I like how Barr emphasises the cello in his score for True Blood. This track has a definite hymn-like feel to it – I suppose to highlight the fervent religious streak in Tara’s mother’s character.
The little hints of the Medal of Honor theme – before it is heard in full – teases the listener at the beginning of this cue. Atypical of what you would expect for an end titles track (usually it’s grand statements of themes from the outset) this is much more restrained in tone: respectful rather than celebratory. One of my favourite game score themes.
A big part of the enjoyment of this game for the Wii platform is Yokota’s music. A lot of times in other games, when I get stuck, the music quickly becomes annoying. But not in Super Mario Galaxy. Sometimes it can actually be annoying if I finish a level quickly and don’t hear the same piece for hours on end! Grand and orchestral.
No points for effort in designing the artwork for this digital release. This is obviously predominantly (if not entirely) digitally created but what I like here is the persistent ostinato figures in the strings and the combination of this with a solo string and a piano line. Reminds me of a Philip Glass or Michael Nyman score.
This is quite a light track for such a mystery/horror film. Nice strings and delicate piano and woodwinds all suggest a homely sort of feeling. Not until the latter half of the track does the more gothic sound (i.e., wordless chorus) appear to darken things. Another example of how good Spanish film scoring can be.
There’s something about this score that makes it one of my top Broughton scores. The Godfather-style feel to the score (including nice solo brass statement of the main theme) and the interesting orchestration (mandolin? – I need to check the liner notes) makes for a worthwhile listen. Some subtle wordless female choir too adds to the mix.
A lot of this score I can’t warm to but this love theme is lovely. Focusing on the romance with swelling strings, unusual and tribal percussion and instrumentation (for prehistoric setting) are kept to a minimum and add only a slight colouring to the music.
There’s something off-kilter about the music that makes this track stand out. In some parts it sounds like it’s emphasising some sort of an odd circus. A staccato string motif that features prominently is particularly memorable.
This is not one of my favourite Goldsmith scores and it was ages before I eventually bought it. But there’s a beautiful, emotional feel to this cue that makes it attractive. I particularly like the piano line that features in the latter half of the track.
Ah, blaster beam and typical Rosenman brass “triangular figures”, rasping/throaty brass. Not much more to this track but it’s great to hear music such as this every now and again!