 |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
I love this score and I think it has a lot of distinctive cues that clearly delineate areas of the locations in the film where the story occurs and as standalone cues have their own sense of development and distinct moments they build to.
I often rail against ambient droning atmospheric music and to me the acoustic nature of ALIENS being an orchestral score gives it a huge leg up, in part because Horner builds each cue. "Sub-Level 3" is a personal favorite, 7 minutes of yes, constant rhythmic figures on deep strings, but ever-so-carefully building tension with little moments of evolving punctuation, that build up to a satisfying, spooky payoff 4 minutes in that sets up the subsequent action.
Not sure if there is a super-duper-expanded version possible but I'm very glad I bought the first Deluxe Edition from the record/CD store 20 years ago.
|
|
|
|
|
|
|
|
|
|
I always thought ALIENS was a good score, until the Varèse Deluxe edition came out. Since then, I think it's a great score. It may even be my favorite James Horner score.
The expanded edition adds a lot of darker, more brooding avant-garde material to the score (stuff like "Med.Lab" and especially "Face Huggers", with their echoplexed strings and high-shrieking violins flesh out the score in a way that makes the action parts of the score stand out).
So for me, ALIENS is right at the top of Horner's output.
|
|
|
|
|
|
I remember getting the LP of this, back when it was released, and being really disappointed by it.
After the previous LP's I had by him (BBTS, ST2, KRULL, BRAINSTORM, GORKY PARK, ST3, COCOON) it was a huge let-down.
Just endless dull, suspense and stinger cues, with a smattering of action licks that, while exciting enough, were nothing I hadn't heard from him already, in his released and unreleased scores.
Seeing the film helped things though, wherein it played a MAJOR part in adding the tension and terror vibe it so needed.
And the stand-out action tracks were damned exciting. No wonder trailers used them so much thereafter.
I preferred the Deluxe Edition, for some of the 'better' tracks that had been missing from the original release, but both required a 'whittle' for me to create the perfect highlights edition that best suited MY needs.
It's never gonna be a Horner score I love, or trouble any Top 10 or 20 list, but I appreciate it for what it does in the film and its highs are top quality chase/action cues that really get your pulse pounding.
|
|
|
|
|
|
|
|
 |
Posted: |
Feb 8, 2022 - 4:18 AM
|
|
|
|
By: |
Amer Zahid
(Member)
|
I remember getting the LP of this, back when it was released, and being really disappointed by it.
After the previous LP's I had by him (BBTS, ST2, KRULL, BRAINSTORM, GORKY PARK, ST3, COCOON) it was a huge let-down.
Just endless dull, suspense and stinger cues, with a smattering of action licks that, while exciting enough, were nothing I hadn't heard from him already, in his released and unreleased scores.
Seeing the film helped things though, wherein it played a MAJOR part in adding the tension and terror vibe it so needed.
And the stand-out action tracks were damned exciting. No wonder trailers used them so much thereafter.
I preferred the Deluxe Edition, for some of the 'better' tracks that had been missing from the original release, but both required a 'whittle' for me to create the perfect highlights edition that best suited MY needs.
It's never gonna be a Horner score I love, or trouble any Top 10 or 20 list, but I appreciate it for what it does in the film and it's highs are top quality chase/action cues that really get your pulse pounding.
Thats why I prefer watching the movie first and experiencing the music along with and minding my appreciation. It was only after a few viewings did the music click with me. It became my top drawer Horner for me. A worthy succesor to Goldsmith. Its in my top 5 !
|
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
|
|
|
|
|
