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 Posted:   Apr 4, 2014 - 1:08 PM   
 By:   counterpoint   (Member)

I might check out the score but seeing that clip, a documentary about his life is the last venue I'd like to see Rumsfeld in.


Don`t worry. The film is very critical of the man.

 
 
 Posted:   Apr 8, 2014 - 8:02 AM   
 By:   ddddeeee   (Member)

Now on iTunes, samples sound great!

 
 
 Posted:   Apr 8, 2014 - 8:44 AM   
 By:   maximus_rh   (Member)

I bought the album from iTunes and have had a couple of listens. I think it's my favourite Elfman score since at least Alice in Wonderland. Wonderful stuff.

 
 
 Posted:   Apr 9, 2014 - 8:51 PM   
 By:   reza   (Member)

Just bought it from iTunes, unfortunately there's no booklet. It would be nice to read some words from Errol Morris, the credits, etc.

 
 
 Posted:   Apr 10, 2014 - 7:18 PM   
 By:   ryankeaveney   (Member)

Just bought it from iTunes, unfortunately there's no booklet. It would be nice to read some words from Errol Morris, the credits, etc.

Check out:

http://www.warmbutter.com/cds/unknownknown.php

 
 Posted:   Apr 10, 2014 - 7:37 PM   
 By:   foxmorty   (Member)

that second track "two sides" is simply tremendous!

 
 Posted:   Apr 10, 2014 - 8:32 PM   
 By:   TM   (Member)

Man, I'm really sad that Elfman decided to outsource this one. He's been one of the best about keeping things either in LA or London over the years...I know there's tremendous pressure to record things on the cheap, and I suppose it was bound to happen sooner or later, but still. The more this happens, the less work there is for the musicians I look forward to (possibly) hearing on each new score.

 
 Posted:   Apr 10, 2014 - 10:48 PM   
 By:   Tom Guernsey   (Member)

Man, I'm really sad that Elfman decided to outsource this one. He's been one of the best about keeping things either in LA or London over the years...I know there's tremendous pressure to record things on the cheap, and I suppose it was bound to happen sooner or later, but still. The more this happens, the less work there is for the musicians I look forward to (possibly) hearing on each new score.

I'm not sure that Berlin counts as cheap in any way at all, plus it is reasonably well known for having one of the finest orchestras in the world (the Berlin Philharmonic), plus this is a documentary so I'm guessing the budget for music is, in any event, a bit more restricted. We're lucky it gets an Elfman score recorded by an orchestra to be honest.

 
 
 Posted:   Apr 19, 2014 - 1:03 AM   
 By:   Thor   (Member)

I saw the film two days ago, and received the CD about the same time.

Both of them are great.

The film is typical Erroll Morris, driven by talking heads (mostly Donald's) and illustration footage; with heavy reliance on words (since it's a film very much about rhetorics and polemics). It's somehow very captivating, and displays a rather unfiltered portrait of the charismatic politician -- both his strenghts and warts. Elfman is billed almost FIRST during the main credit sequence, a rather rare occurence.

On album, the experience is even greater -- a natural followup to their previous collaboration S.O.P. (incidentally one of my favourite scores of the 2000s). Lots of embroidered minimalism, if you will. Just gorgeous, and my favourite sound of the composer these days. In my opinion, this is his finest score since PROMISED LAND.

 
 
 Posted:   Apr 19, 2014 - 9:03 AM   
 By:   lonzoe1   (Member)

Yeah I enjoyed Elfman's "SOP" and "Promised Land" scores also and can't wait to order this one.

 
 Posted:   Apr 19, 2014 - 10:27 AM   
 By:   Shaun Rutherford   (Member)

In my opinion, this is his finest score since PROMISED LAND.

What, 3 scores ago?

 
 
 Posted:   Apr 19, 2014 - 11:03 AM   
 By:   Thor   (Member)

Yeah, when I started that sentence, I had ALICE IN WONDERLAND in mind. But then I remembered great scores like PROMISED LAND and RESTLESS, and the leap wasn't so great.

 
 Posted:   Apr 19, 2014 - 11:06 AM   
 By:   Shaun Rutherford   (Member)

It's kinda weird, because even though I like what I've heard from The Unknown Known, I still think Elfman needs to take a few years off and regroup.

 
 
 Posted:   Apr 19, 2014 - 12:40 PM   
 By:   Kev McGann   (Member)

I'm in the opposite camp who find this minimal/Glass style from Elfman my least favourite listening experience by him.
And by this style, I don't include Promised Land or Restless, but more his Serenada Schizo and SOP style, where a little of it goes a very long way.
Granted, when it's used only as the basis for the score (like Alice In Wonderland) or it's expounded upon as he did for Serenada, I don't get as bored so easily, but this CD will join SOP as one where I will grab a few tracks that stand out for future listening but will hardly ever play through the full CD due to a musical tedium they induce in me.
Not having seen SOP or this film, my opinion is based solely on listening to the CD and is not a judgement on the job the music does in supporting their respective films.

 
 
 Posted:   Apr 19, 2014 - 2:30 PM   
 By:   Thor   (Member)

Fair enough, Kev.

These days, scores like EPIC, OZ, PEABODY, FRANKENWEENIE, DARK SHADOWS etc. drive me up the wall (even though there are obvious highlight tracks there too), while stuff like UNKNOWN, RESTLESS, PROMISED LAND, THE NEXT THREE DAYS, MILK, SOP and so on immediately drag me IN, especially as far as an album experience is concerned.

Less bombast, more of the delicious, laidback textures, please! smile

 
 
 Posted:   Apr 21, 2014 - 11:47 AM   
 By:   Kev McGann   (Member)

I too have struggled a bit with Mr Peabody. It's all a bit too disparate, although hearing his Pee Wee/Back To School style return after many years was fun (also Meet The Robinsons groove can be heard).
I love his Van Sant scores, but consider them more 'acoustic tragic loveliness' more than the Glass sound he has used for the Morris docs. Restless and Promised Land have been played to death since I've had the discs. Which reminds me, I must pick up the new Good Will Hunting CD asap.
Milk is stunning, wherein he adds a 'tortured nobility' sound in a John Williams style, alongside his own customary sound.
I somewhat agree in that things like Oz, Frankenweenie and Epic can get a bit full-on, but overall, it's all in that pure Elfman style I love and I usually dig at least 75% of it on the CD's.
The best thing about Danny E is all the different styles of score he can deliver, whilst retaining his own inimitable sound and voice.

 
 
 Posted:   Apr 30, 2014 - 5:25 AM   
 By:   Kev McGann   (Member)

Gave this another spin today (I do try yer know).
I think it's a lack of warmth and emotion that keep me at bay from this and SOP.
I can hear traces of other scores (Sleepy Hollow, Simple Plan, Alice) but it's like all the heart and emotion has been stripped away.
It's the audio equivalent of why I don't enjoy Michael Mann films. Technically accomplished but cold and hard to love.
A few tracks did shine out a bit (Reagan, Dora Farms) and I especially liked Joyce where there's a little Beatles vibe going on.
I'll keep giving it a go. God loves a tryer wink

 
 
 Posted:   Apr 30, 2014 - 1:05 PM   
 By:   counterpoint   (Member)

I love the film and I love the score although I am not an Elfman fan. Maybe the reason why I love Elfman`s score that much is because I`ve seen the film first.
Btw the orchestra in Berlin is first rate. It`s the same orchestra that performed David Newman`s ANIMAL`s UNITED and TARZAN. Another professional competitor to LA`s AFM orchestras.

 
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