDoki! Catch A
22 DokiDoki! Catch B
23 Kochuu no Takurami
24 Machiukeru wa na
25 Higeki no Kioku
26 Shiren o Norikoe te
27 Kujike nai Kokoro
28 Chiisana Kiseki
29 Omoide no Toranpu Oukoku
30 Nazo no Ikemen? Joe Okada
31 Okashina Nakama Tachi
32 Ai Chan no Theme
33 Ganbaru Gaaruzu
34 Yasashii Yuugure
35 Ayashii Kehai
36 Jikochuu no Chousen
37 Gokaku no Koubou
38 Kiki mata Kiki
39 Sassou! DokiDoki! Precure
40 Happy Go Lucky! DokiDoki! Precure ～Heroic Instrumental～
41 Tenki Seirou Nari
42 Kono Sora no Mukou （TV size）
43 Mune no Kyunkyun Tomara nai yo!

320 kbs MP3
Zippyshare.com - Dokidoki! Precure Original Soundtrack 1 Pretty Cure Sound Love Link!!.7z (http://www72.zippyshare.com/v/20740914/file.html)

FLAC
https://mega.co.nz/#!qIJVDYiB!B2buYEhO_5nebeF7p_10rHDVr0YHmWIinM6Up6G Ys-w

GNCA-1368 | THE UNLIMITED Kyosuke Hyoubu Original Soundtrack - VGMdb (http://vgmdb.net/album/38057)
(http://s455.photobucket.com/user/leatherhead93/media/38057-1368620627_zps03bf63a5.png.html)

Title: THE UNLIMITED Kyosuke Hyoubu Original Soundtrack
Type OST: Anime Soundtrack
Composers: Kotaro Nakagawa, Takeshi Masuda, Miki Fujisue, 河田貴央, Wataru Maeguchi, Sho Watanabe, Tetsuya Shitara
No. of tracks: 24/21
Format: MP3 and FLAC
Bitrate: 320kbs and Loseless
Release Date: May 29, 2013
Size: MP3 224mb/ FLAC 675mb
Host: Mega/MP3 Mega/FLAC

Tracklist
01 THE UNLIMITED
02 LΛST RESOLUTION (ENGLISH ver. TV EDIT)
03 The Man Harboring Infinity ~Kyosuke Hyoubu's Theme~
04 The Crisis is There
05 Creeping Shadow
06 Mission Start
07 Tension
08 Glass in One Hand
09 A Brief Rest
10 Elegant Waltz
11 Heart Contact
12 The Lovely Girl ~Yugiri's Theme~
13 Wandering Lonely Soul
14 LΛST RESOLUTION (JAPANESE ver. TV EDIT)
15 Fight Start
16 Eyes Shining in the Dark
17 Ban Lifted!
18 BRIGHTEST LIGHT (TV EDIT)
19 In the Downtown
20 The Ball Dances and the Dove Flies
21 Angel or Demon
22 My Friend
23 Loneliness Reflected in His Eyes ~Andy Hinomiya's Theme~
24 DARKNESS NIGHT (TV EDIT)

01 March of Military Boots
02 Escaped with Praise
03 Tomboyish Daughter
04 BRAND NEW EDEN (TV EDIT)
05 In the Moonlight
06 Now, The Curtain Opens on the Battle
07 ADVENT (TV EDIT)
08 Dogfight!
09 Call from the Darkness
10 Catastrophe
11 DARKNESS NIGHT (Hyoubu arrange ver.) (TV EDIT)
12 Pathetic Ballad
13 END OF THE HORIZON (TV EDIT)
14 Madness Showed Up
15 Heartless Infiltration Investigation
16 DARKNESS NIGHT (Hinomiya arrange ver.) (TV EDIT)
17 Distorted Destiny
18 FUTURE STORY (TV EDIT)
19 Time Eternally Stop
20 Time of Parting
21 OUTLAWS (#12 TV EDIT)

320 kbs MP3
https://mega.co.nz/#!7ARXWaTI!R3Q3Dx1BQaXItRM4RpFfGz73C25CiLXg9SP9myD CaGo


FLAC
https://mega.co.nz/#!vEIBGYba!Tw-NJk1ZclgsIVIMNhdKST07mFUIBxSuWehaWWi_ebc


LACA-9287~8 | Hakkenden -Touhou Hakken Ibun- Original Soundtrack - VGMdb (http://vgmdb.net/album/37866)
(http://s455.photobucket.com/user/leatherhead93/media/37866-1368969631_zps0021b0a7.jpg.html)

Title: Hakkenden -Touhou Hakken Ibun- Original Soundtrack
Type OST: Anime Soundtrack
Composers: Hitomi Kuroishi, Sir Henry Rowley Bishop
No. of tracks: 18/21
Format: MP3 and FLAC
Bitrate: 320kbs and Loseless
Release Date: May 29, 2013
Size: MP3 221mb/ FLAC 603mb
Host: Mega/MP3 Mega/FLAC

Tracklist

Disc 1

01 Kuon no Tabiji
02 Kanashimi no Hate de
03 Mitsumete Itai
04 Itsumademo Shounen
05 Kono Machi no Doko ka ni
06 Saikai no Hi Made Tabibito ni Narou
07 Yuki no Hitohara
08 Himataru Jikuu
09 Yami no Koku
10 Yami kara Kuru!
11 Yami wo Saku
12 Zetsubou no Fuchi
13 Daishou ~ Hito Toshite Ikiru Tame ni
14 Shukumei ~ Negai wo Kanaeru Tame ni
15 Koei ~ Setsuna ni Miserareta Tame ni
16 Ri wo Hazureta Mono
17 Kohakuiro no Hitomi
18 Kuon no Yurushi

Disc 2

01 Seimeisen
02 Chiisana Takaramono
03 Umareta Tochi no Kami
04 Biai no Gakushi
05 Zutto Matte Iru
06 Seinaru Yama no Ikari
07 May God bless you
08 Kenja to Kyoukai
09 Shugotenshi
10 Inori wo Anata ni
11 Anakoro, Soba ni Ite Kureta
12 Ocha no Jikan desu
13 Nonki na Karasu
14 Medama no Chotto Guroi Yatsu 1
15 Medama no Chotto Guroi Yatsu 2
16 Medama no Chotto Guroi Yatsu 3
17 Hanyuu no Yado
18 Natsukashii Nukumori
19 Kimi wo Hitorikiri ni wa Shinai
20 Ima, Kakete Iku kara
21 Kuon no Kagayaki

320 kbs MP3
https://mega.co.nz/#!GJJjGKYJ!W_Dg10nojDNmb0YrOZtMAWPRFBckCm_bB7wSKEF tAPM

FLAC
https://mega.co.nz/#!HYY3ADTK!NEqGq1MSpW_SD1j5ZwSIc1g6A3kzGPzKikOqbiP HV6s


Big thanks to nextday for translating Hakkenden and THE unlimited for me :3.

Nice! I wanted to check out Hakkenden even though the anime is a poor shadow of the original Legend of the Dog Warriors anime.

anyone got the orchestrations from nintendoland

tajdjd, it's incomplete since it has to be manually recorded / the format hasn't been cracked yet / tracks have to be unlocked.

f72/ryo-nagamatsu-nintendo-land-incomplete-mp3-124551/ (Thread 124551)

There's also this request thread:

f70/nintendo-land-123411/ (Thread 123411)

anyone got the orchestrations from nintendoland

Now, I guess you're not talking about sheet music...

So now that the soundtrack to Remember Me is out... what does everyone think of it?

I think they should have used all acoustic instruments to emulate an electronic sound. That would have been more interesting, but some of the timbres and effects are cool. I really love the track "Still Human". The chords in the strings are really really good. I also love "Memory Reconstruction". It harbors a sense of sadness but also one of hope.

Thread 134897

In other news... the official preview of Cris Velasco's score to Company of Heroes 2 is on YouTube. I must say that I enjoy a good full orchestral World War 2 soundtrack :).

http://www.youtube.com/watch?v=O5UgS1ymPyk&feature=youtu.be

The full Main Theme recording video:

http://www.youtube.com/watch?v=mxwtLgzxtHw

Download (http://www.mirrorcreator.com/files/1FCLUBGI/Katanagatari.zip_links)
MP3 / 320kbps / 24 Tracks / 80min



So here's another episode of badly represented scores on soundtracks. I actually bought both Katanagatari soundtracks since I consider Iwasaki's score for Katanagatari to be one of his very best alongside Kenshin and Binchou-tan. The problem is of course the way it is presented on both discs. I know Iwasaki is proud of his experimental and weird compositions but I feel uncomfortable when the more "serious" stuff is constantly interrupted by them. I would have no problem with it if all of them were on a different disc. So I rearranged all orchestral tracks and they fit nicely on a single disc. The score itself is quite intimate and a bit melancholic. It's also a very thematic score and I especially love the main theme, first played on strings and woodwinds in A Story of Swords, then later with full orchestra and "choir" in the smashing Gettouka (Min-You is rare even in a japanese score). I find myself liking it more and more with each listen and even the percussion heavy action tracks are not as bad as I first thought (this score also has wood blocks and a 9 minute Hermannesque piece, what's not to love?). The show itself is good too, I really love the artstyle. This version has two additional tracks, first is Haizakura, a classical inspired string piece from the second vocal album of Katanagatari and Peacock blue eyes, one of Iwasaki's best songs with a full orchestral underscore.

Enjoy

So now that the soundtrack to Remember Me is out... what does everyone think of it?

I think they should have used all acoustic instruments to emulate an electronic sound. That would have been more interesting, but some of the timbres and effects are cool. I really love the track "Still Human". The chords in the strings are really really good. I also love "Memory Reconstruction". It harbors a sense of sadness but also one of hope.


I mostly liked it. I have only two criticisms. The edited-in stutter is something that probably fit in great in actual gameplay when timed with player interaction, but comes across as randomly placed file corruption sounds in a standalone listen. Even with that complaint it was still handled relatively well; it didn't seem to destroy the tempo (like spliced in dead air would have done). If I remember it right, it was just like only the orchestra layer had some rough edges but the electronic elements above and below it still flowed cleanly. I'll have to give it another listen later to focus on those kinds of things.

The second thing is something I can't find better words for than "some parts sounded like he was copying The Matrix music". Maybe that's just me.

A good thing that surprised me: among the electronic parts, there's one recurring "voice" that I can't place at all. I'm not sure if it's a purely electronic voice that they managed to get to an almost human-like quality, or if it was a human voice they worked a whole lot of magic on, but it worked. It's the sort of thing that could so easily have been harsh and overdone. Except it's soft and almost pleasant and kept me wondering what it was.

Katanagatari: ah, good memories. And one of the few examples where, on the story side, I didn't insta-dislike the old Japanese setting, and on the music side, I didn't insta-dislike the occasional old style Japanese singing. Again, I don't know if it's just me, or if those are things you just sort of have to be Japanese and a history nut to like, or if it's something anime just doesn't handle well. But when you've got Iwasaki doing the music and NisiOisin doing the writing and Shaft doing the visuals (while gorged on their mad Bakemonogatari windfall cash and freed of the TV scheduling crunch demons)... all the switches flip and I'm glued to the screen.

tajdjd, it's incomplete since it has to be manually recorded / the format hasn't been cracked yet / tracks have to be unlocked.

f72/ryo-nagamatsu-nintendo-land-incomplete-mp3-124551/ (Thread 124551)

There's also this request thread:

f70/nintendo-land-123411/ (Thread 123411)



ill wait for a proper rip

it will probally be cracked when 3d mario comes , man i cannot wait to see it at e3 next week heres hoping it has a terrific score like galaxy 1 & 2

.

Don't forget Smash Brothers 4. I really hope it gets the same music budget as Kid Icarus Uprising. Perhaps I can finally get my orchestral march of Lower Norfair and more Kirby.

Don't forget Smash Brothers 4. I really hope it gets the same music budget as Kid Icarus Uprising. Perhaps I can finally get my orchestral march of Lower Norfair and more Kirby.

pokemon x & y score is what im looking forward to also

I had read somewhere that Masashi Hamauzu is contributing to Super Smash Bros. 4. Not sure if that is true but that would be so cool if it is.

Evilwurst, I don't agree with you in that I don't think that the synth makes it sound like corrupted files. I have heard a lot of really bad corrupted music and this is nothing like that. It is a bit strange at first but I find it quite unique actually. I don't think I've heard anything like this sort of orchestra work in a while. It shows they really know the usefulness of a quality recording of real instruments.

In other news... the official preview of Cris Velasco's score to Company of Heroes 2 is on YouTube. I must say that I enjoy a good full orchestral World War 2 soundtrack :).

Company of Heroes 2 - official soundtrack preview - YouTube (http://www.youtube.com/watch?v=O5UgS1ymPyk&feature=youtu.be)

The full Main Theme recording video:

COMPANY OF HEROES 2 - Soundtrack recording - YouTube (http://www.youtube.com/watch?v=mxwtLgzxtHw)
Neat, sounds like Giacchino meets Hunt for Red October.

This is music you can definitely hear started out as synths. There is just so much staccato and ostinato because synths are great at that kind of thing. Synths suck at legato playing, so legato is often avoided. I'm pretty sure there are many synth parts still in here (11:45 of the first video is obviously not real orchestra.) I kind of wish there was less Giacchino-style ostinato and more Shostakovich/Prokofiev. We've still yet to hear the definitive Russian-sounding score for a game (though Outcast came surprisingly close, and it wasn't even trying to be Russian-sounding!)

Katanagatari: ah, good memories. And one of the few examples where, on the story side, I didn't insta-dislike the old Japanese setting, and on the music side, I didn't insta-dislike the occasional old style Japanese singing. Again, I don't know if it's just me, or if those are things you just sort of have to be Japanese and a history nut to like, or if it's something anime just doesn't handle well. But when you've got Iwasaki doing the music and NisiOisin doing the writing and Shaft doing the visuals (while gorged on their mad Bakemonogatari windfall cash and freed of the TV scheduling crunch demons)... all the switches flip and I'm glued to the screen. Ehhh, Shaft had nothing to do with the show. It was White Fox that handled the main production.

"Remeber me" is marvelous. Glitching effects are very well done and they really make sense here. IMO they do not sound as random, they almost sound like they were "composed". And orchestra sounds just beautifuly! The music itself is also very, very good, with few moments of pure WOW. IMO Deriviere did great job and his little experiment definitely succeded. But to be honest, I knew I would like it when first samples came, so...

And yes, it has that Matrix feel to it, especially in brass section, but it's much "lighter" music;).

Argh, and then I discovered that if you click "reply with quote", whatever else I've already typed out is lost.

TheRancor: hell. You're right. I wonder why I thought it was Shaft?

Sirusjr: it's not the normal synth that occasionally tripped me up, it's what herbaciak calls "glitching", where Deriviere intentionally mimics various kinds of digital or analog problems. I was probably way too quick to call it "file corruption", though, you're right; actual screwed up files tend to be outright bursts of static, and he didn't do that.

Actually, listening and trying to identify specific classes of fake-errors is kind of amusing. He used several. (And of course, lots of other electronic effects also, which I've heard and liked elsewhere before).

The record click roughly around 2:00-3:00 in Memory Reconstruction was one of the few that bugged me. Mainly because it was perfectly like a scratch across a record, right down to alternating pitch and that syncopated-like mismatch in rhythm.

I think that, aside from that, the only bits that really bug me are when there are gaps in a sparser section, because they sound too much like actual CD skips. Or the one or two times where a stutter seems to actually stretch a note in a sequence that doesn't sound like it was supposed to be long. (Like in Memory Reconstruction, 2:48 sounds right to me but 2:50 sounds wrong). But most of the time, the effects are in some voices but not in others, tempo is preserved, and the overall section is still "stable" in my head.

Hmm. That seems to be the pattern in what parts I accepted and what parts bothered me. The parts that sounded too much like actual errors were the parts that bothered me. Everywhere else my mind registers it as correct. But when it sounds like an actual error, well, all those memories of all those times real errors marred other recordings haunt me.

I need to emphasize again that it's only a few spots that didn't sound right to me. (Those also happen to be about the parts that seemed "too random" in my first listen, I think). It think it was overall pretty successful.

Sweet! It has been quite a long time since we had a proper grand orchestral WWII score (well, basically since the downfall of WWII FPS, which was often been replaced by these shitty electronic scores with arabic flavour - yes I'm talking about MW). Company of Heroes will be a nice throwback to the golden age of WWII videogame scoring (oh MOH how I love you).

.

.

So I am going to jump into the discussion on Remember Me...but instead of being practical I am going to link you to my soundtrack review and blog and force you all to give me traffic! *maniacal laughter* *strokes white kitten*

Remember Me (2013) (http://www.chaosinferred.com/personal/ostreviews/2013/05/30/remember-me-2013/)

NOBUYUKI TSUJII
HAYABUSA
THE LONG JOURNEY HOME
Orchestrator / Co-Composer: Kōsuke Yamashita
Studio Orchestra

MP3 -v0 + SCANS | 20 Tracks | 00:41:43 | 135 MB

Release Date: 08.02.2012
Label: Avex-Classics
Catalog Number: AVCL-25751



01. Title Credits
02. "Hayabusa: The Long Voyage Home" Main Theme (Piano Solo Version)
03. The Beginning Of A Long Journey
04. Earth Swing-By
05. Maker's Minds
06. Reaction Wheel
07. Touchdown
08. "Hayabusa: The Long Voyage Home" =Complication=
09. Retry
10. New Trouble
11. The Conflict Surrounding The Ion Machine
12. Communications Blackout
13. Believing In The Faint Voice
14. Yamaguchi's Conviction
15. Faint Voices
16. Final Gamble
17. Accelerating To Return Home
18. Father's Lessons
19. Returning Home To Earth
20. "Hayabusa: The Long Voyage Home" Main Theme (http://tindeck.com/listen/jira)

Wonky translation :'D

We had two shares of deaf musicians Mamoru Samuragochi (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/467.html#post2295833) and Ingrid Fuzjko Hemming (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/455.html#post2272847), so here's a score by Nobujuki Tsujii (born blind). Kousuke Yamashita is orchestrating and also co-composing on most of tracks. No information on the conductor, but it's probably him, too.

The subtitle Harukanaru Kikan could be translated as "return from distant place", but "The Long Voyage Home" is the official English subtitle, I think. Hayabusa (literally, "Peregrine Falcon") is the name of a Japanese spacecraft.

I bought this after having read CentralCoaster's review on Amazon (http://www.amazon.com/HAYABUSA-HARUKANARU-KIKAN-ORIGINAL-SOUNDTRACK/dp/B006H9YRIY/ref=sr_1_2?ie=UTF8&qid=1370934641&sr=8-2&keywords=Harukanaru+Kikan).


Nobuyuki Tsujii the film music composer

Nobuyuki Tsujii was entirely responsible for the composing of the music for the film, although the superb arrangements are done by another famous Japanese artist. I must say that I was pleasantly surprised by the quality. This is orchestral music -- there is only a couple of tracks with piano in it. And the quality is, to my ears, as good as many soundtracks for Hollywood movies, such as John Williams' score for "Close Encounter of the Third Kind".

Like many classical music lovers, I frowned upon Nobuyuki Tsujii's dabbling in what I considered "new-age" music. But the more I listen to his compositions, the more I realize that there is a beauty to it beyond the ordinary.

Music is Nobu's world, and he admires the works of Debussy and Ravel, whose influence I think you could hear in his compositions, I think he deserves a listen-to. For me, I have become quite a fan of his original music, not all of which has reached maturity. The litmus test is whether one can stand listening to them repeatedly, and I have found myself listening to many of his works -- including this sound track -- with increasing fondness. On twitter and in blogs, many Japanese write about the purity of Tsujii's music and how it has a cleansing effect on one's mind -- I agree.

I have found that this soundtrack provides excellent background music while I work.

DOWNLOAD
https://mega.co.nz/#!o01jFCoK!MgX3EjwTPO1UuCEU4GguQV6tvjxv4-NNRL4OrMmEyYo

I found this link while wondering a few other places that I frequent. I figured some people here might be interested in this, for, err, various 'reasons'.

I am Hans Zimmer - Ask Me Anything! : IAmA (http://www.reddit.com/r/IAmA/comments/1g4wkt/i_am_hans_zimmer_ask_me_anything/)

At least he has a good taste in food and books (I am biased though, as 3/4 Italian).

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Damn, The Long Journey Home is fantastic. Beautiful lyrical theme.

anyone see the smash bros trailer at nintendo e3 direct the music in the trailer was great very catchy

ONE PIECE Music "Symphony"

Hmm, anybody fancy coming with me to the Paris concert? That sounds like a lot of fun!

Well, considering I live in the good ol' US of A, that might be a little tricky...

Gerald Finzi: Intimations of Immortaility, For St Cecilia
FLAC|CUE|LOG|18 Tracks~55:33



Very nice English choral music by Gerald Finzi. Highly recommended!

Download: https://mega.co.nz/#!AFJmhY5Z!DcfnBzhxRKpXcboPDWLzmhGrQ_88cHTIMj2_Ezz-9MA
Source: My CD

Takashi Yoshimatsu: Cello Concerto, The Age of Birds, Chikap
FLAC|CUE|LOG|9 Tracks~65:30

http://userserve-ak.last.fm/serve/500/67522284/Yoshimatsu+Cello+Concerto++The+Age+of+Birds++Chika .jpg

I'm kinda divided on this one. It's nice, but there was nothing new about this after listening to his piano concerto and his first symphony many, many times. His saxophone concerto is also more enjoyable than this.
On a side note, Amazon JP screwed up my order again and I lost some CDs that I would be uploading right now... Extremely upset at the moment...

Download: https://mega.co.nz/#!NVRxyTiS!EiJTmmaZHZznx0Lq6CDF5Smv_-dYhbXP-KBKfMStBaQ
Source: My CD

Debussy: Images, Pr�lude � l'apr�s-midi d'un faune, La Mer
FLAC|9 Tracks~72:23



There is no cue or log but rest assured, this is still ripped with EAC. The text files were deleted when I emptied out my external hard drive...
As for the performance, it's very competent and energetic (and maybe less subtle and airy compared to Boulez, Deneve, Martinon, etc.) Very finely recorded and performed, though!

Dowwnload: https://mega.co.nz/#!kMxmySLC!Er3qkzTAvSO2jOarerFRY1DFZapk_12T14Esa3H Qeuo
Source: My CD

I'll have some other goodies to upload after this weekend. In the meanwhile, enjoy. :D And sorry about the lack of detail... This post was made very hastily :p

Is it possible a re-upload, please? Thank you in advance



Annette Focks - Krabat
|Orchestral|Mysterious|Dark|
|MP3 VBR V-1|55.6MB|64 minutes|



Download (http://rs21.rapidshare.com/files/178391243/Krabat.-.Soundtrack.rar)

It's a pretty obscure score, but well worth a listen :)...

Short teaser for Patema Inverted, the latest film from Yasuhiro Yoshiura (Time of Eve). It features music by Michiru Oshima, performed by the Russian State Symphony Cinema Orchestra. At the end it says the theme song will be performed by French lyrical singer Estelle Micheau, so we can probably assume Oshima is in charge of the theme song as well. The film opens this November.

「サカサマのパテマ」11月9日公開決定・予告編　吉浦康裕監督最新作 (http://www.youtube.com/watch?v=qhPrhWwK7Uw)

In unrelated news, I found pretty good proof that we're going to get a soundtrack for Majestic Prince. Here's the complete tracklist:

M00 マジェスティックプリンス
M01 ウルガル軍圧倒的強さ
M00+01 ウルガル軍
M02 負け戦絶望的に
M03 ウルガル軍攻撃
M04 敵機接近緊張
M05 帰還戦いの後の静けさ
M06 決戦前夜
M07 バトル決死悲愴
M09 集合運命が静かに動きだす
M10 アッシュロボット
M11 バトルテーマ反撃
M12 出撃準備意気揚々と
M13 ダメージ戦艦内の混乱
M14 偵察
M15 バトル防戦
M16 助っ人参上
M17 バトル緊急発進
M18 希望旅立ち
M19 憤り正義のこみ上げる怒り
M20 バトル（テーマ）勝利
M21 夕日卒業
M22 卒業2新社会人へのエール
M24 夕焼け帰り道
M25 覚醒恐怖心
M26 感謝
M27 しんみりと仲間の死
M28 ふられてがっかり
M29 困惑
M31 落ち込み
M32 緊張静かに
M33 不安
M34 対立こみ上げる怒り
M35 回想
M36 安心
M37 相談相手
M39 コミカルスロー
M40 ザンネン5初期飛行
M41 ザンネン5日常テーマ
M42 ザンネン5部屋案内
M43 作戦会議
M44 歓迎
M45 ジュリアシステム
M46 GDF本部
M47 テオーリアのテーマ
M48 チームドーベルマン陽気な人たち
M49 チームドーベルマンコミカル
M50 ジアートのテーマ
M50A ジアートのテーマ（静めに）
M52 アンジュテーマ柄悪モード
M53 異変イズル
M54 休暇リゾート
M55 日常系

Patema Inverted

Holy shit... Oshima's really got a terrific shot in the arm lately hasn't she?! Not that she really needed one, but bloody hell... Please, for the love of God, let's get a soundtrack for this one... and Aura, and Little Witch... would be ever so grateful...! :D


Majestic Prince

Fascinating! Might I ask where that came from? Do you know anything else about it? I'm hoping for 2 CDs... :D

Additionally: Kohei Tanaka is scoring a new TV anime for broadcast in the autumn. You heard it here first.

Holy shit... Oshima's really got a terrific shot in the arm lately hasn't she?! Not that she really needed one, but bloody hell... Please, for the love of God, let's get a soundtrack for this one... and Aura, and Little Witch... would be ever so grateful...! :D

Fascinating! Might I ask where that came from? Do you know anything else about it? I'm hoping for 2 CDs... :D

Additionally: Kohei Tanaka is scoring a new TV anime for broadcast in the autumn. You heard it here first.
These ones she recorded in Russia are really something else, aren't they? We'll know about Little Witch's blu-ray release fairly soon. Hal opened in theater's this week so it'll still be a while before the blu-ray release. Hopefully we get a CD with each.

The tracklist comes from JASRAC's copyright database. It must have been registered somewhat recently because I don't think it was there a month ago. With 53 tracks, that would definitely be 2 CDs worth of music.

I want to believe but is there anything to suggest he is returning?

You're right, these recent Moscow scores are just stunning. I really don't have a bad word to say about 99.9% of her previous music, but, I dunno, it seems like something's went off in her head. Tempest, Little Witch, Patema... all scores with that youthful "I love my job!" feeling you get from young composers being let loose for the first time... except they're coming from somebody who's been at it for twenty-five years. Oshima is suddenly writing with the joy and extravagance of her early to mid-nineties work (listen to her contribution to Spiritual Songs - straight out of Planet Of Life!) combined with the maturity and skill that has developed probably over the last decade or so. Just fantastic!

Fantastic bit of detective work about Majestic Prince... Watanabe himself reported in January that there was 2 CDs worth of music (it's a 26-episode series, I believe) and I definitely concur, with that track listing there just has to be 2 CDs coming. I've been following the show (well, skimming it listening to the score!) and there is just bucket loads of music in there, and all pretty long cues as well. Cannot f**king wait for this. Instant buy.

As for the Tanaka news... it's based on a wonky translation of a blog post he made a few weeks ago. He seems to be saying that he's scored a new TV anime:


"As soon as the end, writing BGM of New Anime from autumn is waiting to after the arrangement of the orchestra in Hong Kong. "

I'm not sure whether he's saying he recorded this new anime score in Hong Kong, or if he's saying he is recording the anime score after arranging an orchestra in Hong Kong... presumably for the upcoming One Piece concert. Hopefully somebody who has a better grasp of Japanese (hello Akashi San, are you listening???) might be able to shed some light: ???????? My Quest for Beauty (http://ameblo.jp/kenokun/page-2.html)

Either way... a new Tanaka score this year. Yes, yes, yes! :D

In unrelated news, I found pretty good proof that we're going to get a soundtrack for Majestic Prince. Here's the complete tracklist:

M00 マジェスティックプリンス
M01 ウルガル軍圧倒的強さ
M00+01 ウルガル軍
M02 負け戦絶望的に
M03 ウルガル軍攻撃
M04 敵機接近緊張
M05 帰還戦いの後の静けさ
M06 決戦前夜
M07 バトル決死悲愴
M09 集合運命が静かに動きだす
M10 アッシュロボット
M11 バトルテーマ反撃
M12 出撃準備意気揚々と
M13 ダメージ戦艦内の混乱
M14 偵察
M15 バトル防戦
M16 助っ人参上
M17 バトル緊急発進
M18 希望旅立ち
M19 憤り正義のこみ上げる怒り
M20 バトル（テーマ）勝利
M21 夕日卒業
M22 卒業2新社会人へのエール
M24 夕焼け帰り道
M25 覚醒恐怖心
M26 感謝
M27 しんみりと仲間の死
M28 ふられてがっかり
M29 困惑
M31 落ち込み
M32 緊張静かに
M33 不安
M34 対立こみ上げる怒り
M35 回想
M36 安心
M37 相談相手
M39 コミカルスロー
M40 ザンネン5初期飛行
M41 ザンネン5日常テーマ
M42 ザンネン5部屋案内
M43 作戦会議
M44 歓迎
M45 ジュリアシステム
M46 GDF本部
M47 テオーリアのテーマ
M48 チームドーベルマン陽気な人たち
M49 チームドーベルマンコミカル
M50 ジアートのテーマ
M50A ジアートのテーマ（静めに）
M52 アンジュテーマ柄悪モード
M53 異変イズル
M54 休暇リゾート
M55 日常系


Thank the lord! I was beginning to lose hope. Definitely one of the best OSTs this season :). Though i guess i'm still fanboying over Attack on Titian atm :P

Tanaka's schedule according to his blog post (in this order):
Sakura Taisen stage songs, One Piece Character songs, Hong Kong One Piece Symphony arrangement, Fall anime season BGM, and some collaboration with a composer/singer with the last name of Ishii

He's confirmed for this fall season it seems.

:D

And thanks for the Patema clip, nextday. Sounds amazing! Really would like to see a commercial release... My money is more than ready.

YASUO HIGUCHI




DOREMI BAND
Electric bass: Will Lee
Drums: Chris Parker
Guitar: John Scofield
Piano: Jorge Dalto, Yasuo Higuchi (Track 7)
Percussion: Dwight Gassaway

Trombones: Lolly Bienenfeld, John Mosca, Jim Knepper, Lee Robertson, Ed Byrone, Bruce Bonvissuto
Bass Trombones: Lynn Welshman, Joe Randazzo
Tuba: Howard Johnson
Female Chorus: Christina Saffran, Karen Meister, C.C. Pryor, Amy Roslyn, Libby McLaren

FLAC + LOG + SCANS | 9 Tracks | 00:41:47 | 280 MB

Original Release Date (Vinyl): 25.06.1979
Release Date: 23.01.2002
Label: Warner Music Japan
Catalog Number: WPCR-11194



1. To The New World
2. The Earth's Bellybutton
3. Uncle From UNCLE
4. The West Wind From The East
5. Giraffe (In Memory Of Takisan)
6. A Magazine On The Street
7. Warm Air In The Ellipsoid Of Revolution
8. On To The New World
9. The Other Side Of Life
(Lyrics by Alice Volpe
Singer: ?)

This is not like Higuchi's The Red Bird Flew Away? (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/451.html#post2262161) soundtrack that had at least some tracks with strings, etc.. This album is mostly Jazz, though his use of trambones in track 4 is un-Jazz-like, I think. There's also a slow paced piano and trombone track 7.

Mike Verta in his FREE-FOR-ALL video talked about Jazz/John Williams/hand-driven voicings (https://www.youtube.com/watch_popup?v=vZNqx3KjrIo#t=6875s), so maybe there's a connection between orchestral composition. At least now we have the companion album to the great LP of Higuchi's other recording in New York of his orchestral work Orientation "A Thousand Calabashes" and Violin Concerto "Koma" (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/448.html#post2257325). Also, it's out of print, so here is it preserved for posterity :'D

Again, not an orchestral soundtrack / classical music album.

DOWNLOAD
10.06.2015: Link removed. Not a score, or a classical work. ---Salat

This must have costed a fortune to import. Many thanks for sharing such rarity, Herr Salat. Can't wait to give it a listen!

On the topic of jazz, has anyone heard Ichiko Hashimoto's (composer of the anime series Rahxephon) music? If anyone could track down the album that contains this piece, I would be eternally grateful...! (a subtle request, yes) :D

.

A long day at work does that... Blue In Green - Ichiko Hashimoto - YouTube (http://www.youtube.com/watch?v=dOxz61BvR-E)

Thank you share!

mmmmm looks like the pokemon anime is getting another soundtrack for the black and white series. Though it would be better if they gave us a soundtrack for the series, since they use movie soundtracks in the tv series i guess it's still ok.
MHCL-2312 | Pok�mon Best Wishes "Shinsoku no Genesect Mewtwo Kakusei"... - VGMdb (http://vgmdb.net/album/39960)
Been waiting for a long time for this though i'm sure not many people care about it :I.

You'd be surprised. There has been a bit of Pokemon music posted and discussed in this thread.

That's a bit of shock. I thought everyone here only cared about John Williams ;P

Also would anyone here happen to have this?
AVCA-14267 | Sakura Wars The Movie Complete Music Collection - VGMdb (http://vgmdb.net/album/12224)

I haven't been able to find it anywhere. I found the complete music set but the movie ost has 31 tracks while the complete music set only has 19. I honestly had no idea Sakura Wars was so popular. I looked for most of the other cds and they were all mostly sold out. I recently watched the Sakura Wars movie and while the movie itself was nothing special the soundtrack was quite good in my opinion. I haven't listened to much of Kouhei Tanaka but i think i might start to follow his work a bit more now :).

Sakura Wars: The Motion Picture



mp3 V0

VGMdb (http://vgmdb.net/album/22028)

So what do you do when two groups of characters from different games of the same franchise meet? You combine their themes of course!
Drama! ~Final Chapter~ is the combination of Go! Imperial Flower Assault Unit and Under the Imperial Flag. The rest is a fine score with some great orchestral tracks but overall not as strong as the previous games. My guess is that the final chapter uses music from the whole franchise and here we have the only tracks exclusiv for this game. It would explain the lack of a proper soundtrack. Still, tracks like Sakura Nation, Epilogue and Wonderful stage give a nice feeling of closure.
For the movie Tanaka recorded the music with a much larger orchestra and it really rocks your socks of. Grand, symphonic and the perfect closure to the franchise. Old themes are revised with new splendour and woven into a cohesive motion picture score. The final renditions of the opening theme in Counterattack and Ending are simply fantastic. And don't forget the movie version of Miracle Bells, now that's how you end it with a bang. Now with better english tags.


Here's a new mirror for The Motion Picture. :)

Mediafire: http://www.mediafire.com/?r93ra7zlnfor25m

I replaced the custom cover klnerfan used in his original post with the Geneon cover. I think that's the CD klnerfan has, right? :'D

Indeed and now I know what I'll be listening to before bed. Really really love this score, one of Tanaka's absolute best. I really hope Sakura Wars returns for the next generation, if only to give Tanaka a chance to work with the Tokyo Philharmonic or Kanagawa. I also pray to god that One Piece Symphony gets a DVD.

@LeatherHead333
Nah, there are entire boards only for Williams and film music but this thread has a much broader spectrum and I love that. It's about music first and foremost and orchestral music outside of Hollywood (and especially from Japan and especially from anime) rarely gets the attention it deserves which is a big shame.

Welp, seein' how it's about the half of the year, figured it'd fun to post some tentative halves of Best of the Year lists. Scores from series that began in 2012 but ended this year will be allowed, as will games that came out last year but only now saw soundtrack release.

1. Zetsuen no Tempest - Of Course this was was going to win. It will probably win at the end of the year, too. It certainly wouldn't hurt its chances to get a proper, full-disc release, though. Something about these two dvd releases feels slightly disjointed, as if there was no thought towards forming a narrative throughline through judicious placement of tracks. There likely wasn't at all. It's also sadly light on the thematic development I've always enjoyed from Oshima, putting Tempest just slightly below X'amd, her finest score in my eyes.

But still, goddamn. What a rich, full-bodied showstopper of a score. Its praises have been sung enough in this thread already, not that they're expected to cease, and its mostly all her favorite tricks yet again, but its hard to care when every piece is so utterly resplendent. In terms of complexity, lushness of performance and length of each piece, its easily her grandest work in a long time in one sense.

2. Jojo's Bizzare Adventure: Battle Tendency [Musik]: Eat me.

3. Ni no Kuni: This one's been talked up even more than Tempest. Nuthin' more really needs to be said.

4. Tenchi Meiatsu: It's kinda small potatoes for a Hisaishi score, but it's still quite beautiful. The humble, easy sentimentality of the lovely main theme really gets to me for whatever reason, and it has a just slightly restrained sense of adventure I've found lacking in his recent works.

Hisaishi's on a real roll lately. He's got three (http://vgmdb.net/album/38839) full (http://vgmdb.net/album/38914) scores (http://vgmdb.net/album/38888) coming out soon enough, all of pretty good length. Life is good.

5. Attack on Titan: Yup, totally, unironically excited for this one. Scoff if you want, Sawano's thoroughly cinematic, decibel-abusing rock-orchestra explosions and gritty beats feel about as polished as they've ever been, even if it is a little disappointing he never seems interested in exploring thematic development to the extent he practiced with Unicorn. Watching the anime helps; it fits the series like a gloved fist through a titan's skull.


As for early also-rans that may wind up making the list come years end, I'm interested in giving Gargantia a shot, despite avoiding the anime like the plague. Iwashiro's pretty dependable. Like most of his anime scores(but the polar opposite of his dramas, oddly), Kanno's Psycho-Pass came off as a tad slight other outside of the brilliant main themes, but still need to get to that Complete disc release, so maybe it'll bump up the list soon. Oshima's Fuse was pretty fun.

The year's still young. What were your faves so far?

I replaced the custom cover klnerfan used in his original post with the Geneon cover. I think that's the CD klnerfan has, right? :'D

As Sirsjur said, there was talk about Shinji Miyazaki in this thread, LeatherHead333 :'D



Well, we're music lovers out here :3

Many thanks Salat :). I was mostly joking about the John Williams thing it's just his name comes up a lot here is all ;I.

.

Welp, seein' how it's about the half of the year, figured it'd fun to post some tentative halves of Best of the Year lists. Scores from series that began in 2012 but ended this year will be allowed, as will games that came out last year but only now saw soundtrack release.

1. Zetsuen no Tempest - Of Course this was was going to win. It will probably win at the end of the year, too. It certainly wouldn't hurt its chances to get a proper, full-disc release, though. Something about these two dvd releases feels slightly disjointed, as if there was no thought towards forming a narrative throughline through judicious placement of tracks. There likely wasn't at all. It's also sadly light on the thematic development I've always enjoyed from Oshima, putting Tempest just slightly below X'amd, her finest score in my eyes.

But still, goddamn. What a rich, full-bodied showstopper of a score. Its praises have been sung enough in this thread already, not that they're expected to cease, and its mostly all her favorite tricks yet again, but its hard to care when every piece is so utterly resplendent. In terms of complexity, lushness of performance and length of each piece, its easily her grandest work in a long time in one sense.

2. Jojo's Bizzare Adventure: Battle Tendency [Musik]: Eat me.

3. Ni no Kuni: This one's been talked up even more than Tempest. Nuthin' more really needs to be said.

4. Tenchi Meiatsu: It's kinda small potatoes for a Hisaishi score, but it's still quite beautiful. The humble, easy sentimentality of the lovely main theme really gets to me for whatever reason, and it has a just slightly restrained sense of adventure I've found lacking in his recent works.

Hisaishi's on a real roll lately. He's got three (http://vgmdb.net/album/38839) full (http://vgmdb.net/album/38914) scores (http://vgmdb.net/album/38888) coming out soon enough, all of pretty good length. Life is good.

5. Attack on Titan: Yup, totally, unironically excited for this one. Scoff if you want, Sawano's thoroughly cinematic, decibel-abusing rock-orchestra explosions and gritty beats feel about as polished as they've ever been, even if it is a little disappointing he never seems interested in exploring thematic development to the extent he practiced with Unicorn. Watching the anime helps; it fits the series like a gloved fist through a titan's skull.


As for early also-rans that may wind up making the list come years end, I'm interested in giving Gargantia a shot, despite avoiding the anime like the plague. Iwashiro's pretty dependable. Like most of his anime scores(but the polar opposite of his dramas, oddly), Kanno's Psycho-Pass came off as a tad slight other outside of the brilliant main themes, but still need to get to that Complete disc release, so maybe it'll bump up the list soon. Oshima's Fuse was pretty fun.

The year's still young. What were your faves so far?


Very good list. I haven't listened to Tempest yet but i once i do i'm sure i'll be amazed as always by her work ^_^.
I've watched just about every episode of almost all on going soundtracks so i have a good feel for most of them at this point.

1. Attack on Titan

Yeah i know i'll admit i'm probably giving the soundtrack more credit that it deserves but i honestly can't help it D:
The soundtrack is spectacularly epic and matches the scenes perfectly. It's really a soundtrack that can't be enjoyed properly without watching the anime that comes with it. A few ones i like so far are the ending of the first episode and the scene with the armored titan. After listening to some samples of the ost i'm a tad concerned. I remember hearing vocals included with some of the tracks which i don't remember hearing while i watched the anime. Hopefully they don't carry over the course of the whole song as that would be quite troll move.

I'm also a bit surprised by the number of tracks. I thought for sure there would be more than 16 tracks. Hopefully nothing is left out.

2. Valvrave the Liberator

My lord it's been SOOO long since i've listened to Akira Senju. FMA was the last i've heard of him so i'm glad that he's back. Anime with mechs involved generally have pretty good soundtracks in my opinion. The main battle theme for this show is so addicting to listen to. I get hyped whenever it comes on ^_^. Can't wait for this one :).

3. Majestic Prince

Another golden jem this year and of course it's mech related. Amazing orchestra pieces and even a great use of choir (the theme used for the bad guys at the end of episode 9 i think). If i had to compare it to something i'd say it has a bit of Code Geass flare to it. The anime itself isn't to bad either.

4. Photokano

You know for the most part slice of life high school anime is just downright depressingly boring with very little effort or time put into the pieces most of the time. So i was genuinely surprised that i liked the music in this anime so much. The tunes are all catchy and a joy to the ears. I honestly wouldn't watch the show if it wasn't for the great music (dating sim based anime isn't my thing). Props to Mina ^_^.

5. Gargantia on the Verdurous Planet/HATARAKU MAOUSAMA!


Both of these shows have a good mix between serious battle themes and light hearted tunes which i found enjoyable at times. If i had to chose Gargantia is a bit over Maousama mostly because it is pretty cultural showing a great variation in the type of music it uses which you don't see that much anymore.

Kaze Tachinu is Hisaishi's return to Miyazaki's films after him being absent from The Borrower Arriety. I am really excited for this one! Ponyo showed Hisaishi still is improving his craft, but how you improve upon greatness is beyond me ;).

.

So the samples for Driland are up ... is the upcoming OST just the score for the sequel? If so then I will buy the character cd to save what little there is from the first score.

I'm torn because I haven't really come to a really good way of deciding what is considered released in one year or another. With film scores it is easy because they tend to come out at the same time or slightly earlier than the films but with anime scores it is a bit harder.

1. 42 - Mark Isham - the main theme really just blows me away. Such a powerful emotional score that I wasn't expecting from this at all.
2. Michiru Oshima - Zetsuen No Tempest - We all know how powerful this is but it really is fantastic to hear such a complex orchestral score from a new anime.
3. Toshiyuki Watanabe - Space Brothers - The main theme is fantastic and some of the best I've heard. Great additional music as well.
4. OZ - Danny Elfman - What can I say, I really like Elfman in orchestral style. The main theme is used well throughout.
5. Onna Nobunaga - Joe Hisaishi (Japanese movie) - Really like his textures he uses in this score.
6. Da Vinci's Demons - Bear McCreary - One of the best main themes I've heard in a while and from McCreary no less. I wasn't very impressed by any of his prior works but this is really nice. Quire a solid sub theme as well.

So the samples for Driland are up ... is the upcoming OST just the score for the sequel? If so then I will buy the character cd to save what little there is from the first score.
I'm guessing it's only the music from the sequel. The 4 tracks on the character CD are not included on the upcoming soundtrack and the soundtrack only has the sequel's title.

The Driland soundtrack is mostly music from the first series - probably because the second series is mostly re-using the first series score with a handful of new cues in between.

I expect they've kept the character song score tracks (5 minutes total, of which about two minutes is orchestral; NOT worth the money) off this disc in order to railroad completists into buying the character song disc. It's cheap (by Japanese standards) but only 28 minutes long and most of that is shitty character songs.

Great pity the tracks are so short (shorter than is customary for Mr Hirano) but it's still great stuff. :)

Oh ... well this sucks ... but still, that Ouranesque track! (someday...)

Mostly bought this on a whim but still there are some pretty good tracks present in this one.

COCX-37970 | DATE A MUSIC FIRST HALF - VGMdb (http://vgmdb.net/album/38497)
(http://s455.photobucket.com/user/leatherhead93/media/38497-1369143400_zps876696cc.png.html)

Title: DATE A MUSIC FIRST HALF
Type OST: Anime Soundtrack
Composers: Go Sakabe, Ruka Kawada, Yukari Hashimoto, Mikio Sakai
No. of tracks: 28
Format: MP3 and FLAC
Bitrate: 320kbs and Loseless
Release Date: Jun 05, 2013
Size: MP3 137mb/ FLAC 382mb
Host: Zippyshare/MP3 Mega/FLAC

Tracklist
01 Date A Live (TV Size) <Opening Theme>
02 Lux Perpetua
03 Kukanshin
04 D.A.L. Pancake
05 Seirei
06 Hazardous
07 D.A.L. Main Theme
08 Hatsukoi Winding Road (TV Size) <Episode 1 Ending Theme>
09 My Little Shido
10 Ha-pi-pi!
11 Silly Game
12 T in Sunset
13 Duel
14 Date! Date! Date!
15 When the Bud Opens (TV Size) <Episode 3 Insert Song>
16 Cycling
17 Ristorante YAMAZAKI
18 D.A.L. Nap
19 Furious Anger
20 Rain in the Park
21 Mission of AST
22 Thunder
23 Silly Game2
24 Zadkiel
25 Milk
26 SAVE THE WORLD (TV Size) <Ending Theme>
27 Hatsukoi Winding Road (Full Size)
28 When the Bud Opens (Full Size)

320 kbs MP3
Zippyshare.com - DATE A MUSIC FIRST HALF.7z (http://www24.zippyshare.com/v/29427238/file.html)

FLAC
https://mega.co.nz/#!uYo2zJjD!AEY03kEwBmQ2twgShy4A0kKkPDdUqJbeZFlz9sr ZJYM

Scans and all that junk are included.

Many thanks for Date A Live. My friend has been bugging me for it for a while now.

Anyone got a craving for more Nakagawa Kotaro?

PCXG-50261-2 | DEVIL SURVIVOR 2 the ANIMATION Original Sound Track - VGMdb (http://vgmdb.net/album/38487)
(http://s455.photobucket.com/user/leatherhead93/media/38487-1369938060_zpsddc1a707.png.html)

Title: DEVIL SURVIVOR 2 the ANIMATION Original Sound Track
Type OST: Anime Soundtrack
Composers: Kotaro Nakagawa
No. of tracks: 19
Format: MP3 and FLAC
Bitrate: 320kbs and Loseless
Release Date: Jun 19, 2013
Size: MP3 88.1mb/ FLAC 242mb
Host: Zippyshare/MP3 Mega/FLAC

Tracklist

1. Monday of Turmoil
2. The Morning Sun We Thought We Were Gonna See Again
3. Shibuya
4. Daichi
5. Daichi and Hibiki
6. Nicaea
7. The Beginning of the End
8. Extreme Situation
9. Many Farewells
10. JIPS Headquarters
11. Sign of the Enemy
12. VS
13. Great Disturbance
14. Io
15. VS2
16. Raider's Attack
17. Septentrion
18. Wing
19. The Shining One


320 kbs MP3
Zippyshare.com - [AOI]DEVIL SURVIVOR 2 the ANIMATION Original Sound Track [320k+scans].zip.7z (http://www35.zippyshare.com/v/22328288/file.html)

FLAC
https://mega.co.nz/#!DYAAzJhL!IrjaXFpNWl0RRjm0htItZXau2mJPmIFFc3IsjND 789k



Scans are included. Tracklist was translated by Akashi-san :)
Personally not Kotaro Nakagawa's best work. But i'd have to say he was a bit more limited that usual with this show. It's one of those dark, end of the world, everyone is panicing and dying shows so he had to keep it a bit more toned down i guess.

Thanks!

[CENTER]MICHIRU OSHIMA - BLAST OF TEMPEST ORIGINAL SOUNDTRACK VOL.2
FLAC, LOG | 126 MB | 10 TRACKS - 27:06




Many many thanks

Wow indeed. Devil Survivor 2 The Animation is pretty much one of the worst Kotaro Nakagawa scores I've heard.

Tarkus ~Classic Meets Rock~
iTunes Purchase|17 TRACKS~76:35

Sachio Fujioka Conducting the Tokyo Philharmonic Orchestra

Composer Credit:

Tracks 1-7 (Tarkus): Emerson, Lake & Palmer
Tracks 8-9 (Bugaku): Toshiro Mayuzumi
Tracks 10-13 (String Quartet No. 12 "America"): Anton�n Dvoř�k
Tracks 14-17 (Atom Hearts Club Suite No. 1): Takashi Yoshimatsu

Tracks 1-7, 10-13 Orchestrated by Takashi Yoshimatsu



A rather eclectic selection of music. Emerson, Lake & Palmer was a British progressive rock band - you get to hear Yoshimatsu's take on their famous piece "Tarkus".
Tarkus is only 18 minutes long, so contrary to the album name, "rock" music is only about 1/4 the entire length.

Bugaku is ballet music by Toshiro Mayuzumi (I only know his soundtrack work for the movie The Bible).
Tracks 10-13 are Dvorak's famous American String Quartet arranged for a piano and and an orchestra - it should be a very pleasant listen.
The last 4 tracks are Yoshimatsu's own Atom Hearts Club Suite No. 1. It was also featured in one of the Chandos recordings with the BBC Philharmonic (the better of the two).

And for everyone's reference, Tarkus original: Emerson, Lake & Palmer - Tarkus [Full Song] - YouTube (http://www.youtube.com/watch?v=YJINce7l3P4)
Tarkus orchestrated (live): Tarkus (Orchestrated) - YouTube (http://www.youtube.com/watch?v=s6pjN9Id-jw) Still sounds like rock music, no? :D

Enjoy or not! ;]

Download: https://mega.co.nz/#!8QAjEAAR!BH41shcDF9di-m1ytPEu0SuXpiJntLPvQC7Fe5BSC3k

Debussy - Nocturnes, La damoiselle �lue, Le Martyre de saint S�bastien
My Rip|FLAC|8 TRACKS~68:02

Esa-Pekka Salonen Conducting the LA Philharmonic



Nocturnes should be familiar to anyone who likes Debussy's music, but the other two work for orchestra and chorus are not as frequently performed. Very good performance and recording - don't miss it!

Download: https://mega.co.nz/#!JJokzRgB!RZPy_k3A1a8B3-sqm7DI_hnBBNoZOWxBCa7KR_NjOxg

My sincere thanks to aimelek
and the large effort to share of Herr Salat



Annette Focks - Krabat
|Orchestral|Mysterious|Dark|



It's a pretty obscure score, but well worth a listen :)...





ANNETE FOCKS
KRABAT
MP3 -v0 | 27 Tracks | 01:04:34 | 109 MB
Thanks to the original uploader :'D
DOWNLOAD
https://mega.co.nz/#!90dgUJAT!E-QHcF0cNnCygCgiD1_3XHtt1jgq9oK7m-_6xy7SCcU



Krabat (film) from Wikipedia, the free encyclopedia


Krabat is a 2008 German fantasy film directed by Marco Kreuzpaintner from a screenplay by Michael Gutmann and Kreuzpaintner, based on Otfried Preu�ler's novel of the same name. The plot is about a boy, Krabat (played by David Kross), who learns black magic from a sorcerer (played by Christian Redl). A DVD-Video encode of the film is distributed in the United Kingdom as Krabat and the Legend of the Satanic Mill.
It premiered in the US at the Seattle International Film Festival in 2009.

Plot Summary


When the Plague sweeps across Europe after the Thirty Years' War a boy named Krabat (David Kross of "The Reader") is left without family, food, or hope. An old Mill Keeper takes him in as an apprentice. There are eleven other boys working at the mill, and Krabat develops a friendship with one of them, a young man named Tonda (Daniel Br�hl). Soon, Krabat learns that the apprentices are also taught dark sorcery by the master, and one of the rituals (during Easter) lead to an excursion to the nearby village Schwarzkolm where Krabat meets a young girl and falls in love with her. There, Tonda also talks to one of the girls; both seem to be in love with each other. Later, Tonda warns Krabat that the master must never know the name of his girl.
One day, while protecting the nearby village from soldiers, Tonda makes an error and his girl's name (Worschula) is revealed to the master. The next day, Worschula turns up in the creek, dead. Krabat mistakenly blames Lyschko, another apprentice. Tonda becomes recluse and anticipates the end of the year. Krabat's first Silvester (New Year's Eve) brings to light the true horror of the mill. Every Silvester, one of the boys must be sacrificed so the master may remain young. And so at midnight, Krabat's best friend Tonda is viciously murdered, and when Krabat tries to help him he is stopped by the other boys who tell him that "there is nothing we can do". Before he dies, Tonda tells Krabat there is another boy in the mill Krabat can confide in. He also tells Krabat to take two sacks of flour to the village.
Krabat is distraught over Tonda's death, but does as he is told. Bringing the sacks of flour to a tree near the village, Krabat once again meets the girl he first met while protecting the village. He is in love, but does not let the girl tell him her name, fearing for her life. Instead, he calls her Kantorka (Choir leader). During the ritual at Easter night, he goes to the village to meet her, this time along with a boy called Juro who appears to be mentally disabled and not able to learn the trade or properly do magic. When Juro tells Krabat that they must leave and go back to the mill, Krabat insists that he will stay with Kantorka. Juro then uses powerful magic to convince Krabat to come back with him, revealing that he is in truth highly intelligent and powerful, even able to change the weather. Juro promises Krabat that he will help him escape the master, and tells him that his girl must ask for him on the first day of the year. Krabat tells Kantorka that she must do so, and she agrees and gives Krabat a lock of her hair, telling him to have another boy deliver it to her when the time is right.
When Krabat returns, a series of climactic events are set in motion.



Posters:


http://www.impawards.com/intl/germany/2008/krabat_xlg.html

http://www.impawards.com/intl/germany/2008/krabat_ver2_xlg.html

Download
mp3 ~ 320 kbp/s


http://www.filefactory.com/file/24lqctz1koll/n/2008.Krabat.OST.rar

http://depositfiles.org/files/cy4m30yho
with Complete Scans

Thanks Akashi, coincidentally I was actually looking for that Yoshimatsu Tarkus album yesterday.


News: it's been announced that Michiru Oshima's soundtrack for Little Witch Academia will be included with the North American blu-ray release which comes out this summer (specific date TBD). Here's a sample for anyone who hasn't watched it: https://dl.dropboxusercontent.com/u/22621624/LWA%20End%20Credits.mp3

Just spotted that one literally five minutes ago on ANN... Amazing! The Gods are smiling upon us, it seems... I really, really wanted this... but at the same time I didn't seriously expect it to get any kind of release in a month of Sundays. I so do LOVE being wrong...

Yes, it's only 20 minutes of music, but it's just GREAT.

Akashi San: Thanks a million for Tarkus...! I genuinely cannot decide if I love Yoshimatsu or hate him. I feel like I love him but then feel like there's some reason I shouldn't, some reason I can't quite put my finger on... Anybody else get that feeling?

When I was (much) younger, I used to get it with Shostakovich, believe it or not... but I got over that a fair few years ago...

[IMG]

Download: https://mega.co.nz/#!8QAjEAAR!BH41shcDF9di-m1ytPEu0SuXpiJntLPvQC7Fe5BSC3k

[FONT=Tahoma][SIZE=5][B]Debussy - Nocturnes, La damoiselle �lue, Le Martyre de saint S�bastien
My Rip|FLAC|8 TRACKS~68:02

Esa-Pekka Salonen Conducting the LA Philharmonic



Nocturnes should be familiar to anyone who likes Debussy's music, but the other two work for orchestra and chorus are not as frequently performed. Very good performance and recording - don't miss it!

Download: https://mega.co.nz/#!JJokzRgB!RZPy_k3A1a8B3-sqm7DI_hnBBNoZOWxBCa7KR_NjOxg


La damoiselle �lue is a BEAUTIFUL work for soprano and female chorus. "She waits for her lover to join her, but he never arrives."

This should be fun with the marvelous voice of Dawn Upshaw.

Thank you!

Yoshimatsu is a really interesting one. While his music is certainly very distinct, his style is almost instantly recognizable, and his melodic content and orchestration techniques vary only slightly among his works. Despite being classified as classical music, his music is a fusion of many things and more often than not, show clear influence of rock and jazz (he himself was a band musician before writing concert work, I believe). One of his symphonies even feature an extremely simple passage of piano solo that wouldn't be out of place in a typical Japanese drama or anime. There is something about his unique "classical" music that is deceptively simple - even somewhat predictable. I can definitely agree with anyone who says his music lacks depth, but I still enjoy his music for what it is. His piano concerto, for example, is so subtle, fleeting, and manages to capture the feeling of transience which is the epitome of classical Japanese philosophy. Yoshimatsu borrows from Western greats without losing the Japanese-que sound and accessibility, part of the reason why he is very popular even among the young Japanese population.

I'll stop there for now. Forgive me for any typo or broken sentence. I typed this on my measly phone. :)

Mr. Phiddy: have you checked out L'Enfant Prodigue as well? Now that's another missing link in my collection.

And what great news for Little Witch! I have to say, however, I am more looking forward to Patema. :D

I'm definitely more looking forward to Patema... although my enthusiasm is coloured by a certain sinking feeling that Patema won't get released and we now know that Little Witch will...

Failure to release Oshima - no matter what it is - is criminal. At least Tempest made it somehow... I fear that we will never see hide nor hair or Aura, Patema, or Haru... :(

I am not a big Debussy fan... Ravel yes. I sold off my Debussy discs years ago. I investigated his music- enjoy of course what Tiomkin did with it in Portrait of Jennie- but Ravel suited me better. His L'Enfant et les Sorteliges, operetta, is a delight and obvious inspiration for Goldsmith's LEGEND.

(phones are for talking into... this new technology is ridiculous... next people will be watching movies on a hairbrush)

I'm definitely more looking forward to Patema... although my enthusiasm is coloured by a certain sinking feeling that Patema won't get released and we now know that Little Witch will...

Failure to release Oshima - no matter what it is - is criminal. At least Tempest made it somehow... I fear that we will never see hide nor hair or Aura, Patema, or Haru... :(
Asmik Ace is in charge of production and distribution for Patema and they do not have a history of doing bonus CDs.

They were in charge of Time of Eve (the director's previous film) and worked with Aniplex to do a soundtrack release. They were more recently in charge of Fuse and you know that got a soundtrack release too.

^^ Thank you most sincerely for the optimism... I know I can be a gloomy asshole sometimes. :)

I am not a big Debussy fan... Ravel yes. I sold off my Debussy discs years ago. I investigated his music- enjoy of course what Tiomkin did with it in Portrait of Jennie- but Ravel suited me better. His L'Enfant et les Sorteliges, operetta, is a delight and obvious inspiration for Goldsmith's LEGEND.

(phones are for talking into... this new technology is ridiculous... next people will be watching movies on a hairbrush)

I might comment here on my phone but I'd never get anything done. Plus it isn't very mobile friendly (or is it?)
Don't dock smartphones though. They are very powerful things and it is quite fantastic what they can do.

...
Don't dock smartphones though. They are very powerful things and it is quite fantastic what they can do.

You haven't seen my hairbrush, bud !

---------- Post added at 03:21 PM ---------- Previous post was at 03:20 PM ----------


...His L'Enfant et les Sorteliges...

... Sortil�ges.

I might comment here on my phone but I'd never get anything done. Plus it isn't very mobile friendly (or is it?)
Don't dock smartphones though. They are very powerful things and it is quite fantastic what they can do.


Yes.... within a Darwinian concept they can help eliminate a surfeit of dunderheaded teenagers in automobiles.

---------- Post added at 04:37 PM ---------- Previous post was at 04:36 PM ----------


You haven't seen my hairbrush, bud !

---------- Post added at 03:21 PM ---------- Previous post was at 03:20 PM ----------



... Sortil�ges.

I was writing it without the disc in view. Forgive, forgive, forgive.... here, gaze upon me via this toothbrush.

Now this thread is about brushes. :rolleyes:

I just noticed this thread has reached the 500-page milestone, so here's to another 500 pages :love:

Also noticed that Patema won't be until December. Ho hum...

Only 250 pages for me. I laugh at your tiny pages.

Stranger things have happened; I doubt that in 2008 anybody seriously expected this thread would still be going even six months later, let alone five years. Incidentally, this thread is indeed having its fifth birthday one month and two days from now - July 23rd - keep it in your diaries. Let's celebrate!

Gentlemen, it's been a pleasure - a big "THANK YOU" to everybody who's ever posted in here (whether music or words or both) and here's to much, much more of the same. Some days you guys make me insane, and some days you keep me sane... and I wouldn't have it any other way. My most genuine gratitude.

:)

Edit: Three CDs just shipped that I think this good thread will be very interested in...

Tarkus ~Classic Meets Rock~
iTunes Purchase|17 TRACKS~76:35

Sachio Fujioka Conducting the Tokyo Philharmonic Orchestra

Composer Credit:

Tracks 1-7 (Tarkus): Emerson, Lake & Palmer
Tracks 8-9 (Bugaku): Toshiro Mayuzumi
Tracks 10-13 (String Quartet No. 12 "America"): Anton�n Dvoř�k
Tracks 14-17 (Atom Hearts Club Suite No. 1): Takashi Yoshimatsu

Tracks 1-7, 10-13 Orchestrated by Takashi Yoshimatsu



A rather eclectic selection of music. Emerson, Lake & Palmer was a British progressive rock band - you get to hear Yoshimatsu's take on their famous piece "Tarkus".
Tarkus is only 18 minutes long, so contrary to the album name, "rock" music is only about 1/4 the entire length.

Bugaku is ballet music by Toshiro Mayuzumi (I only know his soundtrack work for the movie The Bible).
Tracks 10-13 are Dvorak's famous American String Quartet arranged for a piano and and an orchestra - it should be a very pleasant listen.
The last 4 tracks are Yoshimatsu's own Atom Hearts Club Suite No. 1. It was also featured in one of the Chandos recordings with the BBC Philharmonic (the better of the two).

And for everyone's reference, Tarkus original: Emerson, Lake & Palmer - Tarkus [Full Song] - YouTube (http://www.youtube.com/watch?v=YJINce7l3P4)
Tarkus orchestrated (live): Tarkus (Orchestrated) - YouTube (http://www.youtube.com/watch?v=s6pjN9Id-jw) Still sounds like rock music, no? :D

Enjoy or not! ;]

Download: https://mega.co.nz/#!8QAjEAAR!BH41shcDF9di-m1ytPEu0SuXpiJntLPvQC7Fe5BSC3k

Debussy - Nocturnes, La damoiselle �lue, Le Martyre de saint S�bastien
My Rip|FLAC|8 TRACKS~68:02

Esa-Pekka Salonen Conducting the LA Philharmonic



Nocturnes should be familiar to anyone who likes Debussy's music, but the other two work for orchestra and chorus are not as frequently performed. Very good performance and recording - don't miss it!

Download: https://mega.co.nz/#!JJokzRgB!RZPy_k3A1a8B3-sqm7DI_hnBBNoZOWxBCa7KR_NjOxg

What kind of file is this? I can't open it.

Which one Phideas?

Very nice. thank you

I was wondering what Oshima albums we are missing today. I think there are still some good stuff to be had from her vast output (especially older works).

A couple of months ago, I posted Volume 1 of the TV score as a companion to Akashi San's earlier post of the movie score, with a promise that Volume 2 would follow closely behind. Volume 2 disappeared in the mail, but thankfully did show up eventually, so here it is; we now have 100% of Akira Senju's Tetsujin music available and in FLAC!


AKIRA SENJU
Tetsujin 28 Music Collection Vol. 2
Studio Orchestra
conducted by
Kouji Hito
(note - the conductor may actually be Kouji Haijima; I suspect a dodgy translation in the booklet.)



My rip from the Geneon USA licensed release. FLAC Level 8. Full booklet scans and English track titles included.

https://mega.co.nz/#!stBFnCRQ!cp9oYx-lhByVG3jREd-LiHXE-bsC_9hn1Vy30CemOCw

Since this is an American localised release of the original Japanese soundtrack (with identical contents and sound quality) the booklet is actually very useful! Tasteful art, some background on Senju, orchestra credits, song lyrics, and track titles that make sense. Enjoy!

The good stuff is definitely on the first volume (available here http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/484.html#post2337124) but it's still good to have this for the sake of completeness. We have a repeat of the opening theme with annoying grainy sound effects (it's clean on the first volume) and some other orchestral cues of varying quality. Basically good stuff. Not the best ever, but, you know... with Senju, one hand giveth, the other taketh away. ;)

Incidentally, since I announced in my volume 1 post that I'm in a good mood, it feels appropriate that I should provide a status update in this post; all going well between myself and R, our two month anniversary on Monday. Crazy girl (in the good way), beautiful, sexy, and really good company. So, I am indeed still in an exceptionally good mood... and I expect that mood to get even better on Monday when a certain parcel from a certain Japanese CD retailer drops on my doorstep...

You're off topic Tango, as always...

... This goes into the big otaku music thread !






:D

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This should be fun with the marvelous voice of Dawn Upshaw.

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By far I'd rather listen to Teresa Erbe.

Okay.

Thread 136089

Five hours. More than a fair amount is ambiance as it was a big part of the Zerg identity going way back to the original StarCraft in 1998. There is still plenty of good orchestral cues (and some electronic ones as well. Who knew!).

If tango makes another joke about the absurd running time, I will do something...

terrible.