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Listening to Day now. Very weird that Gold wrote music for a lot of scenes that used tracked music in the finished movie.
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Love the covers. The DW art department have some of the best modern day graphic designers out there. Looks like cut and paste Photoshop jobs, but the designs, layouts and colors are exceptional. Looks like illustrated movie posters from yesteryear's.
Edit: Played both CD's. Honestly Day of the Doctor is pretty forgettable. It's not bad music, just not memorable or very captivating. Time of the Doctor is much better. A really pretty though often bittersweet sounding score that builds momentum as it goes.
solium I really do agree with you. With apologies for repeating myself here's a snippet of something I've posted before...
Been listening to the latest Specials release which is pretty good, but as I've said on here before, it's not as gloriously flamboyant with the themes etc since around the time of half way through Series 5. A good comparison is with the Series 4 Specials release. Just listen to the scores Murray did for both The Next Doctor and The End of Time. Both reference themes already used in variations nicely, as in Day and Time of the Doctor, but also come with many of their own.
For The Next Doctor the much hated (I love it) Cyber-King gets a wonderful true monster movie piece (wrongly titled March of the CyberMEN on the cd notes so as to give a nod to Malcome Clarke) worthy of King Kong or one of Herrmann's Harryhausen monster scenes. The Next Doctor also starts with that great Victorian Christmas, and continues with Jackson Lake's music and that dirge for the funeral and the Cyber attack in the graveyard. Criminally though we don't get the little march he uses for the kids being marched to the workhouse, later reused for Rory's pre-title exchange with the Cybermen in A Good Man Goes to War.
But when The End of Time gets it's own disc as both the above recent specials did, it is SO varied. And the standout pieces include Tim Dalton's address to camera at the end of Part 1, and the amazing Vale Decem. The latter will surely be a crowd pleaser at all future Who concerts? The latest release doesn't hold a candle to these examples. Is it Murray responding to the more recent style of show, or Steven Moffat not taking quite the interest Russell T Davies used to in asking for specific things?
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Posted: |
Nov 30, 2014 - 9:21 AM
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By: |
Solium
(Member)
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Love the covers. The DW art department have some of the best modern day graphic designers out there. Looks like cut and paste Photoshop jobs, but the designs, layouts and colors are exceptional. Looks like illustrated movie posters from yesteryear's.
Edit: Played both CD's. Honestly Day of the Doctor is pretty forgettable. It's not bad music, just not memorable or very captivating. Time of the Doctor is much better. A really pretty though often bittersweet sounding score that builds momentum as it goes.
solium I really do agree with you. With apologies for repeating myself here's a snippet of something I've posted before...
Been listening to the latest Specials release which is pretty good, but as I've said on here before, it's not as gloriously flamboyant with the themes etc since around the time of half way through Series 5. A good comparison is with the Series 4 Specials release. Just listen to the scores Murray did for both The Next Doctor and The End of Time. Both reference themes already used in variations nicely, as in Day and Time of the Doctor, but also come with many of their own.
For The Next Doctor the much hated (I love it) Cyber-King gets a wonderful true monster movie piece (wrongly titled March of the CyberMEN on the cd notes so as to give a nod to Malcome Clarke) worthy of King Kong or one of Herrmann's Harryhausen monster scenes. The Next Doctor also starts with that great Victorian Christmas, and continues with Jackson Lake's music and that dirge for the funeral and the Cyber attack in the graveyard. Criminally though we don't get the little march he uses for the kids being marched to the workhouse, later reused for Rory's pre-title exchange with the Cybermen in A Good Man Goes to War.
But when The End of Time gets it's own disc as both the above recent specials did, it is SO varied. And the standout pieces include Tim Dalton's address to camera at the end of Part 1, and the amazing Vale Decem. The latter will surely be a crowd pleaser at all future Who concerts? The latest release doesn't hold a candle to these examples. Is it Murray responding to the more recent style of show, or Steven Moffat not taking quite the interest Russell T Davies used to in asking for specific things?
I just happened to read your post on the other side of the board and almost responded there first. 
I agree with your assessments. The music isn't as robust as it used to be. I'm not sure if it's because this Doctor isn't as flamboyant as the previous two, or Gods forbid their going "modern" with the "wall of sound" epidemic.
That said, Murray Golds music is still thematic, just more subdued and in the background. But it's still the best television music out there, and more interesting than most theatrical scores.
Honestly I have something like 10 hours of Murray Gold DW music and it's more than enough. He's given me so many hours of epic music I'm more than satisfied with his total output.
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The noise is indeed known about, and debated here http://www.doctorwhonews.net/ on their music section (under 'Whispers of Terror'). Someone contacted Silva about it, and they said they weren't repressing discs before Christmas. Don't think there's been any news since, though they usually honour replacements where required.
Is it true it's not actually during music? Obviously still bad, but not as bad as it could be. And yeah, I haven't listened to it much, but as I've said before it just doesn't excite me the way it used to.
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