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Many thanks to Matt and MV for this release. I've already listened to it twice and can also say I've noticed things I didn't in the original.
Massive kudos go out to Nick Redman, Neil Bulk and "Magic" Mike Matessino for delivering a wonderful sounding end product.
MV
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Many thanks to Matt and MV for this release. I've already listened to it twice and can also say I've noticed things I didn't in the original.
Massive kudos go out to Nick Redman, Neil Bulk and "Magic" Mike Matessino for delivering a wonderful sounding end product.
MV
I think one of my most favorite discoveries I have made in examining the FTF score and the series score is that he uses, and expands the sweeping theme that he wrote for The End (which appears at the beginning of Closure on the Volume 1 soundtrack) which is then reused in Crater Hug. Hardly a coincidence I think, seeing as The End leads chronologically into the film.
The way parts of the score of The End is written (especially the cliffhanger ending) really sounds like it was written with an epic orchestral setting in mind.
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He was composing the score for the film and the final episodes of Season 5 (which aired just a few weeks before the release of the film) at the same time, hence the use of some of the same themes.
Must have been insane for him. Dennis McCarthy at least had the option of bowing out for a period while composing the Star Trek Generations score - if you look at the first few episodes of Season 3 of DS9, he did not compose any until quite a few episodes in. It was a mixture of Jay Chattaway and guest composers.
This was a period while DS9 was still in production and he was prepping for Voyager... which come to think of it may be why Jay Chattaway ended up scoring Voyager's pilot.
Mark Snow on the other hand was the solo composer for X-Files and didn't have anyone else to hand it off to.
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And he was also composing for the other 1013 productions like Millennium, Harsh Realm and The Lone Gunmen simultaneously with The X-Files as well, with tons of other one-offs on the side. How he maintained such high quality writing and creativity without massive burnout over all those years is extremely impressive.
Always wish he'd made the jump to permanent feature scoring after The X-Files wrapped -- his work is so distinct, inventive and frequently brilliant, especially when he's given an orchestra to work with.
Thinking about it, part of it could have been that he didn't have to deal with orchestrating or recording for a full orchestra in the series; just mainly synth and chamber solo parts.
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