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I really liked the first few tracks for their brazen insanity, which I'm guessing must play as source cues in the film itself (I'll probably never find out, because I can't see myself ever seeing the film). I have to admit though, it may have been my mood but I kind of spent the rest of the score wishing I was listening to something else. If Elfman's flexing his creative muscles by doing his version of ambient music, power to him, but I'm getting a little tired of the constant oscillating thirds that he seems to lean on when he goes the non-melodic route. Still, if other people are responding to this, great - as long as he keeps alternating this sort of thing with stuff like Tulip Fever and Rabbit and Rogue, I'm happy.
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I really liked the first few tracks for their brazen insanity, which I'm guessing must play as source cues in the film itself (I'll probably never find out, because I can't see myself ever seeing the film). I have to admit though, it may have been my mood but I kind of spent the rest of the score wishing I was listening to something else. If Elfman's flexing his creative muscles by doing his version of ambient music, power to him, but I'm getting a little tired of the constant oscillating thirds that he seems to lean on when he goes the non-melodic route. Still, if other people are responding to this, great - as long as he keeps alternating this sort of thing with stuff like Tulip Fever and Rabbit and Rogue, I'm happy.
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Posted: |
Jun 23, 2017 - 3:23 AM
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By: |
Hurdy Gurdy
(Member)
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It's funny what P-Wolf says above, cos if I was writing this 3 weeks ago when I first got the CD and played it, it would be a whole lot different.
More and more I'm coming to realise how much the time, the place, the mood has on a score opinion. It's sooooo important to give something another play or two.
On first play, I was practically footy chanting at the music player 'you're sh!t and you know you are'  so much did it wind me up.
Then, this week, playing it again in work, I really liked lots of it for it's bouncy quirkiness in some parts and sombre synth moods in others.
I still wish I could hear GIRL ON THE TRAIN the way John Mullin does  but this one has done a 180 on me.
btw, First Breath, if you're reading, this one would be right up your street.
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