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 Posted:   Nov 12, 2016 - 7:28 PM   
 By:   bobbengan   (Member)

I guess I'll have to revisit this. Seems everyone loves it but me. Some of the scores I now consider all time favorites, raging from CONAN to KRULL and many things in between, also didn't "click" with me the first time around, so perhaps I'll feel differently on a revisit...

 
 Posted:   Nov 13, 2016 - 2:20 AM   
 By:   CK   (Member)

Didn't click at my first listen, either, but repeated listens did unveil a remarkably accomplished score. Probably my favourite CA score so far.

 
 
 Posted:   Nov 13, 2016 - 6:24 PM   
 By:   jamesluckard   (Member)

It is SO thematic, SHOCKINGLY thematic. It's the kind of score we all endlessly complain is forbidden by the studios today. The kind we used to hear in every movie in the 90s and rush out and buy. The kind we mourn the absence of. It's breathtaking.

 
 
 Posted:   Nov 19, 2016 - 4:38 PM   
 By:   thestat   (Member)

Agree with all the posts. This has to be the most ignored score of this decade. A wonderfully melodic orchestral feast with a handful of nostalgic melodies and barnstorming dynamic cues. I guess it is no wonder I adore this so much as it sounds like Patrick Doyle's 90s scores, which I consider some of the best in film music history. The use of strings and brass and the inclusion of several deeply sad but beautiful compositions makes this so great.

 
 
 Posted:   May 12, 2017 - 10:38 AM   
 By:   Kev McGann   (Member)

I'm going to add this to the list of GREATEST EVER SCORES for a Horror Film.
It joins the ranks of Bernard Herrmann and my personal faves - THE FURY & DRACULA by John Williams, POLTERGEIST by Jerry Goldsmith - as a thrilling/beautiful work that just gets better every time you play it.
Just listen to those clips James has linked above* and tell me I'm wrong.
Hard to believe it belongs to a film of the past few years.

*or don't, cos they're dead Jim..

 
 
 Posted:   May 12, 2017 - 1:50 PM   
 By:   jamesluckard   (Member)

The YouTube samples still play for me, strange...

BRILLIANT score, woefully, shamefully underappreciated.

 
 
 Posted:   May 13, 2017 - 5:26 PM   
 By:   The Wanderer   (Member)

I'm going to add this to the list of GREATEST EVER SCORES for a Horror Film.
It joins the ranks of Bernard Herrmann and my personal faves - THE FURY & DRACULA by John Williams, POLTERGEIST by Jerry Goldsmith - as a thrilling/beautiful work that just gets better every time you play it.
Just listen to those clips James has linked above* and tell me I'm wrong.
Hard to believe it belongs to a film of the past few years.

*or don't, cos they're dead Jim..


Holy flip, this is mega praise! I may have to get it, despite not having seen the film.

 
 
 Posted:   May 14, 2017 - 2:24 AM   
 By:   Kev McGann   (Member)

I've not seen the film either Ob.
And I don't like track 1.
And I only thought the score was allright on first listen.
But it just gets better and better with subsequent plays.
It's fantastically thematic and symphonic, but with that slightly modern vibe that Armstrong brings to a lot of his work.

 
 
 Posted:   May 14, 2017 - 8:22 AM   
 By:   The Wanderer   (Member)

I've not seen the film either Ob.
And I don't like track 1.
And I only thought the score was allright on first listen.
But it just gets better and better with subsequent plays.
It's fantastically thematic and symphonic, but with that slightly modern vibe that Armstrong brings to a lot of his work.


I'll check samples. The only soundtrack I've ever bought then got rid of was The Clearing. I know this is nothing like that but it put me off him for the last ten years (well, that and never actually seeing any films he scores). I'm glad lots are enjoying it though. I hope to join the ranks.

 
 
 Posted:   May 14, 2017 - 1:11 PM   
 By:   Kev McGann   (Member)

Yeah, The Clearing is a workmanlike score. I think there's one cue I really like but most of it is sombre moody stuff that doesn't really work standalone.
The 3 tracks James has linked above are pretty fuckin awesome and should tell you if you're gonna love this score or not.

 
 
 Posted:   May 1, 2019 - 7:37 PM   
 By:   jamesluckard   (Member)

I'm finally watching the film, and it's fascinating to see how this gorgeous score was treated.

I'm noticing that a lot of the big epic cues have the bass brought WAY up, and the high strings and such that carry the melodies are purposely buried. The mixers clearly recognized that this was a score from another era and tried to turn it into a modern soundscape/musical wallpaper score.

They weren't entirely successful, the score is too sweeping to be totally strangled, but a combination of dropping some cues, and remixing others to drown the richly thematic nature of them means that the score, as heard in the film, displays only a small fraction of its dazzling brilliance.

Also, I'm gonna hazard a guess that about 1/4 of the music in the finished film isn't Armstrong's, chunks of it sound like generic replacement music, especially as Igor and the girl travel through the forest in stagecoach in act three.

I'm even more grateful that Armstrong was, by some miracle, allowed to write and record this titanic score, and that we got an album of it, sounding the way he intended it to.

The film itself isn't as bad as I'd expected, James McAvoy is too talented to be anything but compelling, and despite the film's flaws, he's mesmerizing here, because he's been given such a deranged character to play here. He's really a force of nature let loose.

The score remains probably my favorite of the last ten years.

 
 Posted:   Oct 19, 2019 - 7:32 PM   
 By:   acathla   (Member)

Just watched this movie and I loved the score!
I havent listened to the actual CD yet (only through the movie, and its so late here now, lol)
Looking forward to explore it tomorrow wink

I was paying attention to the tracklist as I watched the movie (I tend to do this A LOT!) and it seems that my favorite cue sadly isnt on the CD frown it was kind of a love montage scene from a dance ball and they were running upstairs and had sex. Amazing cue! Is this perhaps tracked music since its not on the CD? It sounds too good to leave it off!

Also, 3 cues I cant seem to make out where in the movie they are from. The beloved "Reunited". Was this used in the film? Did I totally miss this?? :O
And the cues "Clown" and "Fairground". Maybe they are bonus cues?

 
 Posted:   Oct 19, 2019 - 9:24 PM   
 By:   Mr. Marshall   (Member)

That's FRONK - EN- STYNE

 
 Posted:   Oct 20, 2019 - 6:00 AM   
 By:   acathla   (Member)

Oh I actually found a complete breakdown of all the cues in chronological order!

Victor Frankenstein
S1 - The Circus (2:36)
S2 - Victor Arrives (:45)
S3 - Igor's Books (1:15)*
S4 - Escape (2:22)
S5 - Never Been Out (:52)
S7 - Victor and Igor (2:13)
S8 - Igor Transformed (1:21)
S9 - Turpin Inspects (:48)
S11 - Dark Red Theme 3 (1:48)
S6 - The Hospital (3:16)@
S10 - Lion's Foot (1:02)*
S12 - Eyes Revealed (1:44)*
S13 - Getting to Work (:56)
S15 - Body Parts (1:41)*
S16 - Lorelei (1:40)
S17 - Card Trick (1:07)
S18 - Gordon (3:19)
S19 - Gordon's Escape (2:54)
S20 - Igor and Lorelei (1:05)@
S21 - Victor's Father (3:09)
S22 - A New Design (:49)
S23 - Basement Raid (3:58)
S24 - Victor's Story (2:59)
S25 - Prometheus Ascending (5:54)@
S28 - Finale (:00-1:25)@
S26 - Turpin’s Theme (2:13)
S28 - Finale (1:25-End)
S27 - Igor’s Theme (1:48)@
S29 - Dark Red Theme 1 (1:17)S14 - Dark Red Theme 2 (3:36)

Bonus Tracks:
S30 - Clown (:52)
S31 - Reunited (3:50)
S32 - Fairground (1:14)

End Credits:
S26 - Turpin’s Theme (:33-:35)
S26 - Turpin’s Theme (:41-:43)
S26 - Turpin’s Theme (:45-1:23)
S26 - Turpin’s Theme (1:26-1:28)
S26 - Turpin’s Theme (1:30-2:08)
S29 - Dark Red Theme 1 (:00-1:08)
S14 - Dark Red Theme 2 (:27-1:12)
S14 - Dark Red Theme 2 (1:28-2:00)
S14 - Dark Red Theme 2 (2:14-2:44)
S14 - Dark Red Theme 2 (3:12-3:32)
D (:02.6)
S28 - Finale (1:25-2:35)
D (:26)

* = Alternate
@ = Partially Unused

D = DVD/Bluray
S = Score

 
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