Being a dick never hurt Herrmann... ;)

Then again, Herrmann was around in the age where talent was recognised and appreciated, and you'd happily put up with an obnoxious bastard because it would gain you access to his genius...

I don't know about that. I mean, I think you have to take into consideration the time periods. Back then rude behavior was accepted, if not outright admired. So long as you didn't beat people up your behavior really didn't matter. We didn't have things like Worker's Right or Poltiical Correctness back then.

It's not a matter of recognizing talent (I think talent IS recognized, it is just being forced to be marginalized into a very simplistic and anti-intellectual fashion), but of working with people. Making a movie is a collaborative prospect - why would you want to work with a dick who may or may not be a genius when you can work with someone else that makes for a better working relationship?

I would do the latter every single time. If I achieved my dream of being a Game Designer, and I was put at the head of a AAA Game, I would never, ever go with a Bernard Herman or a James Horner. I would go with a Jablonsky or a Zimmer - because by all accounts these guys are gentlemen that are WORKABLE.

Now granted, I would go with a Zimmer or Jablonsky that produces the classically inspired music that I want, but you get the drift.

Of course, if I had any say in the matter, I'd go with Lennie Moore every time, and by all accounts he is as kind as a kitten. So, there. Problem solved.

So, you'd voluntarily and knowingly produce an inferior product sooner than eat a slice of humble pie and let a talented composer do their job? If that attitude crosses over into other aspects of your creative process, you'll end up with a company full of really nice guys who will be all happy and cheerful and affable and friendly - all collaborative team workers - all smiley and up-beat as they busy themselves producing the most mediocre piece of trash known to humankind...

To get good things, you need to get good people. If you treat them with respect and trust them to deliver in the field that is their specialism, they will never be unpleasant to you or hard to work with, and they will use the autonomy you granted them to bring their own individual uniqueness to your project. This applies to all parts of the process. Committees and creativity do not work together. You get to chose one or the other.

I doubt that Horner is unable or unwilling to participate in collaboration. What annoys him (as it did Herrmann) is when people who don't know what they're talking about want to get their noses in to his business. Back in the day, a composer came on board, received some basic directional advice, discussed where the music should go, and then he went off to write it. Now everybody and the Janitor and his wife and her best friend and their dog want to get their oar in. All these things distract composers from the creative process. Asking creative people to be creative but then throwing endless obstacles in their path... tends to piss them off. Composers are dictated to by studio heads. The style of a score is defined by whatever a hack music editor decided to use as the temp track. A score can get tossed because a dumb audience of uneducated troglodytes say it sounds too old fashioned. No wonder Horner's an arsehole sometimes.

Likewise Herrmann... he wouldn't win any prizes for "most friendly and patient guy of the year" but if you respected him, he'd respect you. OK, he was curt, but he wasn't *wrong* and his track record proved that if you let him get on with what he was good at, great things would happen. The fact that the list of directors who worked with him read like a "Who's Who Of 20th Century Film Making" is a testament to this fact. Filmmakers who wanted the best for their film and had enough humility to work with Herrmann... got results.

People who would rather work with NICE people than TALENTED people and who can't take some professional conflict as an integral (and very necessary) part of the creative process... produce generic crap and get forgotten.

If I were making a film or a game, if SATAN HIMSELF was a great composer and his style was the best fit for my prokect, and he would give me the best possible score... I would work with Satan IN A HEARTBEAT. I wouldn't presume to tell him what to do (he'd be the composer - not me) and I'd trust in his judgement as a skilled musician.

I think I'd have a great time working with James Horner, because I'd say "Right, James - here's the film. I'd like a fully symphonic score, thematic, melodic, intelligent, creative. No wailing woman, no synthesisers, please. Go off and do what you do best! If you have any questions give me a call, otherwise see you at the scoring session in three months!" and that would be that. That's what composers are supposed to do; compose music.

So, you'd voluntarily and knowingly produce an inferior product sooner than eat a slice of humble pie and let a talented composer do their job? If that attitude crosses over into other aspects of your creative process, you'll end up with a company full of really nice guys who will be all happy and cheerful and affable and friendly - all collaborative team workers - all smiley and up-beat as they busy themselves producing the most mediocre piece of trash known to humankind...

Well in the real world it will never be either extremes. Even if you get a bunch of guys who AREN'T a bunch of bags o' dicks there will be arguments. Tempers will flare, the pressure of the project will mess with everyone's emotions. But it starts with the basis of the team members being cooperable! If you can't work with somebody on the best of days, how the hell are you going to work with someone on the very worst of them?

This is probably just as, if not more so, important than with music. Music is such a fundamentally important component of any mulimedia project that a collaboration of some degree is essential! And if I have a composer that I KNOW I cannot work with, I am going to have difficulty communicating with, then why would I bring him on? Especially when I know I can find a composer who is just as good who is nice and charming? It's a much bigger pond than most people think.


I doubt that Horner is unable or unwilling to participate in collaboration. What annoys him (as it did Herrmann) is when people who don't know what they're talking about want to get their noses in to his business. Back in the day, a composer came on board, received some basic directional advice, discussed where the music should go, and then he went off to write it. Now everybody and the Janitor and his wife and her best friend and their dog want to get their oar in. All these things distract composers from the creative process. Asking creative people to be creative but then throwing endless obstacles in their path... tends to piss them off. Composers are dictated to by studio heads. The style of a score is defined by whatever a hack music editor decided to use as the temp track. A score can get tossed because a dumb audience of uneducated troglodytes say it sounds too old fashioned. No wonder Horner's an arsehole sometimes.

I can understand those sentiments. Having everyone get involved with any sort of creative process - especially those that don't know a damn thing about it - is just ripe for disaster. BUT, I imagine the creative lead of any given project would have a somewhat collaborative relationship with the composer, and I imagine a few composers would prefer it that way. I would want to talk to the composer about the themes of the project, the tone of the narratives, our intention with the given scenes. And I would hope the composer would APPRECIATE not having to work with a blank slate, to have a platform to work off. Now would I respect the composer and let him do his job? Naturally! But I would not want to leave him in the dark either.

So no surprise, considering the composer's past works but Free! Ever Blue Sounds does not do anything for me. I'm still ambivalent about this new Kotaro Nakagawa. My first impression is blah too jazzy but I might give it another shot.

So no surprise, considering the composer's past works but Free! Ever Blue Sounds does not do anything for me. I'm still ambivalent about this new Kotaro Nakagawa. My first impression is blah too jazzy but I might give it another shot.

Have you gave Horizon in the middle of nowhere a listen before? I'd say that's still Tatsuya's best work (liked the second season one more than the first).

There was a recent BBC Radio program where Horner was interviewed and they touched on the recent trends with temp tracking in film scoring, mentioning the whole Troy thing where Yared was replaced, and the 300 thing where Goldenthal's Titus was ripped off. There was a neat partial interview with James Horner who really tears into the industry. Can't seem to find it, though.

http://downloads.bbc.co.uk/podcasts/radio3/r3docs/r3docs_20130923-1508a.mp3

Show notes: http://www.bbc.co.uk/programmes/b03bfjqv

This is pretty awesome: Hollywood in Vienna 2013 - James Horner - Avatar - YouTube (http://www.youtube.com/watch?v=D8ow7X7aJyU)

There was a recent BBC Radio program where Horner was interviewed and they touched on the recent trends with temp tracking in film scoring, mentioning the whole Troy thing where Yared was replaced, and the 300 thing where Goldenthal's Titus was ripped off. There was a neat partial interview with James Horner who really tears into the industry. Can't seem to find it, though.

Yeah, you can really hear it in the samples that have been posted of Jablonsky's score to Ender's Game. Totally generic epic sounding stuff that sounds like it could be any number of other scores.

So, you'd voluntarily and knowingly produce an inferior product sooner than eat a slice of humble pie and let a talented composer do their job? If that attitude crosses over into other aspects of your creative process, you'll end up with a company full of really nice guys who will be all happy and cheerful and affable and friendly - all collaborative team workers - all smiley and up-beat as they busy themselves producing the most mediocre piece of trash known to humankind...
IMO: ideally you work with the best talent you're capable of working with, because if you can't work with them the project doesn't get done.

Practically: As I think we've already discussed here before, some movie studios aren't looking for collaboration anymore, they're looking for "I already know exactly what I want/need for this project and I want it fast and cheap and no lip from you". Sometimes this is because they are a bag of dicks, sometimes it's just budget or something.

Looking up Ender's Game at imdb, I see sixteen producers, so I would hazard a guess that it's not really a personality issue on any side in this particular case. It's movie studio bureaucracy following a Standard Business Plan for turning a famous book license into a pile of money through the application of special effects budget. The only way you can work in a hell of 16 bosses - and it will be hell, even if they were all individually great bosses - is to keep your head down and stfu and don't try anything fancy so they won't feel the need to meddle. It's just way too damn many bosses. I could totally see Horner not making it past the early negotiations through absolutely no fault of his own, because you could go to a group that big and say something completely traditional like "I would like to write a theme for Ender and one for the Bugs, and use a lot of strings and horns" and fucking six of those sixteen would immediately object, again possibly even out of no fault of their own, because you don't get sixteen bosses and not have a different six of them feel they have to put personal input into every issue.

I would also hazard a guess that older, established composers (like Horner?) tend to look at that kind of situation, immediately suss out whether they're answering to just 1-3 bosses like in a normal operation or whether it's a 16-man design-by-committee hell, and if it's the latter, they say "You know what? I don't need to work under this kind of condition, bye." Whereas someone based in completely uncontroversial process (like Zimmer?) has no problem with it because they're offering him the job because they want exactly what he wrote last time and therefore there will be no objections, or someone relatively young and not rich yet (like Jablonsky?) really needs the work because film jobs pay more and even if this one is crappy it could get him more connections and exposure and therefore less-crappy film jobs.

(I then spent a few minutes looking up good 80s movies with good music and was completely unsurprised to see they only had 1-5 producers).

TEMPEST!!! (Thread 161955)

TEMPEST!!! (Thread 161955)

Ah, excellent! Thank you for the pointer! :)

Not a single note of orchestra in Magi Season 2 so far... optimism level waning...

It sounds great!! Confusing tags though for me.

Edit: And there is that sweeping track 10 without FX and in nice quality.

Thank you China for Tempest. That track 10!

Now where's Aura...?


Not a single note of orchestra in Magi Season 2 so far... optimism level waning...
Coincidentally Sagisu's next project was announced today: Black Bullet, a fantasy/action TV anime presumably airing next year.

You know it's going to be a damn good day when the first thing you wake up to is a soundtrack you've been anticipating for quite some time.

EDIT: Oh, and before I forget let us get a translation out!

Now, I am starting the first track number at 26, because I am placing these files after Vol.2. I am not sure this is in chronological order or not - I haven't gotten to listen to any of the tracks yet. I am still going through the John Carter recording sessions that were uploaded a couple of days ago but that which I only discovered late last night.

26. Change
27. Hamura
28. Mischief
29. Strange
30. Idling
31. Kiraku
32. Intricacy
33. Hakaze
34. Reasoning
35. Encounter Variations (Dance Version)
36. Aika

null (http://localhost)

Many thanks for FMP! I'll upload OST 1 in FLAC a bit later to complete the collection. :)

I was planning to rip Vol. 1 next, but I won't stop you ;)

Just a quick question.

Does having a big expensive orchestra usually result in an anime soundtrack only being released in an enclosure? Or is Michiru just having bad luck with that?

I think its just a sign of the industry, rather than the actual price of the orchestra. They want people to buy the most expensive version of each release, so they include bonuses with them. Including soundtracks.

I sure hope we will get a soundtrack eventually. The third soundtrack is quite a mood change not unlike the last volume of Break Blade and just as great as everything else. Over 90 minutes of orchestral greatness without any dull moment. This may stand the test of time as the best score Oshima has composed in her career and one of the best scores ever written for an anime (or any media for that matter).
Here's also my tracklist of the score, I think the order of the offical releases is not all that great for a standalone listen:


Zetsuen no Tempest: Original Score

01. Zetsuen
02. Reminiscence
03. Uneasiness
04. Encounter
05. Collapse
06. Kusaribe
07. Mischief
08. Hakaze
09. Waltz (Kiraku)
10. Curious
11. Reasoning
12. Strange
13. Unexpected
14. Shiver
15. Appearance
16. Deal
17. Nostalgia
18. Samon
19. Intricacy
20. Idling
21. Hamura
22. Suspicion
23. Emergency
24. Resurrection
25. Natsumura
26. Conflict
27. Defeat
28. End
29. Dance of Encounter
30. TEMPEST
31. Memories
32. Change
33. Relief
34. Heart's Sensation
35. Aika
36. Hope

Hidden Yamashita gem from an unknown Korean MMORPG: Call Of Chaos(? ?? ???) - ?? ??? (????) - YouTube (http://www.youtube.com/watch?v=cZQ0J0J_OHk)

Being a dick never hurt Herrmann... ;)

Then again, Herrmann was around in the age where talent was recognised and appreciated, and you'd happily put up with an obnoxious bastard because it would gain you access to his genius...

The prima donnas, auteurs and wunderkinds of those days only worked if they provided a competitive advantage for the studio. And one of those advantages was, as you point out, talent, the bigger the talent the better. Because that's what audiences of the time had learned to expect. Today, it's the complete inverse. Striving for mediocrity is considered a compliment.

Indeed, agreed.

I don't know if they actively strive for mediocrity... I suspect they're striving for nothing but money. All creative concerns go out the window when forced to chose between what's good and what sells. Once upon a time, when people still paid lip service The problem is, these days, mediocrity is exactly what sells. Of course, it's always been about money - but previously the idea was to make money producing good things - to encourage audiences to be discerning, and to constantly upgrade standards...

Now, we make a good film and people go and see it. Next, we make a slightly crappy film, and people go and see it - and they modify their expectations for the next one. Next, we make a thoroughly stupid film, and people go and see it. They believe they're watching good films because, by their own standards, they are perfectly good films - just as by their standards, modern scores are perfectly good scores. They will never know the transcendent, life-changing joy one can feel when one experiences a great film or great music. They will only know the brief heart-pounding intensity of the latest Blockbuster remake / sequel / reboot - which will become "the best film ever" until the next one comes along...

A former friend of mine holds Mr Popper's Penguins as the best film ever made. I weep for humanity.

Take mediocre as: average, prosaic, run-of-the-mill, don't rock the boat, middle-of-the-road, uncontroversial, no risk.

Eh, we've been through this before.

Things aren't THAT bad.

Things are getting better.

Look on the briiiight side of life.

Da da. Dee-dee-doo-doo-dum.

In other news I got my hands on the Rome II: Total War soundtrack!

It's good! It has some tribal elements but it is predominantly an example of the orchestral music that we all love! That's because Richard Beddow landed the job instead of Van Dyke (who could either be applauded or damned on his use of time period instruments for each game).

I'll try to upload it ASAP.

I disagree, but I have to applaud your use of that fine song... ;)

In other news... so far, this anime season stinks, music-wise. Yes, there's some good stuff - Tanaka's Gaist Crusher, I think we're pretty much guaranteed something good with Hamaguchi's Galilei Donna, and Senju's Valvrave 2 might have something going for it, and I'm still a little hopeful fro Tokyo Ravens, but apart from that? Remember the great things we were blessed with in 2012... Tempest, Magi, AKB0048, Ozuma, Space Brothers, Code Breaker, Girls und Panzer, Driland, etc... this October, we've got a few odds and sods, a bunch of cheap crap, and a few good scores ruined by crippling budgets.

2012 was indeed a golden year. 2013 is not looking too hot, unless some unbelievable miracles happen in the shows which are starting over the last couple of weeks...

TOTAL WAR: ROME II
COMPOSED BY RICHARD BEDDOW



1.Richard Beddow - Main Menu (4:01)
2.Richard Beddow - Ramming Speed (2:13)
3.Richard Beddow - Deployment (3:35)
4.Richard Beddow - Legions of Rome (4:33)
5.Richard Beddow - Engineering An Empire (5:59)
6.Richard Beddow - By Land and Sea (5:59)
7.Richard Beddow - The Gallic States (5:09)
8.Richard Beddow - For the Ashes of his Fathers and the Temples of his Gods (6:56)
9.Richard Beddow - Celtic Air (1:31)
10.Richard Beddow - Elysium Fields (1:43)
11.Richard Beddow - Ambush (4:26)
12.Richard Beddow - Skirmish (3:41)
13.Richard Beddow - Dies Irae (1:33)
14.Richard Beddow - Lays of Ancient Egypt (8:08)
15.Richard Beddow - Credits (10:35)

https://mega.co.nz/#!KIpQRRBD!K2FthBQLxsqUOqEi1Iaq92Eeh-V7NHhGs-OHGqFUqPU

Eh, it doesn't feel so bad. Hisaishi's been picking up a lot of the slack for this year almost single-handidly; there's been a tons of good Oshima and more still to come; Watanabe doesn't seem to be going anywhere, and plus, I heard somewhere(though don't quote me on this) that Iwasaki was picked up for Noragami, a BONES fantasy series with the character designer of Bebop.

BONES fantasy series with prestigious staff usually spell good things for presentation, and the director did parts of Baccano, so perhaps he'll be open to Iwasaki's jazzier side, too.

I'd suggest Silver Spoon or Eccentric Family from last season. Both sounded lovely.

Kousuke Yamashita - Renai Neet ~Wasureta Koi no Hajimekata~ OST
MP3 320|26 TRACKS~62:42
Not My Rip



Download: https://mega.co.nz/#!lVQ2GIBa!ULwNbDJR2HQoDI49Jyk_ghIpVtpYMpt9OOGsVVE 4P3s

I have a copy coming soon and will replace this post with my own FLAC rip. If you had a bad day, this will surely cheer you up no problem. :)
Credit goes to the original uploader for this wonderful soundtrack!

EDIT: The main theme is just a killer. Full of Yamashita's trademark warmth and joy, plus that sexy saxophone!

---------- Post added at 08:42 PM ---------- Previous post was at 07:43 PM ----------


Kousuke Yamashita - Call of Chaos Game-Rip (?)
MP3 320|16 TRACKS~43:50
Obviously Not My Rip



Download: https://mega.co.nz/#!AMpTxJQD!RAQEwBKnzF3IpDNX6_Z1xxawlHgqWIX4u4CuQJQ dLJY

Many tracks are enjoyable and well-orchestrated, especially the first five.
I don't know the origin of this source but massive thanks to reptartitantrons over at YouTube for hosting the files (maybe he ripped from the game directly).

Ah and here I thought I could surprise you with the "unoffical" OST of Call of Chaos :)
Overall it's not as impressive as Reign of Revolution but a fine score by Yamashita. It's all recorded with a regular Studio Orchestra last time I checked but it's still epic orchestral fantasy.

Many thanks for Renai Neet. Just what I need right now.

Ah! Google did return me with the "soundtrack" from the most unlikely place - YouTube. I looked everywhere on the Korean web to find at least a game rip. But as usual, Koreans didn't care AT ALL about the music (the game's un-popularity doesn't help either). Go figure. If it wasn't for the Japanese Wikipedia, I wouldn't have known that Yamashita composed for another Korean MMORPG.

I made a quick cover if anyone wants one:

I need more Yamashita... What Yamashita soundtracks have been released but haven't been shared on the Internet yet, preferably similar in tone to Renai Neet?

Found this one: http://www.cdjapan.co.jp/detailview.html?KEY=UZCL-2018, but it's out of print on CDJapan! :(

So I've been checking out Gingitsune and what is this?! Katou Tatsuya without any electronics! I like it so far. Walk�re Romanze is another case of small budget, which is a shame because it's good stuff.

I disagree, but I have to applaud your use of that fine song... ;)

In other news... so far, this anime season stinks, music-wise. Yes, there's some good stuff - Tanaka's Gaist Crusher, I think we're pretty much guaranteed something good with Hamaguchi's Galilei Donna, and Senju's Valvrave 2 might have something going for it, and I'm still a little hopeful fro Tokyo Ravens, but apart from that? Remember the great things we were blessed with in 2012... Tempest, Magi, AKB0048, Ozuma, Space Brothers, Code Breaker, Girls und Panzer, Driland, etc... this October, we've got a few odds and sods, a bunch of cheap crap, and a few good scores ruined by crippling budgets.

2012 was indeed a golden year. 2013 is not looking too hot, unless some unbelievable miracles happen in the shows which are starting over the last couple of weeks...

Have you checked out Walkure Romanze yet? I just saw the first episode and was pleasantly surprised how good the music was (though the anime is meh for me).

Edit: Don't know if you have checked out Day Break Illusion yet klnerfan but it was free of electronics as well and had very excellently composed tunes.

In case anyone is interested in Chrono Cross, a very talented pianist by the name of Ruby Schala performed my arrangement of Time's Scar. More videos will be coming including my string and piano arrangement of Fang's Theme and Eruyt Village as well as my Kingdom Hearts piano works from back in 2005 (polished up, of course).

Chrono Cross - Time's Scar (solo piano, arr. by Josh Barron) - YouTube (http://www.youtube.com/watch?v=IMk55O3tS_M)

Regret to announce that new Tokusatsu score (Kamen Rider Gaim) is scored by Kosuke Yamashita. Forced hand score if ever there was one... Might pick up in subsequent episodes (only episode 1 available right now) - you can see (and listen) here - Kamen Rider Gaim 01 RAW - Video Dailymotion (http://www.dailymotion.com/video/x15m2z8_kamen-rider-gaim-01-raw_shortfilms?search_algo=2)

Hello, can you reupload Suna no Utsuwa Original Soundtrack/The story of the Last Symphony [FLAC], Music by Akira Senju. Thanks.

I disagree, but I have to applaud your use of that fine song... ;)

In other news... so far, this anime season stinks, music-wise. Yes, there's some good stuff - Tanaka's Gaist Crusher, I think we're pretty much guaranteed something good with Hamaguchi's Galilei Donna, and Senju's Valvrave 2 might have something going for it, and I'm still a little hopeful fro Tokyo Ravens, but apart from that? Remember the great things we were blessed with in 2012... Tempest, Magi, AKB0048, Ozuma, Space Brothers, Code Breaker, Girls und Panzer, Driland, etc... this October, we've got a few odds and sods, a bunch of cheap crap, and a few good scores ruined by crippling budgets.

2012 was indeed a golden year. 2013 is not looking too hot, unless some unbelievable miracles happen in the shows which are starting over the last couple of weeks...
Have you checked out Arpeggio of Blue Steel by Masato Kouda? Unfortunately the music from PVs was the real score and they didn't end up recording the whole thing with real musicians. There's still some fine music though, particularly the opening track. Gingitsune's music by Tatsuya Kato is pretty good too.

As for non-anime stuff, Yoko Kanno's music for Gochisousan is pleasant and performed by the Vienna Opera Ball Orchestra.

---------- Post added at 04:34 PM ---------- Previous post was at 04:26 PM ----------


Hello, can you reupload Suna no Utsuwa Original Soundtrack/The story of the Last Symphony [FLAC], Music by Akira Senju. Thanks.
https://mega.co.nz/#!dJ023LLb!GR-IGWjZ1bm3ulLgm9cnHWnAcC16cRWyjHoY3fzuI-s

Courtesy of lcntowani@astost.

Checked out Gingitsune...meh. It's...inoffensively pleasant, annnnd

Here's the thing about Tatsuya Kato; he's not meh because of electronics, he's meh because he's just not very good? He could be a decent game composer and he'll prolly improve with time, but his writing is so simple and cheap-sounding and drowning in tropes...

Next to his many, many, many more talented contemporaries, I've never heard anything to be impressed by.

Kato's music isn't complex or anything but I think he makes some good easy listening music. I mostly listen to his music when I'm on-the-go. Horizon is his best.

I think Kato could be good, but I think he's meh because his music sounds unoriginal. His music sounds like a mix of Hollywood RCP and rock. Some of his "orchestral" cues sound like straight rip-offs of western movie soundtracks. With that said, I still liked a few tracks in Horizon.

Personally i think Kato still comes out with some very good stuff but as people have said usually isn't anything memorable. That being said i like how his music is very versatile and he can change it to fit whichever anime he needs to almost perfectly. I don't think i've had a complaint about one of his scores sounding to similar to another.

As for his most recent work this one is my favorite track from Free! and shows of his orchestral talent very well.
Free!- Iwatobi Swim Club OST Track 32: Melody of Ever Blue - YouTube (http://www.youtube.com/watch?v=8tt1iHDEER0)

It's true he uses electronics a bit much but when he's purely orchestral well that's when i turned into a drooling Tatsuya fanboy ^_^

I don't suppose there's a possibility of re-uploading Kosuke Yamashita's R2, would there Tango?

If anything, that generic track from Free! sounds like something Yuki Kajiura could have written - she also can't orchestrate.

I don't suppose there's a possibility of re-uploading Kosuke Yamashita's R2, would there Tango?

Here you go, friend: https://mega.co.nz/#!1tBxQDLZ!ZqgSzx3ngd_c0UiIjMPPhU73c0oB85UG_san1YT FcDs

Definitely a score which doesn't suck and isn't shit... ;)

Guess i haven't been in this business long enough to understand what exactly makes something generic because i don't see it =/.

Tatsuya Kato would fit in nicely with well known production trailer music industry, he has at least a orchestral piece on almost every score he's done on their stature

I'm still a little hopeful for Tokyo Ravens.
This aired today and it appears to have a budget because there's real instruments etc. Pleasant music but as far as orchestra goes there was only one short track near the end of the episode. It was a lot of piano/strings stuff. Minimal electronics except for this one track near the end was purely electronic. I think there will be some good music to come (it's 24 episodes). If not, I guess we'll have to count on Hamaguchi to save the season.

Only Maiko Iuchi is listed for music, strangely. I'm fairly certain she isn't the orchestrator/arranger though. Doesn't sound like her style based on what I've heard from her.

It's aired? *runs to Nyaa*

Edit: Mmm, promising! 40 seconds of orchestral (and choral) score in episode 1, but what there is strongly suggests very, VERY good things to come... Stuff like that can't be isolated... more there will be... :D

Guess i haven't been in this business long enough to understand what exactly makes something generic because i don't see it =/.

Well for one, if it was a good orchestral cue it wouldn't need that beat. Second, it sounds like a single part of the orchestra is playing the main melody and there is nothing really behind it other than the simplistic beat (some really quiet piano behind it doesn't even stand out enough to be noticed). I'm sure someone else can comment on how the melody itself is generic as well but to me it just doesn't grab me.

Here you go� Definitely a score which doesn't suck and isn't shit... ;)

Splendid! My thanks.

So it has come to my attention that one of our own has released a soundtrack (http://music.mathazzar.com/album/star-command). Mathazzar sent me a link to it almost a year ago, and we talked for a while on the production of it and it was such a cool, surreal experience to actually have a composer talk to me about his music as I was actually listening to it.

It's only $3, so I think it is the least we can do to support him. If you want to hear the entire thing you can do so on Bandcamp.

Maybe if we bug him enough he'll come back to post!

Maybe.

Naw.


Matt: And what's this? A SciFi score with no synth? :D
TheMentor6: they said "be Jerry Goldsmith" :P
Matt: Oh God.
TheMentor6: but there's plenty of synth later, don't worry
Matt: D:
You are killing, you Canadian fucker. So very much.
TheMentor6: xD
Matt: So, I am curious, does it actualy cost money to product a digital socre like this? Or are you pretty much just paid for time after you buy the libraries?
TheMentor6: I guess it depends on what you mean by it costing money
obviously there's no orchestra to hire
Matt: Like, you know if, let's say engineering, you need to buy supplies for the engineers to do their work
But when you composers work with just samples, do the people need to pay for anything else beyond you?
TheMentor6: well in the case of most game gigs, any costs are expected to be absorbed into the single fee
Matt: Ah, okay
TheMentor6: at a certain point, those costs become minimal — once you have a confident collection of libraries and synths, for instance
Matt: That's what I thought, because most of game development is paying for the developers, ya? Then comes the extras, like music and VO
TheMentor6: the trouble starts once they start asking for live singers, musicians, etc.
or a third-party mastering service
Matt: And they need to be hired
TheMentor6: which we looked into actually
Matt: Mastering service?
TheMentor6: yes, having the album professionally mastered for release by a mastering engineer
Matt: Oh. Well, with digital, can't you just...convert all of the music into .wav?
TheMentor6: lol
it's not the file format that's being worked on
it's EQ tweaks, balance issues, mix consistency, a certain "sweetening" that helps give it a polished sound, etc.
kind of tough to explain
either way, we opted to have me do it instead
on account of them not wanting to spend an additional 5k on hiring someone else
which is fair enough
Matt: Ah, okay. I guess. @.@
TheMentor6: and that's got nothing to do with digital, btw
Matt: Okay, "Out There" definitley has a Xenosaga Episode 2 vibe
TheMentor6: hehe yes I suppose it does!
nothing like haunting Norwegian vocals to say...uh...Norwegians in space
Matt: Is that what they are saying?
TheMentor6: no no, it's an old poem
but it's in Norwegian
Matt: Oh
I honestly could not tell. It was very distorted, so I could not make out specific words
TheMentor6: that's the idea
it's more about the idea of vocals than any lyrical value
Matt: But why Norwegians? Because they were historically one of the first explorers of the sea?
TheMentor6: two reasons, one is that and the other is that the language and the singer had a vocal quality that I found appropriate to the mood
Matt: Oh, that's cool
Man, now I wish I could just call the composer of EVERY soundtrack I have!
...Define "Legal" is like, africa meets jazz
TheMentor6: yeah, funny how many little details you can dig up
that track...man
I can't express how much alcohol was involved
and how much fun
Matt: I think something beyond alcohol was involved in that. :p
TheMentor6: "Marius, it's for contraband stuff. It needs to be kind of mad."
"uhhh okay!"
Matt: But I'm liking it so far. You have a nice cohesive balance between the traditional and the futuristic, where one doesn't balance out the other.
TheMentor6: that's very good to hear
I actually haven't heard any reactions to the score yet
I don't have access to the KickStarter comments on the post where they made it available, so...yay
Matt: "We're Not Lost" seems to have a buildin sense of dread and despair, like the crew is slowly starting to realize they are way over their heads
TheMentor6: that's perfect — it's for hostile space

Goldsmith, for example, was a master symphonist in his own right - he could sustain the development of a single subject for 20, 30, even 60 minutes without ever repeating what he's said, nor losing focus or interest. The first, best example I can think of in a film scoring context for this is his cue The Enterprise from Star Trek: The Motion Picture, a 6+ minute, unbroken orchestral suite. This one cue represents a level of skill which absolutely no up-and-comer possesses. When one does not have the ability to write concert music, one cannot write the concert-music-based filmscores which define virtually all the greatest scores in the last 100 years. Devoid of this ability, one is left with ostinato-as-subject, filler, and sound-design to complete individual cues, which together do not add up to the satisfying symphony-like structure of the scores we admire so much, keep so close to our hearts, and enter and stay in the lexicon.
_Mike

I know it's been awhile since you wrote this, but I just found it and wanted to say thanks. I'm not a musician - I make my living as a cartoonist and illustrator and spend many hours listening to film scores as I work. I have been wondering for quite some time now about old scores versus newer scores and why some people are so hard on some of the more successful composers of the current era. I had never really been able to find a decent answer until someone kindly pointed me to your posts in this thread. Your ability to write (and I assume speak) well, along with your patience and ability to keep from being overwhelmed by emotions and/or personal views, is not only such a welcomed break from most writings on this subject, but also very, very informative. I've learned so much from reading just a few of your posts. I feel like I've finally been able to scratch an itch I've had for years. What a pleasant sensation that it, hahaha. So thank you for your involvement here and for taking the time to share your knowledge.

By the way, Goldsmith's cue "The Enterprise" has long been one of my single favorite film score cues. I never knew why, of course, other than the simple explanation that it touched my soul in some way, so seeing you reference it in the educational way you did really made me happy. Respighi's "The Pines of Rome" is one of my favorite pieces of classical music, so maybe I'm just oriented towards long structural pieces, especially crescendo pieces. It's so much fun to feel that I understand that a little better now though, or at least how it relates to the film music that I love to listen to.

My one real question for you (hoping that you still check in from time to time and read this): so are composition students just not being taught how to compose concert music (longer form structure and depth) anymore? Is it just that there's not the demand for it in the current market place? That's such a sad thing if it's true. Things always change - that's one of the few certainties in life - so hopefully things will eventually trends back towards the older ways on this matter. I'd love for it to be within my lifetime, but better that it changes after I'm gone than never at all. Here's hoping.

---------- Post added at 04:17 AM ---------- Previous post was at 04:07 AM ----------

Wow. Holy crap. I remember coming across this thread a month or so ago and reading through the first three or four pages. I ignored it after that until someone pointed me to it for some posts by Mike Verta. So I responded to it and now I'm on the most recent page of the thread. 543 pages!! Holy shit. And what's being talked about now has nothing to do with what I was reading back on page 198, haha. Nor did that stuff, or this stuff, have anything to do with the original thread idea. Is there anything this thread HASN'T covered!? :-)

Hey guys. What is the meaning of life?

Good Orchestral Film Scores?

Chocolate truffles, guys. Chocolate truffles.

No no no, the meaning of life is feet.

Feet are just a means of experiencing the meaning of life.

Feet... at the rate of 3 to a yard.

Weird conversation.....in other news i'm broke now. But it brings me pleasure to present you with the last few gems from last season. Kiniro is of course solid as well as Hitomi's 2nd outing on Hakkenden. I especially enjoyed Uchoten which was one of my favorite shows from last season, so i recommend it as well :).

VTCL-60351 | Kin-iro Mosaic Soundbook Itsumademo Issho dayo. - VGMdb (http://vgmdb.net/album/40227)
(http://s455.photobucket.com/user/leatherhead93/media/40227-1380105583_zpsd75ddf60.png.html)

Title: Kin-iro Mosaic Soundbook Itsumademo Issho dayo.
Type OST: Anime Soundtrack
Composers: Ruka Kawada, Masahiro, Meis Clauson, Yoshino Yoshikawa, Takeshi Nakatsuka, 安斎高春
No. of tracks: 30
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 09, 2013
Size: MP3 150mb/ ALAC 408mb
Host: Zippy/MP3 Mega/ALAC

Tracklist
01 Morning Coffee
02 Yasumi Jikan
03 Awawa
04 Akiiro Starmine
05 Tokimeki Kokoro
06 Itoshi No Kimi To
07 Moshikashite
08 Alice No Monologue
09 Let�s Party!!
10 Jumping!! -pf Solo Ver.-
11 Isshodane
12 Shonbori
13 Arere!?
14 Holiday!!
15 Himawari Iro Summer Days
16 Kokoro Namida
17 Unmei No Ito
18 Your Voice
19 A.ya.shi.i
20 Douyoushite Nanka...!!
21 Houkago
22 Kanawanai Omoi
23 Chottoshita Itazura
24 Sakura Iro Cherish
25 Class Gae
26 Atarashii Kisetsu
27 Nagisa Iro Hibiscus
28 Jumping!! -OP EDIT-
29 Your Voice -ED EDIT-
30 Shinobu No Sousaku Geki

320 kbs MP3
Zippyshare.com - Kin-iro Mosaic Soundbook Itsumademo Issho dayo.7z (http://www25.zippyshare.com/v/88713212/file.html)

ALAC (Loseless)
https://mega.co.nz/#!6Jp0CBAB!I29R7WeiGh_-tZIWO0p_7TL8TkY1R0HGnI4us17mZLY


LACA-15347 | Hakkenden -Touhou Hakken Ibun- Original Soundtrack Vol.2 - VGMdb (http://vgmdb.net/album/40419)
(http://s455.photobucket.com/user/leatherhead93/media/40419-1380433661_zpsd4843516.jpg.html)

Title: Hakkenden -Touhou Hakken Ibun- Original Soundtrack Vol.2
Type OST: Anime Soundtrack
Composers: Hitomi Kuroishi
No. of tracks: 26
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 09, 2013
Size: MP3 180mb/ ALAC 429mb
Host: Zippy/MP3 Mega/ALAC

Tracklist
01 Yuki No Hitohira
02 Nakama Wo Sagashite
03 Kanashimi Ha Tomaranai
04 Omoide No Kuni No Aoi Tori
05 Kurikaesareru Kodoku
06 Kanashiki Miko To Soutou No Ryuu
07 Mada Shinitaku Ha Nai-shinen No Katamari
08 Harimegurasareta Kekkai
09 Neko No Osanpo
10 Doubutsu Dai Shuugou
11 Ojousama In Oyashiki
12 Gomenne De Nakanaori
13 Itsuka Ha Kako Ni
14 Utsukushiki Houkai
15 Seijaku To Konran No Aida
16 Tomadoi No Saikai
17 Dark Side
18 Fuugawari Na Deai
19 Haha He Kikyou Wo Tsumu Shounen
20 Tsukimatou Aseri
21 Docchi Ga Waru?
22 Sora Mau Tengu
23 Tatakai No Ato Ni Kizuna Ha Umareru
24 Kotodama No Uta
25 Final Crisis
26 Owaranai Tabi

320 kbs MP3
Zippyshare.com - Hakkenden -Touhou Hakken Ibun- Original Soundtrack Vol.2.7z (http://www25.zippyshare.com/v/92489546/file.html)

ALAC (Loseless)
https://mega.co.nz/#!CZwWxRqZ!AYiV1CY3M8p4ivpyjlY64hiCKlE-6BrLQaChAbjdvqs


LACA-9313~4 | Uchoten-Kazoku Original soundtrack - VGMdb (http://vgmdb.net/album/40417)
(http://s455.photobucket.com/user/leatherhead93/media/40417-1379495657_zpsecddee2e.png.html)

Title: Uchoten-Kazoku Original soundtrack
Type OST: Anime Soundtrack
Composers: Yoshiaki Fujisawa, Junichi Sato, Kyoichi Miyazaki
No. of tracks: 22/22
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 09, 2013
Size: MP3 267mb/ ALAC 662mb
Host: Mega/MP3 Mega/ALAC

Tracklist
Disc 1

01 Daga Mate.shibashi
02 Tanuki Nanda Kara.shouganai
03 Anata Ha Marude Tengu No Youda
04 Deha Minakereba Ii
05 Kakusanakutemo Ii Ja Nai Ka
06 Kuu Kara Niha Umaku Kutte Ageru
07 Natsu No Yozora No Donchan Sawagi
08 Nozomu Tokoro Da
09 Hanahada Fuhoni Da...
10 Kaeru Dakedo Sa
11 Dakara Ore Ha Kaeru Ni Natta
12 Oku No Te Toha Nanda?
13 Akadama Sensei
14 Nyoigatake Yakushibou
15 Akeglass
16 Suibun Okiniiri No You Desu
17 Tanuki No Kuseni
18 Kono Ko Ha Shiriai No Tanuki Desu
19 Isasaka Aho Na Koto Wo Shidekashi Mashite
20 Nise Uemon Shimogamo Souichirou
21 Kamawan.itemoutare!
22 Sono Sugata Wo Ore Ha Ima Demo Omoidasu

Disc 2

01 Chichi.souichirou No Omoide
02 Aho No Chi
03 Kendochourai
04 Higuchi Ichiyou
05 Tenchi Muyou
06 Ichiren Takushou
07 Ebisugawa No Musume.kaisei
08 Ebisugawa Souun
09 Anun Tachikomeru
10 Bake Gassen
11 Souun No Anyaku
12 Erai Kara Koso Tengu De Aru!
13 Yodogawa Kyouju
14 Niichan!
15 Gatten Shouchi Desu!
16 Omoshiroki Koto Ha Yoki Koto Nari!
17 Iya Haya.taihen Na Koccha
18 Taisetsu Na Yakusoku
19 Hitotsu No Ookina Sayonara
20 Hodohodo No Eikou Are
21 Que Sera Sera (TV Size)
22 Uchoten Jinsei (TV Size)

320 kbs MP3
https://mega.co.nz/#!fN43wLDR!C-bydXqEulxcQq0C2d2XXCrzlWJJmz-SOtKrjaBr7mc


ALAC (Loseless)
https://mega.co.nz/#!DIJUAL7R!XWkhfBOGWb5C5AZ0872_1HDM1xQtCY_ASfvNv4m VCL0


LACA-15346 | HIGH SCHOOL D�D NEW ORIGINAL SOUNDTRACK - VGMdb (http://vgmdb.net/album/40418)
(http://s455.photobucket.com/user/leatherhead93/media/40418-1380433716_zps7e345732.jpg.html)

Title: HIGH SCHOOL D�D NEW ORIGINAL SOUNDTRACK
Type OST: Anime Soundtrack
Composers: Ryosuke Nakanishi, C.G mix, ZAQ, Kyo Takada
No. of tracks: 26
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 09, 2013
Size: MP3 117mb/ ALAC 315mb
Host: Zippy/MP3 Mega/ALAC

Tracklist
01 Utsukushiku.kedakai...
02 Shiawase.kamishimemasu
03 Tanoshimi.kanjimasu
04 Tsumari.ochokuttemasu?
05 Ojousama Mo.tayori Ni Shiteimasu
06 Ma.araara.ufufu
07 E.a.ano.isse San...
08 Kimi.akuma Nandaro?
09 Ore Ha Azazel Da
10 Subete Ha Korekara Desu
11 Saikyou No Sonzai
12 Seiken
13 Seppaku
14 Omowaku
15 Ketsui
16 Bokutachi No Omoi
17 Boku Ga Aite Ni Narou
18 Zangeki
19 Kyuukyoku
20 Yuushi
21 D No Ishi
22 Shokuzai No Seika
23 Sympathy (TV Size)
24 Gekijou Ron (TV Size)
25 Houteishiki Ha Kotaenai (TV Size)
26 Lovely Devil (TV Size)

320 kbs MP3
Zippyshare.com - HIGH SCHOOL D�D NEW ORIGINAL SOUNDTRACK.7z (http://www25.zippyshare.com/v/49137084/file.html)

ALAC (Loseless)
https://mega.co.nz/#!CdozQABT!IS3-HypvylxEHAzyfhWLPkuNXK8rCj7YTKTqxH1AyxI


AVCA-62226 | DOG & SCISSORS ORIGINAL SOUND TRACKS - VGMdb (http://vgmdb.net/album/39503) (http://s455.photobucket.com/user/leatherhead93/media/39503-1379519382_zps881ce652.png.html)

Title: DOG & SCISSORS ORIGINAL SOUND TRACKS
Type OST: Anime Soundtrack
Composers: Akito Matsuda
No. of tracks: 57
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 09, 2013
Size: MP3 167mb/ ALAC 396mb
Host: Zippy/MP3 Mega/ALAC

Tracklist
01 Inu to hasami wa tsukai-yō
02 Shujinkō no, tōjō yo
03 Nanika� kuru ~tsu
04 Hajimari no hajimari
05 Atarimae no nichijō
06 Nakanaori
07 Soredewa hitomazu
08 Otona no iro, ki�?
09 Otona no yoyū
10 Natsukashī kako
11 Aryarya ~
12 Soitsu wa nai ze�.
13 Maipēsu ni ikou
14 Wakuwaku ☆ dokidoki
15 Tohoho�
16 Wa ani ~i daisuki
17 Hai yoru kyōfu
18 Atashi, kagayai teru!
19 Mainichi ga tokubetsu
20 Yasashi iki mochi de
21 Nonbiri to
22 Kono kimochi wa�?
23 Awai koigokoro
24 Yuruyakana jikan
25 Te e e
26 Waruda Kumi
27 O shitoyaka ni
28 Mieta kibō
29 Kibō o tsukamu made
30 Kuyashisa o koraete
31 Nandodemo
32 Zan shite kita mono
33 Kōkai to kuyashi-sa to
34 Dōshite kō natta
35 Ho nya rarara
36 Batoru kaishi
37 Fuon'na kūki
38 Sā iku zo!
39 Okashina on'na
40 Uzumaku fuan
41 Nigasanai
42 Gekitō
43 Make rarenai tatakai ga soko ni aru
44 Jiwajiwa to
45 Konwaku
46 Kore wa ittai�?
47 Fuon'na fun'iki
48 Ittai dō naru?
49 Tohohohoho�
50 Son'na rifujin'na
51 Yuruginai omoi
52 Natsukashī basho
53 Aikyatchi
54 Sabutaitoru
55 Meido no tame ni kane wa naru ~ chō jūsha mokushiroku yori ~
56 Wanwan wanwan N _ 1! ! (TV size)
57 Remoneidosukyandaru (TV size)

320 kbs MP3
Zippyshare.com - DOG & SCISSORS ORIGINAL SOUND TRACKS.7z (http://www25.zippyshare.com/v/70059999/file.html)

ALAC (Loseless)
https://mega.co.nz/#!aMZ2mDAD!Wy_5qDyt08Ujs8mYGtWOmHFNMxNAG9J5PnEGvjD 1evU


Scans included as always. Enjoy ^_^

Next week I should have Attack on Titan OST 2 uploaded on schedule (as long as fedex doesn't screw me over). I can't wait ^_^.

As a hairstylist's son...everyone here needs a haircut. Jesus Christ.

If you take away the hair, you will only have the boob size to tell them apart.

Then i'm guessing you REALLY hate Dragonball Z :I.

One of my biggest pet peeves of anime is the hair. I never liked how they looked so god damn rediculis...and the color. Why the hell are they blue? Or pink? Green even! WTF.

That is one of the many reasons why I love March of the Giants.

Yep, the fact that they're cartoons isn't ridiculous but the fact that they sometimes have purple hair is. ;)

In all seriousness, yeah... it's silly - and as we all know, Japan likes to take silly to a whole new level. When I watch anime for a long period of time (like if I'm sick and off work, stuck in front of the TV for days) I actually find myself getting despondent and disappointed when I go outside and realise there are only basically three hair colours in the whole world. I keep looking at girls and thinking "wish you had blue hair..." ;)

Reminds me of an argument I had with my ex. We saw Indiana Jones 4 in the cinema and when we left she complained that the "aliens" plot was ridiculous and that said ridiculousness cheapened the whole franchise. I reminded her of the plots of previous Indy movies; in the first, Nazis search for immortality by stealing God's Ark - they are all killed by angels. In the second, Indy discovers an underground civilisation of children enslaved by Voodoo; he, too, is enslaved by a magic potion. In the third, a dead man is brought back to life by a supernatural cup which is guarded by a seven hundred year old Knight.... Uh, yeah... (Don't get me wrong - Indy 4 was shit... but ridiculous aliens was the least of its problems...) Anyway, sorry... I digress. :D

Shiki had some great music. It also had some of the most outrageous hairstyles.

Am I the only one alive that recognized Indy 4 as the great tribute to pulp sci-fi that it was?!

Am I the only one alive that recognized Indy 4 as the great tribute to pulp sci-fi that it was?!

Yes.

You know, there was a time I would have defended Indy 4. Then I put in the Blu-ray from the boxset and was subjected once more to its horrors. Never again.

God damnit.

Am I the only one alive that recognized Indy 4 as the great tribute to pulp sci-fi that it was?!

Well I didn't really recognize it as a tribute if it was one because I wasn't that familiar with all the pulp sci-fi that much to begin with. I would say I thought it properly encapsulated the mixture of comedy and action that I enjoyed most out of Indiana Jones and the Raiders of the Lost Ark and The Last Crusade respectively. The film may not have been particularly smart or realistic but I enjoyed action sequences that made me laugh.

And to Leatherhead:
I'm not sure how to say this, and I don't want to be critical of your contributions of new Anime scores because some of them are really appreciated. I think some sort of short description on these scores would be helpful for us to decide if it is worth grabbing. I don't really watch very many anime series these days and am used to grabbing random anime scores to see if they are any good. Sadly, this frequently leaves me with really uninteresting scores, Uchoten I lasted five or six cues into it before I just gave up.

I'm the first to admit that I don't always post the most purely orchestral scores and sometimes am guilty of the same problems of scores that I complain of in others. I think two of three sentences of description would go a long way to give those unfamiliar with the anime an idea of what they are getting from it.

I tried "March of the Giants" and I had to stop very early on because the show is more ridiculous than a country of girls with rainbow-dyed hair. I have to say the direction of the show is pretty terrible and I've never seen so much cringeworthy over the top scenes and screams in all of anime. The pacing is almost Dragonball Z level of bad. I read the manga and it's an interesting read so far with some nice twists but the anime adaption is unbearable for me. It also didn't help that I don't enjoy Sawano in general (though I'm actually liking him in Kill la Kill).

Short reviews incoming:

Kin-iro: Lovely (just like the show). I suggest to also check out Non Non Biyori if you want a relaxing show this season best enjoyed with some tea and cookies.

High School DxD: About 20 minutes of good orchestral stuff. No beautiful string pieces this time around.

Dog & Scissors: Some really nice string pieces.

Uchoten-Kazoku: Some good tracks with piano, strings & woodwinds.

Overall nothing noteworthy but pleasant


Regardless, massive thanks to LeatherHead for his kindness of sharing his stuff in this thread.


Edit: On Indy 4, it's not a terrible movie and I like the beginning with the motorcycle chase scene (then there's of course Williams music) but it's still a huge disappointment for me. At least it's no Highlander 2.

Well I didn't really recognize it as a tribute if it was one because I wasn't that familiar with all the pulp sci-fi that much to begin with. I would say I thought it properly encapsulated the mixture of comedy and action that I enjoyed most out of Indiana Jones and the Raiders of the Lost Ark and The Last Crusade respectively. The film may not have been particularly smart or realistic but I enjoyed action sequences that made me laugh.

And to Leatherhead:
I'm not sure how to say this, and I don't want to be critical of your contributions of new Anime scores because some of them are really appreciated. I think some sort of short description on these scores would be helpful for us to decide if it is worth grabbing. I don't really watch very many anime series these days and am used to grabbing random anime scores to see if they are any good. Sadly, this frequently leaves me with really uninteresting scores, Uchoten I lasted five or six cues into it before I just gave up.

I'm the first to admit that I don't always post the most purely orchestral scores and sometimes am guilty of the same problems of scores that I complain of in others. I think two of three sentences of description would go a long way to give those unfamiliar with the anime an idea of what they are getting from it.

Nah i hear you, that's a reasonable qualm. However the problem is that I'm not the best at describing these sort of things =/.
In fact i'd say i suck really hard at it. Personally i don't even have to time to review the osts i post because i usually sleep after uploading them (it can literally take up most of my day sometimes doing this annoying process).

I don't wish to be misleading or anything so i usually don't describe them (unless i feel strongly about them). Is there a good site to brush up on ones musical knowledge?

Doesn't have to be anything complicated. Just a sentence or two saying the style of the music or the main instruments used is better than nothing.


On an unrelated note: Galilei Donna episode 1 had some orchestral music by Shiro Hamaguchi including a longer version of that track from the 15 second commercial. The majority of the score used wasn't orchestral but there should be some good stuff to come.

Aah, old school Hamaguchi! We've had far too much of low-budget Hamaguchi in recent years... how nice to hear him flexing his orchestral muscles again. This is going to be good...

Also, I gave Ippo Season 3 a try... Wow, surprise! New music! Hirano with real musicians as well. It looks like we won't be having any prestige overseas scores this year (then again, we were spoiled in 2012 with two - Magi and Tempest - both starting in October) but there is some good stuff after all.

Gaist Crusher, Ippo, Galilei Donna, and with any luck Tokyo Ravens will surprise us all in the coming weeks.

Is that it, now? Has everything with potential premiered already?

Good thing music is still going strong for anime. I wonder when a show worth watching will come.

Yes, everything has aired now.

Valvrave 2 also premiered today but I haven't watched it yet.

Valvrave is... interesting. Senju is ripping off Fullmetal Alchemist YET AGAIN in the last five minutes; yep, it's Battle Scherzo for the third damn time... apart from that, a lot of really, really moody music and some thinly cloaked remixes of music from the first series... but definitely new music in here and definitely a real orchestra. It does beg the question once again... why does Senju keep taking jobs on shows he appears to dislike? The guy has always been notoriously picky about what anime he scores... so why select this type of show which doesn't at all play to his strengths and fill it with shoddy duplicates of music from older scores? Why is the man who gave us Rampo doing this?!

Oh, well...

Good thing music is still going strong for anime. I wonder when a show worth watching will come.

I am having a better luck with manga than I am with anime. Am reading Shoukoku no Altair at the moment, and it is something of a fantasy political thriller. Not bad.

Oh and of course there is March of the Giants, which is the best zombie fiction next to The Walking Dead.

In other news Gargantia was just greenlit for another season so more than likely we'll get another Taro Iwashiro score (i really wish he would do more stuff with anime).

Edit: Here was a random buy i finally got today. Haven't had a chance to listen to it but i'd imagine you can expect the usual Hiromi stuff here.

COCX-38130 | Toriko Bishokushin no Special Menu Original Soundtrack - VGMdb (http://vgmdb.net/album/39268)
(http://s455.photobucket.com/user/leatherhead93/media/39268-1373145291_zpsfd6e3f65.png.html)

Title: Toriko Bishokushin no Special Menu Original Soundtrack
Type OST: Anime Soundtrack
Composers: Hiromi Mizutani, Shinichi Sakurai
No. of tracks: 32
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Jul 24, 2013
Size: MP3 133mb/ ALAC 361mb
Host: Zippy/MP3 Mega/ALAC

Tracklist

01 PROLOGUE
02 Goushoku MY WAY! -Gekijouban-
03 SWEETS LAND
04 Hishou Bouken no Hajimari
05 Soudai naru ACACIA no KITCHEN
06 Ore wa ZONGE da!
07 Bishoku Shin no Iseki
08 GIRIM no Chousen
09 Ayame no THEME
10 Omoide no HORS D'OUVRE
11 Kiki Semaru
12 Dairansen
13 TORIKO Hangeki
14 GIRIM no Kako
15 TORIKO Kusen
16 GIRIM Tsuyoshi
17 Majuu Fukkatsu
18 Bishoku Shiten'nou Shuuketsu
19 GT ROBO Geigeki
20 Daimajuu ENDLOSS
21 Shiten'nou Gattai Waza
22 Majuu wo Kurau GIRIM
23 SUPER GIRIM no Kyoui
24 Komatsu to Ayame no Omoi
25 SUPER TORIKO Mezameru
26 Shouri no 100 Renkugi PUNCH!
27 Ayame no Kanashimi
28 Yomigareu Omoide
29 Aratana Inochi no Tabidachi
30 Kyuukyoku no RECIPE
31 ACACIA no SPECIAL MENU
32 EPILOGUE ~ Michi naru Aji wo Motomete


320 kbs MP3
Zippyshare.com - Toriko Bishokushin no Special Menu Original Soundtrack.7z (http://www76.zippyshare.com/v/29466234/file.html)


ALAC (Loseless)
https://mega.co.nz/#!zcQTnboB!GoBHQg8x6AnCMcy3PzA9EFhnm-oVG6meq0zfIU4rpYg


Hopefully Hiromi can work on other stuff though because i really loved his score for Kami. It was almost a completely different side of him that we've never seen before.

Well, V2 of my infamous expanded edit of the score to Star Wars Episode II: Attack of the Clones is up, now with more music and NO distortion added, none at all.

Thread 123086

I am having a better luck with manga than I am with anime. Am reading Shoukoku no Altair at the moment, and it is something of a fantasy political thriller. Not bad.

Oh and of course there is March of the Giants, which is the best zombie fiction next to The Walking Dead.

Watching recent anime series makes me want to debut as a screen writer and scrap most of them out there; I mostly gave up on anime a while ago.

I keep up with Giants and I also find it very entertaining (manga only), but I usually skip over panels filled with angst to just get the juicy conspiracy parts... I hope the author doesn't do any major ass-pulling as I do not like massive twists without gradual foreshadowing.

What angst? I only find some well written (but not necessarily well drawn) drama that gave us the most hardcore bread eating scene ever.

Anybody got Gyrozetter?

WANKO: THE MOVIE (Score by Michiru Oshima) (lossless/flac)

Since this seems to be the place to discuss Japanese soundtracks, here's the link to Michiru Oshima's sweet score for the sweet 2006 film, Wanko ("Puppy").

GO HERE: http://forums.ffshrine.org/f91/michiru-oshima-discography-89760/6.html#post2487437

SEE POST #149

What angst? I only find some well written (but not necessarily well drawn) drama that gave us the most hardcore bread eating scene ever.

I just didn't care for much of the drama, even though it's pretty minimal in the manga. I just wanted to read the plot development - not much else. But now that you mention it, I probably skipped over the said scene. If you like gritty stuff, you should check out Homunculus as I heard many good things about it.

And thanks for sharing yet another Oshima album, yepsa! I hope the last track wouldn't induce any barfing per your description.



LACA-9305~6 | Love, Chunibyo & Other Delusions! Rikka Version Original... - VGMdb (http://vgmdb.net/album/40040)

I finally found some time to listen through this and thought it is really good. As klnerfan said, Nijine's best score by far! Belated thanks to LeatherHead for sharing. :D

so are composition students just not being taught how to compose concert music (longer form structure and depth) anymore? Is it just that there's not the demand for it in the current market place?
I'm going to briefly interject here, not because I'm that much in the film score business, but because I'm in the teaching business. Music students are more or less instructed how you would expect on their instruments/theory/history/etc. Sometimes an exceptional student will stand out and start composing in their early to mid-teens (as I did) and want to create their own content. They will be influenced by the music they listen to, and there are many students growing up listening to film scores and game music. Not many are growing up listening to classical music, and if they do, it's not because they want to. Most students I find are interested in making game music, and it's very easy to download FL Studio and churn out some content in a matter of hours. But we must encourage this because it encourages self-learning. I'm not going to lambaste a student for wanting to sound like Zimmer or Halo. But when they reach the university level, that's a whole other story.

At the university level you will find more musicians branching out and exploring the different composition routes: pop music, "world" music, electro-acoustic, game music, film music, jazz, etc. but luckily many of them try their hand at classical music (as I did.) Us classical guys don't fare well in the commercial world because we write music for ourselves, and not the masses. We may be influenced by classical composers, like Mahler and Prokofiev, but that is no longer in demand, so classical influence is often perceived as a detriment rather than sign of proficiency. Producers are only interested in music that is marketable. Sometimes students will recognize this demand and cater their sound towards it. But sometimes that is just the exact same music that influences their work, so Zimmer-philes will have no problem landing jobs mimicking that Zimmer sound.

The composers striving to get into the industry are the ones who are going to get into the industry. This will direct their development as a composer, whether or not they take lessons from a classical composer (the kind you usually find at most prestigious music programs at the university level.) It doesn't help that places like Berklee have film scoring programs. That only serves to validate the fact that film scoring and classical composition are separate entities. It also doesn't help that Berklee has a high success rate, and graduates are funneled directly into the cult of Zimmer in terms of sound design and musical philosophy.

So in answer to your question, students who want to write concert music will write concert music, and those who don't, won't. No one is being directed one way or another, save for what they see themselves doing in the future. The problem is that the path to composing concert music and the path to composing film music are diverging at an earlier stage (student in their early teens) and who are we to tell them what is best? Of course, there's nothing wrong with suggesting they check out some Mahler and Prokofiev from time to time. :)

That's infinitely depressing, and all sadly true. I work at a major London University which has just CLOSED DOWN its entire music department, citing a lack of interest in the courses it offered. I used to know a student, a few years ago - she was a trumpeter by trade and studied composition as well. She was brilliant. She lived and breathed Haydn, with brief excursions to Miles Davis - and she had amazing flutter-tongue technique. Implication very much intended. ;) In all seriousness, she worked really, really hard... passed her course with flying colours and came away with a prestigious degree and some amazing skills... and she just recently quit music all together, retrained as an embalmer, and now works for a Funeral Director. I wish I were joking. I'm not. There is little room for talented people today... to the extent that talented people are figuring out that there's no call for their skills and are either selling out or getting out of music all together.

We had a film programme as well. I remember hearing the tutor on the first day:

"Film scoring is not a job for a musician. It's a job for a people person, a team worker, somebody skilled at PR." :(

Edit: Watanabe outdoes himself in Space Brothers Episode 77. He carries pretty much the entire episode - in a BEAUTIFUL and VERY BRAVE bit of musical storytelling. A wonderfully musically aware moment where source music and score are suddenly the same thing... and a very unique moment in television anime which has been obviously scored completely to picture. Watanabe turns out a gorgeously orchestrated ballet piece with an appropriately Russian flavour... Just superb. What would bloody Hiroyuki bloody Sawano or some other prat done with this scene, eh?

LACA-9305~6 | Love, Chunibyo & Other Delusions! Rikka Version Original... - VGMdb

I finally found some time to listen through this and thought it is really good. As klnerfan said, Nijine's best score by far! Belated thanks to LeatherHead for sharing. :D

Really did absolutely nothing for me. I wanted to enjoy it but found it largely not very interesting.

So in answer to your question, students who want to write concert music will write concert music, and those who don't, won't. No one is being directed one way or another, save for what they see themselves doing in the future. The problem is that the path to composing concert music and the path to composing film music are diverging at an earlier stage (student in their early teens) and who are we to tell them what is best? Of course, there's nothing wrong with suggesting they check out some Mahler and Prokofiev from time to time. :)

Great response. Thank you for taking the time to do so. I think you make great points; they support my suspicions. I understand that the world constantly evolves/changes. Music, like most arts, is driven by the businesses that utilize those arts. Yes, there will always be artists who do something just to do it, buy anyone making a living at it, like I do as an illustrator, must know the market, what the market is hungry for, and be able/willing to supply said market.

My real question, I think, is for the individual composers. As an illustrator who graduated from college over 20 years ago and has been making a living in my field for almost as long, I STILL seek to further my knowledge base. I'm always wanting to hone my craft and better myself as an artist. That means studying other artist's work (both current and older), studying technique, and studying theory. I could spend the rest of my life studying color theory and design theory and not learn all there is to learn. My work keeps me busy so there are periods when I just don't have time to dedicate to further studies, but when I DO have the time I LOVE to read up on such things. Every time I learn a little more it gives me new tools in my toolbox to utilize and my work, obviously, improves.

A guitar player could do nothing but play an electric guitar for 20 years, and while that player might be very good at playing the electric guitar at the end of that time, he/she would be far from a great guitar player. To better his/her craft, that person should experiment, playing other types of guitars and studying other types of playing methods. That experience will enhance his/her electric guitar playing skills and is what makes for a truly great guitar player.

While pretty much every composer I've ever heard of plays at least one instrument, their craft is less about the proficiency with which they play that instrument and more about their ability to compose music. Composition is their life's work, therefore it only makes sense that composers continuing to try and hone their craft would study classical composition and music theory. Just as I can still learn TONS from classic painters such as Vermeer, Rembrandt, and Caravaggio, modern composers can obviously learn TONS from classical greats like Prokofiev, Mendelssohn, and Dvorak. Why WOULDN'T they take the time and effort to study them? There's no way it's going to ever hurt their craft; it can only strengthen them as composers.

This is really basic stuff here. The greatest things I learned at art school wasn't the particulars about this technique or that technique, it was the idea that I should always stay hungry, always look for ways to improve and better my craft. The day you stop being hungry, the day you are content with your own work, is the day you die as an artist. That's the moment at which you plateau.

I've heard Hans, in interviews, freely admit that he's not classically trained. That doesn't bother me. Many artists are self taught. What DOES bother me is that he seems to dismiss the idea of learning about it. He has done just fine without it and I have always enjoyed his work. In fact, I'd have to say I think he's at the top of his game. I will always wonder, however, just how much farther he could have gone if he HAD taken the time to absorb some compositional theory into his brain and let it saturate his work.

There are many younger composers who work in the Zimmer style. It's so easy for their work to just blend together. It all becomes white noise after awhile. The exact same thing can be witnessed in art. Look at the comic book industry: every once in awhile someone will come along with a distinct style that is all their own. They quickly become "the next big thing" and in their wake comes a slew of other artists copying that new person's style. Everyone remembers the guy who started the fad. All the imitators are forgotten when "the NEXT big thing comes along". So, back to music composition, any of these younger composers who want to stand out and make a mark for themselves would certainly benefit from further studies, including the classics. My hope is that that exact bit of thinking is what will eventually lead the industry back in the other direction a little. Like I said, I like Zimmer's work. There are other composers in his wake that are quite talented as well, so it's not that I want this modern kind of composition to go away. I don't. It has it's place and has resulted in some truly wonderful music.

What I DON'T want to see is the older type of composition die away completely. What a tragedy to have that kind of music disappear from the movie scoring world, especially considering how much less in demand concert compositions are. Mozart and company were professionals. They were commissioned to create great works. That was the entertainment available to people back then. That has transitioned into movie and, now, game scores. That's what the business of classical music has evolved into and it's important to keep that classical education alive. Music suffers as a whole when such things are forgotten, so taking the time, as a composer, to continue your education and learn about classical composition, not only betters your compositional skills, but also keeps the knowledge alive.

And to Leatherhead:
Sadly, this frequently leaves me with really uninteresting scores, Uchoten I lasted five or six cues into it before I just gave up.



I highly suggest that you power through the crappy electronic syth tracks because you'll find some absolutely beautiful orchestral strings hidden in Uchoten-Kazoku.

Favorite one by far.
Uchouten Kazoku OST 11 - YouTube (http://www.youtube.com/watch?v=doJA3QfGM4w)

I highly suggest that you power through the crappy electronic syth tracks because you'll find some absolutely beautiful orchestral strings hidden in Uchoten-Kazoku.

Favorite one by far.
Uchouten Kazoku OST 11 - YouTube (http://www.youtube.com/watch?v=doJA3QfGM4w)

Mediocre anime scores always have a reminiscent cue like that hidden among the rest. I just don't have the patience to trim stuff down. Either it has some quality throughout or I tend to pass on it. There are so many earlier film scores I can enjoy from beginning to end that unless a cue like that is worth including on my Loveliness, Elegance, and Nobility compilation I just delete the whole thing and move on.

Scorecrazy: Good points. I agree mostly with what you said.

Takashi Yoshimatsu
DIGITAL BIRD SUITE; etc.
Seiya Ueno, flute
Takaya Sano, piano

AAC ~262 kbps | 12 Tracks | 01:04:32 | 123 MB

Release Date (CD): 21.08.2013
Published by: Nippon Columbia
Catalog Number: COCQ-85021



01. Francis Poulenc - Sonata for Flute and Piano:
I. Allegro malincolico
02. II. Cantilena
03. III. Presto giocoso

04. Claude Debussy - Syrinx
Seiya Ueno, solo flute

05. Takashi Yoshimatsu - Digital Bird Suite:
I. Bird-Phobia
06. II. A Bird in the Twilight
07. III. Twitter Machine
08. IV. A Bird in the Noon
09. V. Bird Circuit

10. Yuko Uebayashi - Le moment du cristal

11. Yuko Uebayashi - Getting Dark

12. Jean-Michel Damase (http://forums.ffshrine.org/f92/big-orchestral-action-music-thread-57893/601.html#post2839266) - Sonate en concert

From the iTunes Store (https://itunes.apple.com/us/album/digital-bird-suite/id688581235).

DOWNLOAD
https://mega.nz/#!35AkAZzA!pbjBiDNIyp3pYSiEYpW-rNoH1o2F_l4pAPA5S7gXxSQ
or
http://www.adrive.com/public/JS2sPu

Funny that you mention Gundam. After enjoying Seed, Seed Destiny, Age, V, and Turn A, I just found about Zeta and G plus a slew of other symphony albums. Thank you for those recommendations!
Also, have any of you gave a listen to Turn A Gundam Concert Live (http://www.amazon.co.jp/%E2%88%80%E3%82%AC%E3%83%B3%E3%83%80%E3%83%A0-%E8%8F%85%E9%87%8E%E3%82%88%E3%81%86%E5%AD%90%E3%8 2%B3%E3%83%B3%E3%82%B5%E3%83%BC%E3%83%88%E3%83%A9% E3%82%A4%E3%83%B4-%E9%80%9A%E5%B8%B8%E7%9B%A4-%E6%9D%B1%E4%BA%AC%E3%83%95%E3%82%A3%E3%83%AB%E3%8 3%8F%E3%83%BC%E3%83%A2%E3%83%8B%E3%83%BC%E4%BA%A4% E9%9F%BF%E6%A5%BD%E5%9B%A3/dp/B00004S2P4/ref=sr_1_5?s=music&ie=UTF8&qid=1350697216&sr=1-5)? I really like the OSTs that Kanno did for Turn A, so I wanted to hear people's opinions on the live album.

And to return a favor to Herr Salat and tangotreats for uploading Ooshima goodies: Uploading more Ooshima albums.

Gokusen 2008 Soundtrack Part 1 Lossless (http://www.mediafire.com/download.php?k2pa48laq8o08ct)
Gokusen 2008 Soundtrack Part 2 Lossless (http://www.mediafire.com/download.php?tpive0u7pnk51pc)

Shomuni Final Soundtrack Part 1 Lossless (http://www.mediafire.com/download.php?e44da6o92b9k6hz)
Shomuni Final Soundtrack Part 2 Lossless (http://www.mediafire.com/download.php?og6pp5exnssku11)

Credit goes to the original uploader (some Chinese forum that I can't remember exactly). Sorry, tags are in Japanese.
Dear Akashi San....all links are dead....re-upload,please.....thank you very much

Michiru Oshima Discography Page 7, #155 (http://forums.ffshrine.org/f91/michiru-oshima-discography-89760/7.html#post2489526)...

Mediocre anime scores always have a reminiscent cue like that hidden among the rest. I just don't have the patience to trim stuff down. Either it has some quality throughout or I tend to pass on it. There are so many earlier film scores I can enjoy from beginning to end that unless a cue like that is worth including on my Loveliness, Elegance, and Nobility compilation I just delete the whole thing and move on.

Scorecrazy: Good points. I agree mostly with what you said.

Gah you miss out on some good stuff doing things like that :(.
I've become a bit of a perfectionist lately and i find it hard to erase songs from an album EVEN IF they suck or are unpleasant (i have a terrible song on my ipod that literally messes up my ears but i still leave it on there xD). We have our own musical tendencies though. But i went ahead and made a compilation of the good orchestral songs from Uchouten (some of them have electronic mixed in but it doesn't bug me much).



Zippyshare.com - CD 1+2.7z (http://www30.zippyshare.com/v/92959999/file.html)

You probably still won't like them which is fine but after watching episode 8 (which i recommend watching if you want to see the soundtrack to the best effect) i just had to find the tracks played in it.

Leatherhead - i do appreciate you taking out some highlights. I tend to have a pretty short attention span for scores that don't grab me. Barely made it through five cues of Brian Tyler's Assassin's Creed 4 score before stopping, though the soundtrack released was far too long and cues don't have the development to sustain 2 minutes let alone 5.

I don't really erase songs from an album usually, I just delete the album entirely if it doesn't interest me. There is just far too much music out there as it is. Occasionally though I will just trim stuff down (like those Naoki Sato drama scores I posted a few pages back) because certain styles of music are worse than boring. I'd rather not have to reach for the skip button while I'm listening because the music is typically in the background. So I want something that just flows for a few hours with good stuff. That is why I made my compilations really, so many anime scores I had kept weren't 100% interesting either, so I picked the best two or three cues from each and put them together.

EDIT: Yeah, didn't find it all that interesting even in the highlights. I appreciate your enthusiasm Leatherhead. It sounds very similar to Yuki Kajiura so I might have really liked it before I got tired of her style.

.

Takashi Yoshimatsu
DIGITAL BIRD SUITE; etc.


I am really liking Poulenc's Sonata. It has a very pleasing mixture of classical sound and modern frivolousness to it (3rd movement especially). Thanks for sharing this album and your thought, Herr Salat. :D

Also, you might really like Poulenc's Stabat Mater. Check it out if you like sacred choral music!

I am really liking Poulenc's Sonata. It has a very pleasing mixture of classical sound and modern frivolousness to it (3rd movement especially). Thanks for sharing this album and your thought, Herr Salat. :D

Also, you might really like Poulenc's Stabat Mater. Check it out if you like sacred choral music!

Well Said Akashi, exactly! What other composers should I examine for some flute and piano stuff like this?

Some fantastic orchestral music in Tokyo Ravens episode 2. There's even a chorus at times. I hope the soundtrack gets announced soon.

Keiji Inai has been confirmed as one of the orchestrators (Hayato Matsuo and Yasunori Iwasaki are still unconfirmed).

Woah... where the hell did this come from? Even the stuff with a beat is awfully good... It's well orchestrated, yes... but the music is actually interesting as well. And what a bloody big ensemble as well! Think it's a domestic job, but no expense spared here... not the usual brass penny pinching - looks like we've got a full symphony strength! This makes me very happy...

Hindemith wrote a pretty good flute sonata, but he's not nearly as good as Poulenc.

Also, Howard Hanson's Serenade for Flute, Harp, and Strings.

Faure's Fantasie is also very good. Gabriel Faure, Fantaisie, Op 79. Flautista Alain Marion - YouTube (http://www.youtube.com/watch?v=M--slgxkDm4)

And can't go wrong with Prokofiev ever. Prokofiev Flute Sonata 1st mvt, James Galway (http://youtu.be/Ap7lk6LTxEA)

M. HAMAUZU PIANO WORKS δ・ε・T_Comp1
FLAC, LOG, CUE | SCANS | 116.5 MB | 19 TRACKS | 00:38:52


VGMdb (http://vgmdb.net/album/41443)
Catalog Number: MNMK-0004
Release Date: Oct 09, 2013

Tracklist
01. ε-1
02~18. δ-1~17
19. T_comp1

Download: https://mega.co.nz/#!0MVgwDaZ!W0gYNCPZzylmJL_a7Se8DT-4ubNLVjrsMdgY2aFfEuk (credit to MGRT)

More solo piano. I've been waiting for this one for a while now. Some very lovely music by Masashi Hamauzu (which is 100% original).

Finally the moment NONE of you have been waiting for! Hiroyuki's second album for Attack on Titan. And it guarantees to disappoint you all! (except me ^_^)

PCXG-50274-2 | "Attack on Titan" Original Soundtrack II - VGMdb (http://vgmdb.net/album/40757)
(http://s455.photobucket.com/user/leatherhead93/media/img010_zps84af5142.jpg.html)

Title: "Attack on Titan" Original Soundtrack II
Type OST: Anime Soundtrack
Composers: Hiroyuki Sawano
No. of tracks: 11
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 16, 2013
Size: MP3 121mb/ ALAC 271mb
Host: Zippy/MP3 Mega/ALAC

Tracklist
01 Shingeki st-hrn-egt20130629 Kyojin
02 Shingeki pf20130218 Kyojin
03 Shingeki gt20130218 Kyojin
04 Shingeki st-hrn-gt-pf20130629 Kyojin
05 Shingeki vc-pf20130218 Kyojin
06 Shingeki vn-pf20130524 Kyojin
07 Shingeki pf-adlib-b20130218 Kyojin
08 Shingeki st20130629 Kyojin
09 Shingeki pf-adlib-c20130218 Kyojin
10 Shingeki st-hrn-gt20130629 Kyojin
11 Shingeki pf-medley20130629 Kyojin


320 kbs MP3
Zippyshare.com - Attack on Titan Original Soundtrack II.7z (http://www44.zippyshare.com/v/6577589/file.html)

ALAC (Loseless)
https://mega.co.nz/#!jIIxwYbZ!P6OzQVG9Zud4K3p_BM3KrCwi7x4wWUxJAfq64zI esDA

Scans included as always. Enjoy http://i455.photobucket.com/albums/qq271/leatherhead93/kucing_naksir_zpsda8b7ce4.gif (http://s455.photobucket.com/user/leatherhead93/media/kucing_naksir_zpsda8b7ce4.gif.html)
Next week I should have Onimusha Soul and the new dokidoki precure movie ost uploaded

"Liked" for your fantastic description and unfailing generosity, as always. :)

So, I remember some of Geoffrey Burgons score to the BBC version of The Chronicles of Narnia, however I cannot find it, and all the links I DO find are dead, somebody feel kind enough to upload this beautiful score?

Well, I finished my "Album" edit of Skyward Sword, its not as good as someone with real musical knowledge and editing skills would do, but here it is:

http://forums.ffshrine.org/f72/legend-zelda-skyward-sword-album-presentation-fan-162934/#post2492254

Thanks for the Hamauzu piano album. There isn't much going on in here but it suits my mood at the moment. :)

I hear a lot of Ryuichi Sakamoto's influence in Hamauzu's music. Must be that oriental sound.

...Finished listening through it. Hints of Debussy throughout... Especially loved the last piece - flew like water toward the end!

So Pokemon XY is fantastic so far and there is even a hint of a full symphonic score like Victini. Another one to watch out for.

Bear McCreary's Da Vinci's Demons score will be getting a complete release on October 22nd. It will feature 30 more minutes of music and will be available in digital and physical formats. I loved the music from this series and I am sure the added music will be some great stuff. I'm hoping for a full fleshed out version of The Rome Theme in there ;).

Leonard Bernstein - Candide Overture
Very famous piece to classical afficianados, if you're still not familiar with it, trust me, you'll love it. Five minutes of pure orchestral joy - an outpouring of Americana, grand melody, and superb orchestration.

Enjoy :)

MP3 160 kbps. From the 1972 London recording of "Candide". Performance: The London Symphony Orchestra. Conductor: Leonard Bernstein.

https://archive.org/details/CandideOverturelblso

There are four other versions available at the Internet Archive.

well i'll be

MICHIRU OSHIMA - AURA ~KOGA MARYUIN'S LAST WAR~ SOUNDTRACK
FLAC, LOG, CUE | 231.5 MB | 23 TRACKS | 00:43:15


VGMdb (http://vgmdb.net/album/40169)
Catalog Number: PCXX-50081-2
Release Date: Sep 18, 2013

Tracklist
01 ダークヒーロー
02 伝承
03 オープニング
04 異世界との邂逅
05 少年と少女
06 招かれざる訪問者
07 波長の再変換
08 探索
09 宿命の戦士たち
10 勢力図
11 事件
12 靴を買いに
13 クラシック
14 恐怖
15 告白
16 涙
17 魔女がいない非日常
18 対峙
19 魔竜院光牙最後の戦い
20 ふたり
21 ゲームBGM
22 夜想曲
23 僕らのセカイ

Download: https://mega.co.nz/#!8YkDzaQZ!BfU7X3PJ7tV2nnG6eyaVdDmL8dFP6spdA00GqA7 bQBI

Some really brilliant stuff on here. Oshima is still at the top of her game, no doubt. There's even a rare 5 minute track.

This soundtrack was recorded in Paris in December of last year. The name of the orchestra is not mentioned, though, as far as I can tell. It's probably either Orchestre des Virtuoses de Paris or L.C.O. Paris.

Edit2: I reuploaded it just now to fix a couple tags (tr.12 and 23).

Oh, God, YES! Thank you so much!

Also... I should learn to shut my stupid fool mouth: Masamichi Amano and the Warsaw Philharmonic have finally appeared in Magi Season 2 - a new bouncy theme that recalls the exhuberant Fam and Ihrle, a fun woodwind / muted trumpet piece, and a sumptuous theme at the end. Every time Amano works with Sagisu, the end results are sounding progressively more like Amano and less like Sagisu - this is another progression in that direction.

So, I remember some of Geoffrey Burgons score to the BBC version of The Chronicles of Narnia, however I cannot find it, and all the links I DO find are dead, somebody feel kind enough to upload this beautiful score?

If this is what you are looking for, Faleel: The Chronicles of Narnia: The Television Music of Geoffrey Burgon (http://www.allmusic.com/album/the-chronicles-of-narnia-the-television-scores-of-geoffrey-burgon-mw0000347233) I do have it, though only at 128 I'm afraid.

Just give me the word and I'll upload it.

Thank you for AURA!

Here's another cover:



Great stuff indeed but why the modern percussion in Koga Maryuin's last war. Such great music butchered by annoying drum loops. From my experience they never mix well with classical compositions and in this case they really contradict each other and diminish the beautiful dramatic piece. I'm not really sure if that was Oshima's intent or a studio decision or if I'm just overreacting but I cannot enjoy it as much as I would like.

It's only two of three tracks - and traditionally almost every score has a few dud cues, synthy cues, cheap cues, or drum-loop cues... If the whole score were like that, I'd worry - but they're pretty minor cues in the greater scheme of things - and with stuff like the delightful main title (track 3), the three-minute action crescendo (track 11), and the jaw-dropping classical tone poem for organ and full symphony orchestra (track 18) it's not like we've got a crummy score here - we've got something special with a few dodgy moments. They're exceedingly annoying, but Oshima's greatness shines through and it doesn't affect the flow of the score to take them out of your playlist.

The orchestra itself... sounds like the usual Paris lot... but Oshima sounds as though she's still in a Moscow mood, and it's very evident that both Tempest and Little Witch were both on her mind simultaneously whilst writing Aura - track 9 being straight out of Little Witch and the aforementioned track 11 owing a debt to Tempest.

Don't get me wrong, I enjoy AURA a great deal and it's a great score, I'm not debating that and I even tolerate the first two tracks because they're short but the last great climax of the score is somewhat ruined by the drum-loops. It only bothers me so much because the music underneath is so great and would sound so much better without them.

So far I much prefer Aura over Tempest and Little Witch Academy. The other two scores are quite good but this one is also much more beautiful. The themes are absolutely gorgeous and the music is more relaxing than the big epic music for Tempest.

I've been lurking in this thread since the late-300 page count, and it just occurred to me that I should say a word of thanks to all of you fellow music lovers who take the time to upload these wonderful soundtracks. You've certainly kept my ears busy!

I've been lurking in this thread since the late-300 page count, and it just occurred to me that I should say a word of thanks to all of you fellow music lovers who take the time to upload these wonderful soundtracks. You've certainly kept my ears busy!

Don't be shy to give your thoughts on some scores or the state of the industry in general :)

Space Battleship Yamato 2199

Music composed by Hiroshi Miyagawa
Arranged by Akira Miyagawa



Download (https://mega.co.nz/#!iggXkLYB!K1FUMg2xi6cgcvqfXMKu_wOj83U3dEQjSKupAwD BdUc)
MP3 / 320kbps / 50 Tracks / 80min

Here's another one from my series of custom soundtracks. This time it's the score for the fantasic remake of Space Battleship Yamato. It's all music from the three soundtracks put together to a satisfying album listen. Some minor tracks have been left out as well as different variations of the same piece but everything noteworthy is here and it's rearranged like a film score again. This is all the orchestral parts so no disco tracks I'm afraid.
Now on to what I think: For what it's worth I'm enjoying the hell out of this score, much more than Sato's film score which was all Hollywood bombast but no soul or charme in retrospect. As I've said before, just because something is considered old-fashioned doesn't mean it isn't good (or great in this instance). The score has it's own share of orchestral bombast as well and the rearranged parts feel fresh and exciting. Not to mention the many (great) themes from the original plus a few new ones. It's still interesting to hear that anime is apparently one of these rare mediums where themes still play a big part nowadays. The typical space opera approach of giving various factions their own anthems is a clich� I will never get tired of hearing. Now I'm eager to see (and hear) what the movie has in store.

As usual I've included some pics if you want to make your own soundtrack, here's my cd version:



Enjoy

I'm in so many different minds about this one... This was a glaring opportunity for a good old rollicking space opera score with a ginormous budget... and instead, they decided to fill it up with re-recordings of already tired Yamato themes interspersed with new pieces written firmly in the same vain, and do the whole thing stylistically like it's 1974. It's not earnest music, it's a 1970s pastiche all the way. It's a case of "what worked before will work again" but back when it worked before, it was new and unique. Now, it's been done and that era has long since passed. Of course, it's possible to revive an old technique when it's appropriate but this score doesn't revive anything - it just shamelessly duplicates the 70s sound down to the last detail. And it wasn't done for any reason beyond that, even though Yamato was forty years ago, people think that nobody will be interested if the new show isn't a carbon copy of the original. That pisses me off beyond belief.

Hearing Yamashita's work (firmly in Garasu No Kantai territory and performed by a full symphony orchestra) in the 2009 Yamato movie provides a tantalising glimpse at what could've been. There was an opportunity for a grand symphonic score - there was even a guy who could do it; something timeless and something that intelligently and sparingly employed the melodies of old. Instead, we get, essentially, a re-recording of the 1974 soundtrack.

Trouble is... it's just so damn catchy. I love it for the same reasons I hate it. It's a great balls-out throwback. It's tuneful and emotional. It's more exuberantly fun than probably the last five years of scores put together.

So, yeah... mixed bag... Utterly hate this score. Utterly love this score. :/

Tango, look at the cover and the characters, the whole thing screams cheesy retro 70's but not quite 70's style anime.

The cover looks cheesy? Man, I must love cheese then because to me that cover just screams atmosphere. They didn't go for the stereotypical boring-as-all-hell poster cropped to fit on a soundtrack cover. They went for something simple, and yet it said alot about the what the music was actually about. I fricking love covers that try to say something about the story that the music was written for - that's why I so often use concept art in my custom covers.

Thank you very much by Space Battleship Yamato 2199 but i not found tracks 7 and 8 in the zip file, the tracklist is bad??

Edit: the number of tracks is bad but it is complete, thanks n__n

EVANGELION PIANOFORTE #1 COMPOSED BY SHIRO SAGISU
FLAC, LOG, CUE | 286.0 MB | 18 TRACKS | 01:09:06


VGMdb (http://vgmdb.net/album/40859)
Catalog Number: KICA-3216
Release Date: Oct 23, 2013

Tracklist
01. E01_matsumoto
02. B20_kuriya
03. B01_miyagi
04. E13_kita
05. M10_nakanishi_arianne
06. EM21_matsumoto
07. KK_A09_miyagi0
08. KK_A08_miyagi
09. KK_A09_alterna_kuriya
10. E16_shima
11. Quatre Mains_miyagi_kita
12. E05_yamashita
13. M11_shionoya_arianne
14. A01_yamashita_take1
15. Quatre Mains_tribute to Rachmaninov_kita
16. E05_sasaji
17. A01_clone_miyagi
18. F02_miyagi

Download: https://mega.co.nz/#!UANSCDYJ!I6wKAEd2ImDI6HJZb_V9U2FRjB1SuIMaw5YQ1lF rclU

Yet another piano album. This time an Evangelion arrangement album produced by Sagisu and his usual team.

The cover looks cheesy? Man, I must love cheese then because to me that cover just screams atmosphere. They didn't go for the stereotypical boring-as-all-hell poster cropped to fit on a soundtrack cover. They went for something simple, and yet it said alot about the what the music was actually about. I fricking love covers that try to say something about the story that the music was written for - that's why I so often use concept art in my custom covers.

Well said. Too often these days, a cover is a publicity shot with "OST" stamped on it.

I like covers that convey something of the spirit of the show in their design.

That said, I'm an absolute sucker for the particular brand of covers which feature characters from the show playing musical instruments. So damn cute...

I wonder when the Evangelion franchise will be completely phased out. "The End" of Evangelion did come out 16 years ago.

BTW, thanks for the upload. I haven't checked it out yet but gotta say that I am apprehensive of Sagisu's arrangement skills and the unnecessary number of pianists. I at least hope the piano wasn't driven to the loudness war level this time.

I bring to you my latest order =). While the Precure OST is shorter than i would have hoped there are some very nice strings and trumpets in it. Kind of has an old school feel to it as well if you ask me. Onimusa Soul is brought to us by the ever so excellent Team-MAX crew. Of course i enjoyed the tracks Takanashi composed the most but the others aren't bad either. The OST overall has a Naruto/Genji feel to it. So it's pretty easy for me to enjoy ^_^.

MJSA-01070 | Eiga Dokidoki! Precure Mana Kekkon!!? Mirai ni Tsunagu... - VGMdb (http://vgmdb.net/album/41307)
(http://s455.photobucket.com/user/leatherhead93/media/41307-1380882182_zpsc900a9b5.png.html)

Title: Eiga Dokidoki! Precure Mana Kekkon!!? Mirai ni Tsunagu Kibou no Dress Original Soundtrack
Type OST: Anime Soundtrack
Composers: Hiroshi Takaki
No. of tracks: 30
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 23, 2013
Size: MP3 100mb/ ALAC 261mb
Host: Zippy/MP3 Mega/ALAC

Tracklist
01 Happy Go Lucky! DokiDoki! Precure (Movie size)
02 Love Charm
03 Disaster on a Moonlit Night
04 Melody of Memories
05 Sebastian's Reinforcement
06 Precure: Love Link!
07 A Forgotten Person Versus Precure
08 Reviving Dolls
09 Precure: Lovely Force Arrow!
10 Matthew Bares His Fangs
11 World of Memories
12 Mana Disturbed
13 Davi's Efforts
14 To Within the Memories
15 Mana Falls into Darkness
16 The Determined Precure
17 Precure Counterattack
18 Cure Sword Fights
19 The Trump Card of Love, Cure Ace!
20 Precure without an Ounce of Strength Left
21 Feelings that Connect to the Future
22 Maro's Memories~A Sorrowful Rage
23 Mana's Sincerity
24 The True Enemy
25 Miracle of the Miracle Lights
26 A Fight with the Future on the Line
27 Precure: Lovely Straight Flush!
28 A Farewell, Thus the Arrow of Hope
29 Let's Meet Again
30 Love Link (Movie Size)


320 kbs MP3
Zippyshare.com - Eiga Dokidoki! Precure Mana Kekkon!! Mirai ni Tsunagu Kibou no Dress Original Soundtrack.7z (http://www61.zippyshare.com/v/47619620/file.html)

ALAC (Loseless)
https://mega.co.nz/#!XRB2VDBR!cn9sjn6mk4fLhmYOMtgiogm14Ld2M7PXytA0enV 1Wz4


CPCA-10317 | Onimusha Soul Original Soundtrack - VGMdb (http://vgmdb.net/album/41306)
(http://s455.photobucket.com/user/leatherhead93/media/41306-1379080485_zpsd36f4598.jpg.html)

Title: Onimusha Soul Original Soundtrack
Type OST: Video Game Soundtrack
Composers: Yasuharu Takanashi, Hiroshi Motofuji, Hiromi Mizutani, Kenji Fujisawa
No. of tracks: 20
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 23, 2013
Size: MP3 163mb/ ALAC 405mb
Host: Zippy/MP3 Mega/ALAC

Tracklist
01 Sengoku No Yoake
02 Shutsujin Zenya
03 Jinsei Taihei
04 Kisei Taihei
05 Gensei Taihei
06 Genma Shinkou
07 Oni Monogatari -sanga-
08 Oni Monogatari -senkon-
09 Oni Monogatari -genmu-
10 Oni Monogatari -hangai-
11 Oni Monogatari -sonraku-
12 Dohatsu Shouten
13 Rikisen Funtou
14 Shiden Issen
15 Akki Rasetsu
16 Meifu Madou
17 Tenka Wakeme -fujin-
18 Tenka Wakeme -ranbu-
19 Dai Kassen
20 Sengoku No Yoake -ichimon-

320 kbs MP3
Zippyshare.com - Onimusha Soul Original Soundtrack.7z (http://www61.zippyshare.com/v/69208392/file.html)

ALAC (Loseless)
https://mega.co.nz/#!TUwiwIhA!Xwl-ziY2U_Zb63M_X8wIe2cyyzIq4B8-XNKc-jeHrrA


Scans included as always. Enjoy http://i455.photobucket.com/albums/qq271/leatherhead93/kucing_naksir_zpsda8b7ce4.gif (http://s455.photobucket.com/user/leatherhead93/media/kucing_naksir_zpsda8b7ce4.gif.html)

Won't be any uploads from me for a while since i really gotta save up a bunch for December OSTs. http://i455.photobucket.com/albums/qq271/leatherhead93/kucing_capek_zpsc3d04393.gif (http://s455.photobucket.com/user/leatherhead93/media/kucing_capek_zpsc3d04393.gif.html)
But I'll have stuff in about mid November to post =)

Well said. Too often these days, a cover is a publicity shot with "OST" stamped on it.

I like covers that convey something of the spirit of the show in their design.

First off: WTF? Tango agreed with something I said? This isn't Friday the 13th! It is neither Friday nor the 13th! It's a fricking Tuesday! This is all wrong!

Secondly...


So damn cute...

Are you sure that you're a man Tango? Because, sometimes I wonder...

The cutest couple ever Tango, and I'm not taking the piss, just look at my avatar, lol.

I love the soundtrack
The Last Princess Soundtrack
Naoki Sato but I can not see.
Maybe the could indeed again a high load
And post the links.
Or send me via PM.
Would be really great.

MICHIRU OSHIMA - BLAST OF TEMPEST ORIGINAL SOUNDTRACK VOL.3
FLAC, LOG, CUE | 128.9 MB | 11 TRACKS | 00:25:59



Just an upgrade from the 320k rip that was posted earlier: https://mega.co.nz/#!RZUgFbrJ!WlMEZ1RhQ7CVXZLntdP9mgtYqKpzn-ihiHSRrMBnR6A

nextday

Thank you! Tempest is great! :)

My one real question for you (hoping that you still check in from time to time and read this): so are composition students just not being taught how to compose concert music (longer form structure and depth) anymore? Is it just that there's not the demand for it in the current market place? That's such a sad thing if it's true.[COLOR="Silver"]


I was once told at University there's no need for 'composers' to familiarise themselves with long forms and structures as they're hallmarks of a dead and tired musical style- no need to bother with any of that, because you'll be left in the dust. Then again, the people saying this kind of thing wrote the kind of music where the same half a dozen people would turn up every time.

On the other hand, you had the 'film music' crowd. In my experience, I found a lot of them were into the whole 'film music thing' simply because it's generally something that instantly sounded 'good'. But outside of things where you could bob your head and shout Yeah!!! Horns!!!!, or a rudimentary romp around the epic chord progression™, they generally didn't actually know that much about, well, film music. They struggled to recall who Miklos Rosza was. But they did know that 'film music' was 'epic', 'good', and very money-making, and that they wanted to be part of it. Practically all of these people also had backgrounds in music production and sound design (not composition!), also.

I certainly don't have a problem with either, as I believe there's a time and place for everything. Of course, it's more people of the latter group who enter the industry as 'film composers', as their interest in it is of course, more industry orientated. It's pretty obvious this makes a huge impression as to the work type/level of the average film or media composer nowadays; sure enough, just look at the same topic come up in this thread a dozen of a dozen times. When I first mentioned my own composition efforts and successes, I was met with "If you're writing for an orchestra you don't need to use all instruments all the time! You can save money by not using professionals and less musicians!" Seemingly obvious things and slightly disconcerting people would feel the need to educate a composer of those things, but that goes to show you what's happening and what most people perceive of it (and if this passage sounded slightly bitter, it wasn't meant to be- it was more illustrative). Surely enough, most game developers (as I've had experience with) hold the same views and little confidence, too.

Those of the former group, and then the rest of us, were often more concerned with craft and development as opposed to employable skills or industry experience. Probably a very silly approach given today's climate. But unless you wanted to write the same music where the same dozen would come to listen to it, or the kind of thing that makes you go HORNS!!! YEAH!!!, you were stuck. Names like Stockhausen, Ligeti and Schoenberg cropped up a lot; composers like Howard Hanson conspicuously absent. As I've recently gotten into banding, brass and wind band music was also much neglected. I remember one person, having to make a concert report on a piece composed post-2000's doing so on a brass band work, to have it rejected because that doesn't qualify as real music in this decade. And another, proposing to compose a symphonic suite for wind band to practice a traditional form development, being told to listen to a bunch of John Cage to 'refocus' himself. Tonal music was already looked down upon, heaven forbid if you wanted to practice pre-existing form and structure, too. And right to the opposite, if you were interested in 'cinematic' type music, if there's no bass drop or inception horn, you'd get asked what the hell you're doing. There was no acceptable middle ground. You were an artist or a sell-out. So ironically, we did indeed get left in the dust. We were also classed as sell-outs, for giving into shallow traditionalism- tonalities and structures that had been done and done, that no longer pushed the boundaries, that served only now to serve up something familiar so people will buy it... we were writing music for the masses, not ourselves. Apparently. I knew a lot of friends who entered loving Rachmaninoff or Bach, or Verdi, whatever, and left the place telling you how tonality and form and structures are oppressive constructs in music. Of course it'd all been well and done before, but we're talking about undergraduate University level composers here- I'm almost certain that great, unique work isn't going to appear until mastery of the techniques and music that already exist has been achieved, but we weren't even allowed that.

Oh, I also think there really isn't much demand for this developed, long-form kind of music in this market either (it's very much alive when it comes to brass and wind bands, however). That much was obvious, which made the accusations of our selling out much more amusing. Not that it'd matter if you could even write it, mind- mention the word 'composer' and you're mostly a 12 year old with a copy of fl studio and a beginner's keyboard. Next!

And there you have it. Some brief, shallow observations that turned into a rant, and it's certainly a very personal view on the subject. As frustrating and depressing the whole business sounds, I still hold University to be the best years of my life. And also seeing as I mentioned banding, I might upload a nice CD or two later, if this connection permits...

I've been upgrading my Der Ring des Nibelungen thread to FLAC, and tonight I uploaded what is so far my favorite orchestral distillation/sampler/primer/whatever of Wagner's music:


RICHARD WAGNER
THE SYMPHONIC RING
An orchestral drama in two parts, arranged by Friedmann Dressler
The Duisburg Philharmonic Orchestra
Conducted by Jonathan Darlington
FLAC | 31 Tracks | 92m50s | 365 MB



PART 1
DAS RHEINGOLD
01. Prelude Rhinegold
02. The Song of the Rhine Maidens
03. Alberich's 'Curse of Love'
04. The Gods' Castle 'Valhalla'
05. The Forging
06. Donner's Call

DIE WALK�RE
07. Prelude to The Valkyrie
08. Siegmund and Sieglinde
09. Winter Storms
10. Siegmund and Sieglinde's Escape
11. Prelude to 2nd Act Valkyrie
12. Wotan's Rage
13. Ride of the Valkyries (Prelude 3rd Act)
14. Wotan's Farewell
15. Magical Fire

PART 2
SIEGFRIED
16. Prelude 2nd Act Siegfried
17. Forest Murmurs
18. Siegfried's Fight with the Dragon
19. Fafner's Warning
20. Prelude 3rd Act Siegfried

G�TTERD�MMERUNG
21. Night on Bruennhilde's Rock
22. Sunrise
23. Siegfried-Bruennhilde Duet
24. Siegfried's Rhine Journey
25. Hagen's Battle Summons
26. Chorus of the Vassals
27. Prelude to 3rd Act Twilight of the Gods
28. The Murder of Siegfried
29. Siegfried's Memory of Bruennhilde
30. Siegfried's Death and Funeral Music
31. Bruennhilde's Immolation Scene

Excellent sound and performance, showcasing Wagner's greatest strength: his skill with the orchestra. Check it out if so inclined.


Link to post (http://forums.ffshrine.org/f92/wagner-der-ring-des-nibelungen-sir-georg-110808/2.html#post2498568)

http://www.amazon.co.uk/gp/product/B00G71FPLU

The Book Thief Samples by John Williams are out.

*swoons*

Aaaaaaaah... MUSIC! Anybody remember that?

Oh god... I just got chills from just the first few seconds! I didn't know John Williams had a new score coming up aside from Star Wars. This is quite the surprise :). This man deserves another award because I thought he deserved one for War Horse and it really honked me off when that Ludovic what's his name won with The Artist.

I think The Artist was the oddball win... since the Oscars rarely award talent over marketability, popularity, and novelty, I think it probably deserved its win. A symphonic, melodic, throwback score from a newcomer won Best Score in 2011. Encouraging - and it probably meant more to Bource than it would've done to Williams to win for War Horse or Tintin... "Oh, dear, another award? I'll just put them here next to my five Oscars, three Emmys, four Golden Globes, 21 Grammys, and seven Baftas..."

John Williams: Too popular for Hollywood hipsters, not popular enough for the mainstream. :(

The Book Thief: Ahhh, C Lydian, the pinkish of modes...

Why are the tracks so short?

Why are the tracks so short?

Because the orchestra stopped playing?

Edit your post all you want, I got e-mailed what you put initially. :D

I just didn't want it to be taken as JW has stopped writing for good or some such nonsense.

Maybe there'll be longer tracks when these FYC Promos and complete score leaks show up.

I wish there's more of those symphonic suite albums produced by Charles Gerhardt and George Korngold.

Maybe there'll be longer tracks when these FYC Promos and complete score leaks show up.

How do we know this isn't all there is?

I wish there's more of those symphonic suite albums produced by Charles Gerhardt and George Korngold.

Same here... I guess such things don't sell so much these days... :(

As for the short tracks... they're not that bad... The shortest is a minute, but most are over two minutes and there's one over four and one over SEVEN. Knowing Williams, the whole score will play like one long cue, anyway... The full album is 52 minutes, which isn't to be sneezed at - at least, not if you've been collecting long enough to remember those horrible 30 minute Varese score albums...

We shall see... New Williams! No Steven Spielberg or George Lucas! 2013! FANTASTIC! :D

Plus, from what I heard of the film itself, there is not that much score in it, so I wouldnt be surprised if this is the full score, perhaps arranged into an album presentation, with some stuff written and recorded specifically for the album.

waiting for 5-CD expanded isolated bootleg promo scoring sessions with outtakes, alternate cues, and synth demos ripped from the imported Japanese laser disc release (in high def 3D flac)

Don't forget the Fitzpatrick Budget Special re-recording with London Music Works.

YUGO KANNO: TROMBONE CONCERTO "FLOWER", etc.
FLAC, LOG, CUE | 169.7 MB | 8 TRACKS | 00:48:59
The Japan Philharmonic Orchestra [1-3], conducted by Kazuki Yamada [1-3]
Kojiro Fujihara (trombone) [1-8], Ayano Jo (piano) [1-3], Kyoko Harada (piano) [4-8]


Catalog Number: OVCC-00104
Release Date: Oct 23, 2013

Tracklist
1~3. Trombone Concerto, "Flower" / Yugo Kanno (20:51)

1st Movement: Phantom
2nd Movement: As Time Goes By
3rd Movement: Flower Note

4. "Ototo" Main Theme / Isao Tomita (2:43)

5. Choral, Cadence et Fugato / Henri Dutilleux (5:31)

6. A Hymn for the Lost and the Living / Eric Ewazen (7:06)

7. Sonata for Trombone and Piano, "Vox Gabrieli" / Stjepan Šulek (7:43)

8. The Wind / Kojiro Fujihara (4:57)

Translated, ripped, etc. by me.

Download: https://mega.co.nz/#!wIMC1AJR!N_DDh0IhOnLRbkbv3SCFqySRl8QVoLm2jlG-Jfavq44

This is Yugo Kanno's first concert work. It was completed in 2011, however this is the first time it's been released on CD. This recording is from September 13, 2013 at the Suginami Kokaido in Tokyo.

"This concerto is a work that was commissioned by The Japan Philharmonic's principal trombonist, Kojiro Fujihara. I think even from a global perspective Mr. Fujihara's rich and expressive playing is rare. When I recieved the offer I was busy working on film music and my schedule was overlapping, but after I thought that it would be Mr. Fujihara performing, I immediately accepted. This concerto consists of three movements and the compositions of each of the movements were inspired by the paintings of the contemporary artist Mirey Hiroki. The message "I want to send flowers all over the world" is put into Mirey Hiroki's paintings. The paintings (http://imgur.com/a/7fH35) of each movement were drawn abstractly and delicately using only crayon. They are full of bold ideas, bewitching colors, and wriggling energy. I made the concerto sound like a representation of the paintings, like between dreams and reality. Having begun the composition just after the Great East Japan Earthquake, there was an impact in no small way (it made me think deeply about whether we should come face to face with the music from now on). I rewrote this piece numerous times in the production stage, Mr. Fujihara came by the studio many times, and after a long time I finally managed to complete it. I would like to express my appreciation to all of the staff that helped including Mr. Fujihara and all the members of the Japan Philharmonic." - Yugo Kanno



In other news... Yugo Kanno was in Poland earlier this week. He spent a couple days there with the Warsaw Philharmonic to record his score for the NHK Taiga Drama "Gunshi Kanbee". He's currently back in Tokyo recording the remaining music with the NHK Symphony Orchestra. Gunshi Kanbee will premiere in January 2014.

WOT? Yugo Kanno's first big orchestral score is a Taiga Drama? Fuuuuuuuuuck yes!

waiting for 5-CD expanded isolated bootleg promo scoring sessions with outtakes, alternate cues, and synth demos ripped from the imported Japanese laser disc release (in high def 3D flac)

The sad thing is, that is exactly what is going to happen. To a T.

The sad thing is, that is exactly what is going to happen. To a T.

To be fair, it seems to happen more frequently with junk like Inception or Dark Knight.

Recording sessions. Demos. Re-recordings. DVD rip. Bluray rip. Isolated score rip. Score rip with SFX and dialogue. Score rip with DFX and dialogue clumsily removed with fifteen-year-out-of-date copy of CoolEdit Pro. CD soundtrack rip. Norwegian CD soundtrack rip with different picture on front cover. Japanese CD soundtrack rip with 47 second bonus track. Japanese CD soundtrack rip from Blu-Spec CD. Transfer from LP. Transfer from LP pressed in red vinyl. Transfer from LP at 4096 bit 1102500khz WAV. Transfer from LP at 4096 bit 1102500khz TAK (because it sounds "warmer") made with brand new �150,000 turntable individually manufactured by the ghost of Thomas Edison in his factory in North-Western Heaven from the bones of Mozart, Bach, Elvis, Miles Davies, and Jean Baptiste Lully with a individually ground stylus made from pure unicorn's horn. Transfer from LP at 4096 bit 1102500khz FLAC with reverberation-channeled 18 speaker sound digitally "remastered". Get it now! Super bootleg CD set only 17 discs, 48gb download!

Yup.

Let's be honest; I may do everything and the kitchen sink with my game rips. But I don't throw in the entire neighborhood (and the pet pooch).

I skimmed through Yuugo Kanno's Twitter and it seems like the music was recorded over two days. He sounds genuinely excited and honored to have been there. He didn't mention much about the music in details but I can't be on Twitter for too long as I am at work...

He's only 36 - could be the youngest to be sent to Warsaw for a Taiga drama (very prestigious)!

In other news, am I the only one that thinks that the Marvel Cinematic Universe is finally on the right track musically? (Oh God, I just did a pun didn't I?) Starting with Captain America we have had a series of primarily orchestra driven scores. The Avengers was weak, but it still had an emphasis on that orchestra, and then we had Brian Tyler's awesome Iron Man 3. Although weak in how the the theme was used, the main theme was still awesome and incredibly hummable. Thor: The Dark World suffered from the same problem, if not even more emphasized. But still, this is a very orchestral driven score.

Now, are we Elfman Batman and Superman level? No, but with every year the Marvel movies are getting closer to that standard of quality.

Except Captain America was pretty much boring aside from the march that is never actually used in the film. Iron Man 3 was decent and saved itself with some solid themes. I haven't listened to Thor Dark World yet but I'm not getting too excited.

Marvel movies are getting closer to that standard of quality.

Yes, in the sense that when I take a step out of my house into the street and face East, I'm getting closer to Tokyo.

I'd say Agents of Shield is the closest thing we're getting so far to that. I'll get excited when we finally get a thematic score for a Marvel film that isn't just a wall of sound most of the time. It is telling enough that the filmmakers couldn't stand to have the Captain America March anywhere except for the end credits.

Yes, in the sense that when I take a step out of my house into the street and face East, I'm getting closer to Tokyo.

More in the sense that, while Batman and Spider-Man are enthralling, Marvel is amusing.

I couldn't comment there; I have a passionate dislike for superhero movies. Batman and Spiderman well and truly included. Superman, a little less - but I don't know if that's the presence of John Williams in my head affecting my subconscious or whether I actually genuinely don't hate the film that much. I expect it's a little bit of both...

Oooh, boy... have I got a treat for you all tonight... another Tangotreats / Herr Salat co-production you will LOVE. A jaw-dropping masterpiece of a score from 1981, never released on CD. :D

STEINS;GATE SYMPHONIC REUNION
MP3 320K | 238.7 MB | 26 TRACKS | 01:45:19
Studio Orchestra


VGMdb (http://vgmdb.net/album/40395)
Catalog Number: FVCG-1265
Release Date: Sep 25, 2013

Tracklist
[Disc 1]
01 GATE OF STEINER
02 Cycle
03 Explanation
04 Noisy times
05 Assailant
06 Laboratory
07 Ringing Medley (Village ~ Easygoingness ~ Reunion ~ Precaution ~ Over the sky ~ Beginning of fight)
08 Human community
09 Crossroads
10 hesitative consideration
11 Chaos mind
12 Quiet air
13 OPERATION SKULD
14 GATE OF PHENOGRAM

[Disc 2]
01 Hacking to the Gate
02 In the Moonlit Night of Preghiera
03 Space Engineer
04 Always in this Place
05 Nonlinear Geniac
06 Skyclad Observer
07 Hacking to the Gate -Instrumental-
08 In the Moonlit Night of Preghiera -Instrumental-
09 Space Engineer -Instrumental-
10 Always in this Place -Instrumental-
11 Nonlinear Geniac -Instrumental-
12 Skyclad Observer -Instrumental-

Download: https://mega.co.nz/#!UUdQkI6Y!PAohWX-BJ9vfo4p9DRjOPhFDeOo6kGqwyzjVf0qn9Uk

This is a sequel to the Steins;Gate Symphonic Material album released last year. While the previous album had 6 instrumental tracks and 4 vocal tracks, this album has 20 instrumental tracks and 6 vocal tracks. The album contains orchestral arrangements of music from the game and anime and is performed by a studio orchestra with around 40 players. Overall it's pretty enjoyable, probably more so if you're familiar with the original music. Also, I must say it's nice to see them releasing stuff like this.

I know you've probably got this already but here is the official US version of the Little Witch Academia Original Soundtrack. There is a nice interview with Michiru Oshima showing how she went about scoring for the short movie in the scans. She apparently genuinely likes the movie quite a bit and stated she was hungry for a sequel. Since the 2nd short movie is supposed to premiere sometime in January I'm hoping she can do another wonderful score for us :).


Little Witch Academia Original Soundtrack - VGMdb (http://vgmdb.net/album/40032)
(http://s455.photobucket.com/user/leatherhead93/media/img004_zps926f33e0.jpg.html)

Title: Little Witch Academia Original Soundtrack (Official US Release)
Type OST: Anime Soundtrack
Composers: Michiru Oshima
No. of tracks: 13
Format: MP3 and ALAC
Bitrate: 320kbs and Loseless
Release Date: Oct 24, 2013
Size: MP3 60.7mb/ ALAC 108mb
Host: Zippy/MP3 Zippy/ALAC

Tracklist
01 Magic Show (M1)
02 Cafeteria (M2)
03 Flying Lesson (M3)
04 At the Dorm (M4A)
05 Minotaur (M4B)
06 Iron Maiden (M5)
07 Emerging Dragon (M6)
08 Here we go! (M7A)
09 Battle (M7B)
10 Chariot's Theme (M7C)
11 Main Theme (M7D)
12 Title Roll (M8)
13 Title Roll <Short ver.> (M8B)


320 kbs MP3
Zippyshare.com - Little Witch Academia Original Soundtrack.7z (http://www47.zippyshare.com/v/65837139/file.html)

ALAC (Loseless)
Zippyshare.com - Little Witch Academia Original Soundtrack FLAC.7z (http://www64.zippyshare.com/v/43541897/file.html)

Enjoy http://i455.photobucket.com/albums/qq271/leatherhead93/kucing_capek_zpsc3d04393.gif (http://s455.photobucket.com/user/leatherhead93/media/kucing_capek_zpsc3d04393.gif.html)

You know, guys, things may be going bad for the music industry. But at least we aren't being attacked by a giant seal!

Thanks for the Little Witch stuff - although I note you are mislabelling your uploads again... ;) (Little Witch Academia FLAC...)

The book is fascinating and Oshima's contribution is full of interesting tidbits... Not thrilled with the translation or the proof-reading, though - I doubt Oshima referred to her score as "songs"... and I'm less thrilled to see that she scored a TV show called "The Full Metal Alchemist" and that Tenchijin is suddenly a motion picture!

DEAR JAPAN (or anybody) - if you're reading this: I will proof your booklets FOR FREE. Hell, I'll even pay YOU for the privilege. You have absolutely no excuse for printing this crap.

Japan has a big problem with typos and really screwed up translations in general. The latest Resident Evil and Phoenix Wright games were plagued by typos.

Except Captain America was pretty much boring aside from the march that is never actually used in the film.

It is used several times.

but still not even close to being a great score.

A Herr Salat / Tangotreats Co-Production
YASUO HIGUCHI
Bremen Four - Angels In Hell
Bremen Theater Orchestra
conducted by
Yasuo Higuchi



My transfer from Herr Salat's vinyl. Deluxe (3000x3000) scans included. Track titles in English. As with previous uploads which are sourced from an analogue medium, demands for LOG files and/or AccurateRip results will result in all hell breaking loose.

FLAC with Giant PNG Scans - https://mega.co.nz/#!tkQzUS4L!NyRwaUzb-tzgR6ct0xFBZ1wiNyVY6u72508EkaocQxI
MP3 (LAME 3.99.5 -V0) with Crappy JPEG Scans - https://mega.co.nz/#!5lgT3ZJD!bw4Y-GjMzz7INEmLLa5IxDD37dpLK7vO_HupyUPyYBk

So... wouldn't it be great if Yasuo Higuchi wrote a score that was along the same lines as Phoenix 2772? What's that? He did? Where? Right here, folks!

Leave it to the king of this thread, Herr Salat, to find what nobody else could (if they even knew it existed) - an absolutely spotless, mint-condition vinyl edition of this forgotten Higuchi masterpiece. I must offer my customary thanks for his efforts and financial commitment to these ongoing projects; engaging the services of Japanese middleman services, paying for the item to be shipped three times (from the auctioneer to the middleman, from the middleman to Herr Salat in Germany, and then to me in England) - it can't be easy and this gentlemen deserves all the praise in the world for this post.

Never released on any medium but LP, Bremen Four is a fantastic companion piece to Phoenix 2772 - action and romance abound, with Higuchi's flawless sense of melody, imaginative orchestrations, and totally unique and exciting harmonic language all present. The cue "Superlovers" is Higichi's arrangement and abridgement of Richard Wagner's "The Mastersingers Of Nuremberg" prelude. As a bonus track, I have included at the end of the album, the full Prelude as performed by the London Philharmonic Orchestra conducted by Klaus Tennstedt.

Enjoy!
TT

And it even has your favorite cover art style!

It is used several times.

but still not even close to being a great score.

It is not used in the proper orchestrated form we see in the full march. The theme is used some times but not fully quoted as it appears in the march. There is a difference.

And for Tango - Thanks for this Higuchi share :D

I just finished reading an old blog entry titled "The significance of modern music" posted on Yoshihisa Hirano's official website.

In the article Hirano revealed that he included so many pieces heavily influenced by 20th century classical music in his anime soundtracks purposely!

He wrote that he was fascinated by modern music as a young student and felt sad about the gap between contemporary classical music composers and the general audience.
He is trying to evoke interests in modern music in anime audience by writing some "relatively easy listening avant-garde" which he believe can serve as a good introduction.
He is expecting reactions like "oh I like the weird sound in Mr. Hirano's music! Where can I listen to more music like this? Let me know!" from the audience.

To me... he is a nobleman now!

His blog entries are pretty entertaining and very educational at times. There was one entry in which (if I remember correctly) he talked about the significance of Wagner, Liszt, and Debussy and the development of chromaticism. Only if he could compose more without constantly having to reconcile his vision and what the average crowd would like... But that is a problem for every working composer (especially for the more capable ones).

It has to be mentioned that this forum and especially this thread is amazing for having dug up almost every single Hirano work. We are still missing http://vgmdb.net/album/38679 but I will fill the gap soon enough. :D

http://i43.tinypic.com/155o3f8.gif
MASARU YOKOYAMA NHK WORKS (Thread 163598)

Release date: 2013.10.30
Catalogue number: NGCS-1032
Label: Suzak Musik

Music by: Masaru Yokoyama


Tracklist:

01 Theme of Family History
02 100-pun de Meicho -Theme-
03 HERO-tachi no Mei Shoubu -Theme-
04 Saka no Bori Nipponshi -Theme-
05 Kotonoha -Opening-
06 Kotonoha -Ending-
07 Open Your Eyes
08 Close Your Eyes
09 Screwed Up
10 Seven Conference
11 Ignition
12 Thunderbolt
13 Bias
14 Do or Die
15 Paradox
16 Less Than ZERO
17 I Pray For Hope
18 Kissed By Despair
19 Lies & The Truth
20 Stardust
21 Voice
22 Seihitsu naru Honou
23 Chiisana Kyojin
24 Inochi no Hana
25 Kotou ~Soldier~
26 Mebae
27 Shinchin Koujuu
28 Haten no Rhythm
29 Owari naki Senjou
30 Ai Koku no Hito
31 Shayou
32 Ruten no Chi

An interesting work that was done for the Metalocalypse special The Doomstar Requiem. This episode was mostly scored by none other than Bear McCreary. This is very different from his other works and I like the approach to the music. You can find the entire track here: Metalocalypse: Dethlok - Doomstar Orchestra - YouTube (http://www.youtube.com/watch?v=m4W5ZYJtSkw). What do you guys think?

Edit: It seems McCreary orchestrated this, not composed.

Speaking of new McCreary stuff... here is a link graciously provided by Oscar and Petros of the Da Vinci's Demons Complete Soundtrack: https://mega.co.nz/#!k14TWKgQ!DXpCT0kgs_yRV_lktRNQVkTVJ1t3STr4mq4lXsQ uh6I

The new tracks are simply amazing especially the Medici Theme, The Prisoner, Phosphorous Batshit Bombs, Camera Obscura, and Flesh of the Abyssinian. Great stuff indeed.

Fr�d�ric Talgorn - Music from the Motion Picture Moli�re
FLAC|LOG
My Rip

Performed by the Philharmonia Orchestra



Very romantic soundtrack by Talgorn. A lot of baroque sound in here, some being rather vanilla but very pretty.

https://mega.co.nz/#!FcpTlQJC!H9LE0yd7Ho0XKt5EHJ8xc20PgUAoXpZ8OVk_8wr iguM

Sir Richard Rodney Bennett - Orchestral Works Vol. 1
FLAC
My Rip

Richard Hickox Conducting the Philharmonia Orchestra



Assortment of Sir RRB's concert works including some premiere recordings. A lot of these are incredibly filmic and easy to follow along. You must listen to his beautiful Partita at least!

https://mega.co.nz/#!JRxXHJ4A!eyK4fwH7m7MfmAyBtnqE7yCc38Alt8OvCYy3sYI SqwQ

Yoshihisa Hirano - Doki Doki School Hours Original Soundtrack
FLAC|CUE|LOG
My Rip



This looks and sounds pretty silly but please believe me when I say it's still musically interesting! Very few tracks are entirely orchestral, however... :)

https://mega.co.nz/#!8NhlXKTK!XMK4LgMUXyXjcE-y_1bQsCsx2p9uEimQ0Yc007n64sU

Great shares. I have a CD of Doki Doki School Hours. It is a bit too jazzy and cutsey for me but not a bad score. I'm interested to hear the Bennett stuff should be interesting to explore.

Hirano strikes again... not my favourite work of his, but the quality and diversity of music he invests in this dopey show... it's really worth the price of admission for track four alone - some of his loveliest, most sumptuous music. Here is a composer who cannot help but write music, no matter what the medium.

And, thank you for the Bennett - it's been seven years, still waiting for volume 2!!! C'mon Chandos, what's going on???????????!!!!!!!!!!!!1111111111onetwo

Might have to do with Richard Hickox passing away not too long after. :( I sent an e-mail to Chandos enquiring what has really caused the delay and put stoppage on the wonderful series...

Hickox (RIP) was a great conductor, but not the only one in the country... his ongoing series' on Chandos have continued under other conductors... but not this one.

Perhaps it didn't sell... that would be a great shame, but RRB (RIP) really never was "mainstream" in any sense of the word - and those Chandos discs aren't cheap to make. The classical guys hated him because he scored films. The film guys hated him because he wrote jazz. The jazz guys hated him because he wrote "old fashioned" jazz. To this day, folk don't realise what a genius he actually was. Another in a long list of musical tragedies; even with his passing away last Christmas interest in his work doesn't seem to have developed by any appreciable amount. If they're selling badly I wish somebody would record something - even with some cheap crappy European orchestra... There are a few CDs floating around - not a lot, though.

Way back on page 152 (December 2009, folks - wow!) I posted something I was awfully proud of at the time - a vinyl transfer of Jerry Goldsmith's masterpiece Poltergeist. It was a good transfer - it still is - but with Poltergeist, "good enough" is never good enough, and since I have massively upgraded my playback equipment this year, I transferred it again this evening. Ohh, boy. I fear that you may hang yourselves if I go off on one of my "Goldsmith is God" journeys... so I'll keep it short and sweet. The score is magnificent - as I'm sure you all know because you've heard it a thousand times - but the vinyl transfer is just gorgeous. Please open the "Spoiler" to read a little more about why this should be, if you're interested - other than that, enjoy!

Review from FFShrine's resident tin-eared moaner:


The sound quality on the vinyl is balls with all those cracks and pops. Sounds the same to me. I don't really know what you are talking about. The FSM sounds great.


Jerry Goldsmith
POLTERGEIST
(orchestrations by Arthur Morton - The Los Angeles Philharmonic Orchestra conducted by Jerry Goldsmith)

LP Transfer



https://mega.co.nz/#!I0hwjYAD!K42CVhKPwg4ZEcRojs_8zBELxzVYdE_RcDl1QcZ Y8AM

Transfer from near-mint condition German pressing on MGM Records. Some light restoration has been undertaken but a handful of clicks and thumps remain where removing them would have harmed the music. Restored scans included. FLAC at Level 8. No MP3 this time, folks - if any upload in the history of this forum deserved to be heard in FLAC, it's this one.

“So, why the hell would you listen to your favourite score on some old obsolete black vinyl disc, if it’s been released in pristine sound quality on CD?!”

Invariably, that’s the question that I hear most frequently when I start talking about vinyl. To be honest, it’s not an assessment I disagree with in general. “Vinyl people” have a lot to answer for, with their completely untrue but no-less forthright assertion that vinyl “sounds better” than anything. It doesn’t. On a technical level, all things being equal, it’s completely outclassed in every way by CD – and that’s a fact that can be measured, verified, and proven.

Despite that, there are still reasons to prefer a vinyl release over a CD release – all things are often not equal. It’s deliciously ironic that current abuse of modern technology has imbued 100 year-old technology with new relevance. Vinyl is difficult to master “hot” so you’ll often find greater dynamic range than in the equivalent digital release – particularly if the CD release was “remastered” by an overzealous engineer caught up in the loudness war. In other cases, the vinyl release was cut from a superior master which was subsequently lost or too badly degraded to use by the time the re-issue came about. That’s the case with Poltergeist.

Poltergeist was originally recorded digitally and also on 35mm film for backup. The LP was cut directly from the digital recording, but neither element could be found intact when it came time to produce the CD. Rhino’s disc was mastered from copies of copies of copies, and FSM’s later disc from oxidised four-track �” backup tapes which were by all accounts falling to pieces, had to be baked before transfer, and were destroyed in the process. Over the past thirty years, they suffered bleed-through from sync tracks, leading to some messy restoration work. Additionally, the LP’s mix is often regarded as superior when compared to the backup mix.

All this adds up to a startling fact; it really genuinely *is* worth listening to the LP release of Poltergeist, and whilst it may not be the most complete presentation of the score, it’s certainly the highest quality.

Now, to something that is not worthwhile: You will notice that my release is at 44100khz, 16-bit. You will notice other people produce LP transfers at insane sampling rates and bit-depths and conclude that they must be better because the number is bigger. These people are purveyors of snake oil and nothing more. A digital recording at 44100khz preserves frequencies from 0 up to about 22050khz. Human hearing tops out at around 20000khz and is, in practice, much lower for most people. Preserving sounds that we are physically incapable of hearing (our frequency limitations are directed by the mechanics of our hearing system and the shapes of our ear canals) is a waste of bitrate. Unless your dog (or cat, or bat – both have even better hearing than dogs) is a fan of Jerry Goldsmith the gain is zero. Aside from that, most “signal” above 22050khz is distortion. Correspondingly, a bit depth of 16 bits allows accurate preservation of 96dB of dynamic range – and no recording ever made in the history of humanity has ever reached that level; not even experimental recordings. 99.9% of commercially produced recordings are lucky if they have half that. Again, higher bit depths mean bigger files and slower downloads, but absolutely nothing as far as sound quality goes.

One can be an audiophile and NOT be an idiot; golden ears do not exist.

All that said, my initial transfer is made at 96000khz 24-bit for a number of reasons – when processing digital audio, generational loss is introduced as a result of rounding errors – initial sampling and subsequent processing at higher bitrates and bit depths minimise the impact of these errors. Transferring at a rate of 96000khz makes it easier for restoration algorithms to tell the difference between noise and signal – and eases human analysis of spectrographs. Thus, there is a real and genuine case to record and master higher. For distribution, standard CD-quality audio 44100khz 16-bit – is sufficient to capture all and above that is within the human hearing spectrum.

Finally, a plea: Dear world, please stop calling vinyl transfers "rips" - you cannot rip vinyl. Rip means to copy digital data from one storage medium to another. Digitising vinyl requires care, attention, and good quality equipment. One is not merely copying ones and zeroes. It is a labour of love and a process entirely dependent on a human being.

I still say the FSM version sounds fantastic. The source material may have been falling apart but it sounds absolutely gorgeous. This is of course one of Goldsmith's greatest scores and on that we agree but I don't think the vinyl sounds that much better.

The FSM version doesn't sound fantastic or gorgeous - it sounds pretty damn good considering the source material. It's the best way to hear the complete score and overall, it's very decent - the producers did the best they could with the materials at their disposal. The catalogue of fortuitous circumstances that caused Poltergeist to sound so good - Jerry playing his A game, the opportunity to use the LA Philharmonic instead of studio freelancers, and the hall acoustic being enhanced by freak weather conditions - are well documented. It's a terrific shame that we may never experience the score as it was actually recorded on that magical day in January of 1982. The FSM liner notes imply that both the digital and analogue master exists but won't play.

The LP has a different mix which retains more hall ambience, and the original digital recording has a greater dynamic range than any of the analogue backup tapes. It's a valuable artefact as it represents the only way to hear the original, superior, digital mix.

Of course, anybody who finds no value in it is more than welcome to not listen to it, and to enjoy the FSM album as they desire...

Not orchestral but thought some members here might appreciate this, L. Bernstein fans especially. It's certainly doing it for me on this cozy Sunday.

MARIA ~ West Side Story ~ - European Jazz Trio - YouTube (http://www.youtube.com/watch?v=2DUpWp_X1Ys)

This is also delicious (also by EJT)... Piazzolla all jazzed-up:

Libertango (http://www.youtube.com/watch?v=bK3NE8w1B-0)

A giant seal? What the fuck?

The FSM version doesn't sound fantastic or gorgeous - it sounds pretty damn good considering the source material. It's the best way to hear the complete score and overall, it's very decent - the producers did the best they could with the materials at their disposal. The catalogue of fortuitous circumstances that caused Poltergeist to sound so good - Jerry playing his A game, the opportunity to use the LA Philharmonic instead of studio freelancers, and the hall acoustic being enhanced by freak weather conditions - are well documented. It's a terrific shame that we may never experience the score as it was actually recorded on that magical day in January of 1982. The FSM liner notes imply that both the digital and analogue master exists but won't play.

The LP has a different mix which retains more hall ambience, and the original digital recording has a greater dynamic range than any of the analogue backup tapes. It's a valuable artefact as it represents the only way to hear the original, superior, digital mix.

Of course, anybody who finds no value in it is more than welcome to not listen to it, and to enjoy the FSM album as they desire...

So Tango, what are the possibilities of you telling us the events that allowed Poltergeist to sound so damned good? I know I could probably dig up the history somewhere somehow, but I do love the way you narrate musical history and practices.

M. HAMAUZU PIANO WORKS δ・ε・T_Comp1
FLAC, LOG, CUE | SCANS | 116.5 MB | 19 TRACKS | 00:38:52


VGMdb (http://vgmdb.net/album/41443)
Catalog Number: MNMK-0004
Release Date: Oct 09, 2013

Tracklist
01. ε-1
02~18. δ-1~17
19. T_comp1

Download: https://mega.co.nz/#!0MVgwDaZ!W0gYNCPZzylmJL_a7Se8DT-4ubNLVjrsMdgY2aFfEuk (credit to MGRT)

More solo piano. I've been waiting for this one for a while now. Some very lovely music by Masashi Hamauzu (which is 100% original). A minor technically, some of the material is actually from the Sony Alpha Clock Project. More info can be found here. (Thread 126522)


-NineEyes9Nines

?????????????? - ??????? - Yahoo!?? (http://special.movies.yahoo.co.jp/detail/20131105241505/)
Latest track from Oshima's Patema Inverted.
Soprano is Estelle Micheau. She recently performed at a Hitoshi Sakimoto concert in Paris last month.

Patema soundtrack is possibly being released? There is now a section for music under products: 映画『サカサマのパテマ』オフィシャルサイト (http://www.patema.jp/#products)


A minor technically, some of the material is actually from the Sony Alpha Clock Project. More info can be found here. (Thread 126522)
I meant original as in not soundtrack related.

thanks tangotreats for the excellent Poltergeist vinyl transfer. Stellar job and yes, Goldsmith is God! Cheers.

Where on earth has Hitoshi Sakimoto went? He was writing a bunch of music every year now I don't even see one soundtrack out by him. I crave another Romeo X Juliet masterpiece!

Hilary Hahn, 'In 27 Pieces: The Hilary Hahn Encores'
First Listen: Hilary Hahn, 'In 27 Pieces: The Hilary Hahn Encores' : NPR (http://www.npr.org/2013/11/03/242090716/first-listen-hilary-hahn-in-27-pieces-the-hilary-hahn-encores)
Full tracks available on NPR now! （Including the Oshima piece, of course!）

I asked Hilary Hahn on Twitter, which work from Oshima hooked her before she made the commission?
The answer is a bit surprising (and not surprising at the same time...) :

FOR THE EAST
Surprising because it's not widely circulated...
Not surprising because after all it's a concert piece...

Here's a couple HD videos of Joe Hisaishi performing/conducting with the Yomiuri Nippon Symphony Orchestra. This was recorded back in August but aired on TV earlier today.

The Wind Rises Main Theme (05:45): 久石譲 「風立ちぬ」 - YouTube (http://www.youtube.com/watch?v=g1iXC0NPcXc)
My Neighbor Totoro Orchestra Stories (25:37): 久石譲 「となりのトトロ」オーケストラストーリーズ - YouTube (http://www.youtube.com/watch?v=rWTtAlsNhyw)
Beethoven Symphony #7 (38:01): 久石譲 ベートーヴェン交響曲第7番 - YouTube (http://www.youtube.com/watch?v=u1A07GVllXE&feature=ytfce)

Where on earth has Hitoshi Sakimoto went? He was writing a bunch of music every year now I don't even see one soundtrack out by him. I crave another Romeo X Juliet masterpiece!

I want to know the same. He really disappointed with Dragon's Crown. It doesn't come close to Odin Sphere.

Help! Can't stop listening to this piece Myaskovsky - Cello Sonata No. 2 in A minor Op. 81 - I. Allegro moderato (1/3) - YouTube (http://www.youtube.com/watch?v=U1T9Lj3aNoU)

I've grown soft in my later years...

Kousuke Yamashita - Renai Neet ~Wasureta Koi no Hajimekata~ Original Soundtrack
FLAC|LOG
My Rip


https://mega.co.nz/#!xV5mzDzR!cCYHCGRFYjr3GKsOINEKNk7mRMRhka7vvPzFPGf 2dHY

FLAC upgrade from my own disc to Yamashita's delightful score to a silly romantic comedy drama. The main theme, while a bit too unsparingly used throughout, is definitely a killer.

Bernard Herrmann - Moby Dick, Sinfonietta
FLAC|LOG
My Rip


https://mega.co.nz/#!ZMASVZIR!L2tjpl2oQ5hJOL_4WcEG0ypF4EFAyJPeNEVD8H9 1GSM

This is the most recent recording of both Herrmann's cantata Moby Dick (based on the novel of the same name) and Sinfonietta. For that matter, this is probably the most modern recording of any of Herrmann's concert work. Moby Dick shares similar mood with his later film music while Sinfonietta is a more ambitious work for a string orchestra. Some elements of Sinfonietta were later used in Psycho.

Richard Rodney Bennett - Songs Before Sleep
FLAC|LOG
NOT My Rip


https://mega.co.nz/#!JAxzTLpb!ZubxIF6D3eE9Z7mZiPH_IgpbxVZIwzdTBPJV2oS-6-E

Delightful songs by Sir RRB. Highly melodic and mostly light, you will SURELY enjoy this before your sleep... :)

Well... it takes a lot to impress me, and I'm impressed. Since getting my new turntable, you'll know I've been dusting off my old collection and having a bit of a playthrough of my old records. I remembered one I particularly loved today - it cost 10p. It's Tchaikovsky's Nutcracker, performed by the Paris Conservatoire Orchestra conducted by Anatole Fistoulari. It's a 1959 Decca pressing of a 1951 recording - and was pretty dirty. It sounded like crap but I still loved it. Today, I fished it out of the cupboard and performed the famous PVA glue cleaning trick. Holy crap. Just listen to what came out the speakers: Zippyshare.com - 1951.mp3 (http://www59.zippyshare.com/v/50234855/file.html)

That's with a bit of minor work on my part - nothing big... NO further comments necessary - only wow! Will be uploading this in full next week! :D

TT

Delete

EDIT: Actually, I would like to use this accidental post to make just one comment... Many classical recordings from the 1950's are unbelievably pristine in terms of sound quality. Kinda makes me sad that a lot of modern recordings sound not even half as good...!

BUGGER! I was going to do the Herrmann this weekend!

Thank you for all of those - I have some Bennett coming up too - this particularly lovely album: Richard Rodney Bennett: Summer Music; Sonatina; Impromptu; Winter Music; Memento - Alexa Still | Songs, Reviews, Credits, Awards | AllMusic (http://www.allmusic.com/album/richard-rodney-bennett-summer-music-sonatina-impromptu-winter-music-memento-mw0001828080)

As for your comment about old recordings... I stand by my earlier assertion that recording technology peaked in the late fifties. There's some great stuff now, sure... but the technical staff aren't what they used to be. Everybody wants to stick a thousand microphones in there and mix and equalise everything into oblivion. Remember when conductors and musicians used to make the music, and the microphones used to record them?

Yes... I'm very thankful that we can have wonderful performances from the 50s and onward without worrying about detriment of bad sound quality (Stokowski, Boult, Bernstein, etc.) I do wish that film soundtracks could also enjoy the same recording technology. I want to be able to enjoy Captain from Castile and Scaramouche more. :(

I do have that particular disc as well and some more (i'm still collecting). The grail i'm hoping to buy soon is the disc with his 3rd symphony released by Koch. It's going for $40 on Amazon right now... Bennett experimented with his version of tone row influenced by Boulez, and his work from that period before 80's-ish may not appeal to everybody. Regarding his 3rd symphony, which is shamelessly lyrical and almost free of the European avant garde-ism, he said he has really matured. I have still yet to hear it though!

A brilliant theme by a composer who needs no introduction. I am so excited for this one just like every score of his. You just know the quality will be top-notch when you get goosebumps within the first few bars of listening ;).

The Book Thief Soundtrack - John Williams - YouTube (http://www.youtube.com/watch?v=_WGqOdP-M4g)

Tango, do you like these Mercury Living Presence (http://rareclassicalvinyl.blogspot.de/) recordings? :'D

Love 'em, love 'em, love 'em. Got them all somewhere. Some have deteriorated (I seem to remember Detroit / Paray sounding a bit wonky) but most of them are simply glorious... and how did they record them? For the mono recordings, one microphone... for the stereo recordings, two microphones. Plugged into a tape recorder. Orchestra plays. Tape recorder records. Keep it simple, stupid!

I only heard the most excellent things about the mercury living presence set, but go for the CD version if possible....

John Williams: Too popular for Hollywood hipsters, not popular enough for the mainstream. :(

The Book Thief: Ahhh, C Lydian, the pinkish of modes...

Why are the tracks so short?

streichorchester, could you please talk about this Lydian musical scale? Why is it considered pinkish? :'D

Fr�d�ric Talgorn - Music from the Motion Picture Moli�re
FLAC|LOG
My Rip



this one would deserve a specific separate thread :)

thanks for the share ;)

Adding F# to C major creates the C Lydian mode. This turns a regular major scale into a dreamy whole-tone scale for the first 4 notes. Also, it creates ambiguity as to the key you're in: C major? G major? It feels like it could go either way if you hammer out C enough. Also, C and F# are a tritone, so that's where the tension lies (and Bernstein abuses this to no end in West Side Story, like his own personal Tristan chord.) Williams and Horner use this ambiguous scale a lot as well (check out Horner's Spitfire Grill and Williams's Hook/Harry Potter and Silvestri's Back to the Future, Elfman's theme for The Simpsons.) It has a very magical feel to it. Sometimes it feels like a game to find every instance of the Lydian mode in film scores. It is very non-offensive to the ears, hence pink. Also, it's really easy to improvise in, so composers like it.

What is offensive? An Octatonic scale: Stravinsky's Rite of Spring, Silvestri's Predator, Poledouris's Starship Troopers, etc. C Db Eb E F# G A Bb C - good for action.

A Hexatonic scale is mystical sounding Eb E G Ab B C Eb: Holst's Neptune

The Dorian mode is folk-ish.

The Phrygian mode has a kind of far-east sound to it: D Phrygian is D Eb F G A Bb C D (the Japanese In scale is very similar to this) In scale - Wikipedia, the free encyclopedia (http://en.wikipedia.org/wiki/In_scale) and I've used it myself many times.

I probably don't have to explain much about pentatonic scales.

Sometimes combining two different scales/harmonies leads to unique sounds.

For example, the combination of a minor chord with its II chord has a sort of mischievous and dark sound to it, for instance, C minor + D major (Elfman's Batman, Williams's Harry Potter, Grieg's Hall of the Mountain King)

I have no idea what you are saying, but it awesome none the less.

A brilliant theme by a composer who needs no introduction. I am so excited for this one just like every score of his. You just know the quality will be top-notch when you get goosebumps within the first few bars of listening ;).

The Book Thief Soundtrack - John Williams - YouTube (http://www.youtube.com/watch?v=_WGqOdP-M4g)

I really love the theme. Might even beat War Horse in the end.

As for earlier classical recordings, if I was to pick a Beethoven recording set I love it is the Szell with the CPO. The way they record it just sounds better than anything else.

TCHAIKOVSKY
The Nutcracker, Op. 71
Suite No. 1 (selection by Tchaikovsky)
Suite No. 2 (selection by Anatole Fistoulari)



The Paris Conservatoire Orchestra
conducted by
Anatole Fistoulari

https://mega.co.nz/#!40oj2KgJ!KckciHuOyLza93sKNv-qvzy066Fkj35wpYPibXQkD1s

1951 recording. My transfer and remastering from 1959 Decca "Ace Of Clubs" vinyl pressing. Scans included. (Initial transfer, restoration, and remastering carried out at 96000khz 24-bit before dithering and downsampling for release.)

I started working on this one mainly for my own pleasure; this album, which cost me 10p at a car-boot sale almost twenty years ago, gave me my love for Tchaikovsky. The Nutcracker is one of those works that's too popular for its own good - we've all heard it so much, so many different ways, in so many different circumstances, we're all over-exposed and probably have a hard time appreciating just what wonderful music it actually is...

Playing back this old record after so many years filed away in a cupboard, it reminded me of two things: a) The Nutcracker is a truly glorious ballet, and b) this is a really, really good recording of it. Mono it may be, but it sounds absolutely beautiful - it's easy to forget you're listening to a recording made only a few years after the end of the World War 2. Decca in the 1950s were truly miracle workers - LP pressing still being a relatively infant technology at the time, it's amazing how beautiful those old records sounded. This transfer comes from a later pressing made in 1959 as a re-issue on Decca's budget "Ace Of Clubs" label and is actually a better pressing than the original 1951 release. The recording has been released on CD since but it's never, ever sounded this good before.

We have the well-known suite, which Tchaikovsky arranged himself at the time of the work's premiere. The conductor, Anatole Fistoulari, prepared a second suite especially for this recording, bringing forth another 25 minutes of music that is not nearly as well known... but is no less beautiful. It all adds up to 46 minutes of astutely selected highlights from one of Tchaikovsky's masterpieces. A wonderful work, a wonderful performance, and a wonderful recording (made by the legendary John Culshaw) showcasing vintage Decca at its very best. Incidentally, have a look at the copyright date on the back cover! Either Mr Culshaw had a time machine, or somebody at the sleeve pressing plant had their mind on other things...

Enjoy! :)

The grail i'm hoping to buy soon is the disc with his 3rd symphony released by Koch.

I suppose I should post that one then... ;)

It'll be a few days - got so many things in the "queue" first, including a fascinating addition to the Tangotreats / Herr Salat Co-production series... ;)

I really love the theme. Might even beat War Horse in the end.

I really love the composition "Learning to Read" the string melody and harmony is so fresh and richly composed. Not that I am surprised, but Williams can still reinvent himself and still keep his music relevant to the time. The piano passages just flow in and out of such powerful chords played by the orchestra. It almost has that edge of originality that Memoirs had and he should win another award for this. I would have to say the score as a whole is his best since Memoirs in my opinion.

Pili Heroes Music Featured forty-six

轟定干戈第二片頭曲「絕望希望」、第二片尾曲「獨上蘭舟」、北芳秀、說太歲、黑罪孔雀、山鬼、玉菩提…共二 十首精選音樂。
01.絕望希望（轟定干戈第二片頭曲）
02.名劍動天（倦收天氣勢曲）
03.北芳秀（倦收天角色曲）
04.玉菩提（玉菩提角色曲）
05.青冥行路吟（沐靈山武曲）
06.黑罪孔雀（弁襲君角色曲）
07.百岫嶙峋（百岫嶙峋角色曲）
08.淡峰疏月（幾度寒角色曲）
09.地擘聖裁（弁襲君武曲）
10.劫世闇夜（轟定干戈收幕曲）
11.澹臺無竹（澹臺無竹角色曲）
12.笑臥山月（意琦行Ⅱ）
13.如夢初醒（百岫嶙峋情境曲）
14.山鬼夜行（百岫嶙峋武曲）
15.閻王巡鞭（說太歲武曲）
16.一斬黃沙忘天月（別黃昏生死一決）
17.天倫夢覺（宮無后情境曲）
18.琅華光陰（九千勝與最光陰）
19.柳峰翠（柳峰翠角色曲）
20.獨上蘭舟（轟定干戈第二片尾曲）
https://mega.co.nz/#!dt0lXDhD!NLYfQHK3HiTkT4DnoZNswn8fluhkdbUZmHVbIPq HJLM

I do hate to bring this thread back to the top with some bad news, but I suppose it needs to be said. Sir John Tavener, died today at the age of 69. He suffered from a multitude of health problems through his late adult life - a stroke in his thirties, a multitude of heart attacks, and a tumor. So I suppose it doesn't come to too much of a shock that he died at such a young age.

I learned of the man's existence through his "Fragments of a Prayer" for Children of Men. After that I became something of a fan of his, considering him to have the very best interpretation of choral music in the West. Tavener had a way of writing music for the voice that no one else could easily match. I know Hirano is praised for his chorus in this thread - and he certainly deserved everything that has been said of him - but Tavener was in a whole other league all together.

His family may weep for him today, but at least we should take sage knowledge in admitting that Tavener is not truly dead. Like all great minds, his works have made him eternal. People will still listen to him, and people will remember him still.

Very well said, friend. As you say, the gentleman was in fragile health for the better part of his adult life, but it's still a shock to see him go. What he didn't know about writing for chorus wasn't worth knowing. A sad, sad loss for all of humanity.

It is somewhat depressing, the number of CDs on my shelf which, at the time, featured music by living composers... and now represent those sadly deceased.

I will post something by Tavener this evening if I have the time.

RIP, John.

Some great cues from Agents of S.H.I.E.L.D. some big sweeping action music which is definitely what this thread is all about :)!

Agents of S.H.I.E.L.D. - A Lot of Notes - YouTube (http://www.youtube.com/watch?v=Ys-MQZsK0Yk)

Some great cues from Agents of S.H.I.E.L.D. some big sweeping action music which is definitely what this thread is all about :)!

Agents of S.H.I.E.L.D. - A Lot of Notes - YouTube (http://www.youtube.com/watch?v=Ys-MQZsK0Yk)

Great. I'm loving the music in the series for sure. Thanks for sharing.

have soundtrack announced for agents of shield? or having only unofficial/bootleg?

have soundtrack announced for agents of shield? or having only unofficial/bootleg?

We are 7 episodes into a 20 something episode season. Do you really think a soundtrack if going to come out this early?

Fear not, folks... there will be a soundtrack, no question. It's not like McCreary has done anything that hasn't been released in one form or another, lately...

And yes, I think it utterly stinks - badly. :P

In McCreary's defense, the show is so damn loud it is hard to make sense out of any of the music.

And with you hating superhero related stuff you are a weeeeee bit biased Tango.

The first 15 seconds were okay. Better orchestrated than what I expected from McCreary but there was no sense of melodic development; cliched tense sound that typifies the current Hollywood "sweeping action".

Then the not-so-tasty ostinati drove me nuts.

How can you guys honestly pinpoint any of this beyond all of the explosions and racing cars? I can hardly hear the music!

Well in McCreary's defense the main theme is not quoted in this video. He has found many interesting variations of it throughout the show. I would expect like DaVinci's Demons we will see a digital release followed by a La La Land release with signed options and a physical release on Amazon. If they can do that for DaVinci's Demons I don't see why they wouldn't also do this for Agents of SHIELD.

Well in McCreary's defense the main theme is not quoted in this video. He has found many interesting variations of it throughout the show. I would expect like DaVinci's Demons we will see a digital release followed by a La La Land release with signed options and a physical release on Amazon. If they can do that for DaVinci's Demons I don't see why they wouldn't also do this for Agents of SHIELD.

I really don't know why they wouldn't. I mean, this is freaking MARVEL we are talking about here. It would sell like pancakes.

I'm not biased against superhero music although I'm the first to admit as a visual genre it doesn't appeal to me. Superman is one of the greatest scores ever written; you just have to erase from your mind the fact that it's music about a guy who runs around the city in a brightly-coloured spandex body-suit. Then again, I watch a lot of anime, so I can hardly criticise superhero stuff for being ludicrous... I dunno, I just don't like superheroes! :D

But I'm with Akashi; this is cliched trash all the way. As most of McCreary's work is, albeit with shadows of intelligence...

I will leave you with some excerpts from a conversation I had nearly three years ago with a former-regular in this thread:


Other Guy: Did he [McDreary] have a rock background?
Me: No idea. I thought he worked for a Taiko drum factory. Tonk tonk tonk b b b b bang b b b b bang, slammmmmm slammety slammety slammety tap-t-tap-tap-tap...

Even if you disagree and think McCreary is the second coming of Goldsmith, you have to give me some points for the taiko comment. ;)

And a quote from a wise man.


"Mostly what is sometimes missing in film music is ethics... There are many more people who go to cinema than to concerts, so film music became the new classical music. So, we need film composers to act and to behave ethically and consciously like classical composers... and to bring these audiences to beauty." - Gabriel Yared

I'm ashamed to say that John Tavener is a name that i was not familiar until i read this sad news. I'll try to listen Children of Men in the coming times. From what i've read from reviews online that CD consists of pre-existing works by Tavener. This seems to be a good starting point to discover the music of this composer.

I'm not biased against superhero music although I'm the first to admit as a visual genre it doesn't appeal to me. Superman is one of the greatest scores ever written; you just have to erase from your mind the fact that it's music about a guy who runs around the city in a brightly-coloured spandex body-suit. Then again, I watch a lot of anime, so I can hardly criticise superhero stuff for being ludicrous... I dunno, I just don't like superheroes! :D

But I'm with Akashi; this is cliched trash all the way. As most of McCreary's work is, albeit with shadows of intelligence...

I will leave you with some excerpts from a conversation I had nearly three years ago with a former-regular in this thread:



Even if you disagree and think McCreary is the second coming of Goldsmith, you have to give me some points for the taiko comment. ;)

And a quote from a wise man.

I might agree with that from some of his earlier works but I thought his work for DaVinci's Demons was quite lovely and had some great themes. Sure it is a little simplistic but that is the state of modern film music.

Didn't John Williams use to be part of a xylophone factory?

I'm shocked and sad that Tavener is gone...
I discovered Tavener via Naxos Music Library several years ago. Though I'm from East Asia and I'm not a Christian... his music moves me deeply.

I was brought to tears by this on my first listen:
Choir New College Oxford - Tavener - The Tyger - YouTube (http://www.youtube.com/watch?v=hAl7V9MIiOQ)

Thanks for having pointed me to the Poltergeist post, tangotreats; I'm listening to it now for a second time. The additional information on the spoiler is also appreciated.

So, I belatedly noticed that Watanabe's Space Brothers is getting a 3-disc release with the newest material included in the 3rd disc. I might have to up my allowance for music this holiday season (got a lot of boxsets to buy)! :D

I just listened to the Game of Thrones theme for the first time today and it sounded very familiar. I then realized the repeating ostinato figure is the exact same as a section in the scherzo from my Symphony No. 3 I wrote in 2009. Now people will think I'm a plagiarist. :(

Luckily I didn't base the entire movement around it and it only lasts for a few measures (and I use low horns instead of strings), but the similarity is really striking. That's the problem with composing music: even when you think you've come up with something completely awesome and creative, someone else might come up with the same thing independently which becomes much more renowned, and that kind of leaves a bad taste in your mouth.

Striech, that is more like being an artist in general. I throw out half of my stories because they are too similar to other stories that I admire. I have been letting a story cook for a while just because it is too damn similar to Berserk.

True, but in this case I think they should change the GoT theme or pay me royalties in the amount of $1 per note.

Theme? Where? Who said that?

Where, Djwadi has been using it somewhat frequently over the course of Season 3, and I expect that to only increase in the coming seasons.

And honestly, what else are we to call it besides the Game of Thrones theme? The "Music That Plays Over that Ridiculously Awesome Clockwork Opener?"

Even if you disagree and think McCreary is the second coming of Goldsmith, you have to give me some points for the taiko comment. ;)

I haven't heard any of Agents of SHIELD yet, but I love most of what McCreary does. Most of all, I am enthralled by his Dark Void and SOCOM 4 soundtracks. That said, the taiko factory thing is comedy gold and the funniest thing I've seen all day.

could someone link me to Mario & sonic 2012 Olympic orchestra tracks in 320 kbps ?

YOSHIHISA HIRANO - PIN TO KONA MUSIC COLLECTION
MP3 320K | SCANS | 152.4 MB | 22 TRACKS | 01:12:27
Studio Orchestra


Catalog Number: AVCD-38731
Release Date: Oct 23, 2013

Tracklist
1. Road to Million Dollar Actor ~Main Theme
2. The Two Young Stars
3. He's Just Awesome
4. What's Up!?
5. Fantasizing about...
6. Promise
7. Conquering Oneself
8. Memories
9. Program Note
10. Schoolmates
11. Who the Hell He Thinks He Is!?
12. Confrontation
13. Don't Run!
14. I'm Here for You
15. I Always Think of You
16. He Never Sees Eye to Eye with Me
17. Alone
18. Until Seeing Her Again
19. Looking Over My Shoulder
20. Beyond Tomorrow
21. Believe
22. Dreamers

Download: https://mega.co.nz/#!9MdnkAAA!TkQ5B1zesL7uFfEw5CwQ6HIFBlVmvayYjFA_RYC z19k

Tracks 3, 4, 11 and 19 are composed by Yutaka Shinya. Tracks 9 and 10 are arranged by Yutaka Shinya. The rest is all Hirano.

I was just listening to that yesterday. A serviceable Hirano score but nothing standout.

Removed.

Carl Davis - Aladdin - 2CD Ballet,
MP3 VBR V-0 - 239MB
Converted from FLAC

Performed by the Malaysian Philharmonic Orchestra


Download (http://www.mirrorcreator.com/files/U8LMOWGJ/AladdinCD.rar_links)

This is a gorgeous ballet that has many lyrical themes. It is as beautiful as you might expect from something based on the story of Aladdin.