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Listened to some of the samples today - and I really couldn't find any that jumped out at me. A bit disappointed... I probably won't see the film in theaters (doesn't look good imo). Hope to get some more reviews/impressions from folks.
I feel the same way. Pity as I was looking forward to it. Maybe someone can chime in when they've listened to the score in its entirety. We all know sound clips can be deceiving
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I love it!
Great atmospheric writing, thematic ideas interwoven and intelligently handled, unconventional instrumentation. I´d say this is the adult counterpart to other comic book scores of this year. Definitely recommended!
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Posted: |
Jul 24, 2013 - 11:12 AM
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By: |
nuts_score
(Member)
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As was mentioned earlier, "A Walk in the Woods" and "Threnody for Nagasaki" (cheeky track title, Beltrami has always been better with these compared to Giacchino's overtly pun-heavy attempts) are lovely shorter cues, but I've got to stress my love for a few very engaging, incredibly emotional tracks outside of the exciting action material (which all feature superb percussion work).
"Euthanasia" is a largely "quiet" track -- meaning you guys complain when music is "loud" but don't ever highlight when a composer chooses to provide a more melancholy approach -- but the harmonica in here is very memorable and it's a great lead into the rhythmic "Logan's Run."
"Abduction" is a stand-out on this album, to me. It starts in a wildly atonal fashion (somewhat like Beltrami's work on The Hurt Locker) but it builds and builds to a gorgeous melody and continues on with harmonica, blaring brass, and what sounds like a pan flute.
"Trusting" includes more simple harmonica work. I consider there to be just the right amount of harmonica in this score, like in David Newman's score for The Spirit.
I think I'd consider "Ninja Quiet" as my favorite action-based cue, as it is largely "action music" free and relies more on a steady sound that makes me think of stalking -- it fits perfectly with its title.
"The Wolverine" comes back around to the more "heroic" material found in "Abduction," and I think Siriusjr is missing out by scoffing away shorter note-count motifs and themes. I don't want to supersede your opinion, but I've never been concerned with the amount of notes in a theme (or motif) but rather how it relies on context. To me, thinking otherwise, just seems contradictory to musical appreciation.
I really, really love "Hidden Fortress." It's another great track title calling back to a fantastic Kurosawa film, and it's got a lot of content within its 5 minutes, including subtle early harmonica use, building crescendos, and finely tuned percussion.
The final track, "Whole Step Haiku," delivers a simple and effective finale to the soundtrack album by bringing back light, "airy" percussion (which brings back memories of Kawai Kenji's work on the Ghost in the Shell animes) and the harmonica.
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Great review nuts_score. The more I listen to this score the more I discover how intricately composed and arranged it is.
The score certainly reveals itself on close listening, one has to empty out any expectations as to how a superhero score should sound like. And it rewards the listener with so many ideas that the effect is absolutely astonishing.
Definitely one of the best scores of the year so far. Highly recommended.
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Indeed. And the best thing: it avoids any clichés one would have suspected from a film set in Japan.
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