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The Maze Runner – Scorch Trials (John Paesano)

Cover_MazeRunnerScorchTrialsTHE MAZE RUNNER: SCORCH TRIALS

John Paesano, 2015, Sony Music
21 tracks, 76:01

Last year’s “The Maze Runner” proved a highly enjoyable score. Can John Paesano work his magic once more on the sequel “Scorch Trials”?

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James Horner A Composer’s Special [2/3]

JamesHornerRIP

Exploring his works from the 1990s.

Much has been said, by many, about Horner, his music and his untimely passing. And much will continue to be said as people discover, re-discover and continue enjoying his music (and the films they accompany).

There are many things I enjoy about Horner’s music. I described them as unique characteristics earlier. I wish to pay tribute by offering a personal guide to James Horner’s music bysummarising his work by year (in order of the movie’s release date). Be sure to check out Part 1 of this Composer’s Special: The 1980s (from “Battle Beyond the Stars” to “Glory”)
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2015 Round Up – July (7/12)

UnreviewedThe Unreviewed: 2015 Round Up – July (7/12)

In spite of best intentions, it is genuinely unfortunate that some scores are left unreviewed. But unreviewed does not mean unheard. So let’s focus, if only briefly, on those scores that got away this month. Including:

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The Fantastic Four (Marco Beltrami and Philip Glass)

Cover_TheFantasticFourTHE FANTASTIC FOUR

Marco Beltrami & Philip Glass, 2015, Sony Music
26 tracks, 66:17

A most interesting concept: Philip Glass and Marco Beltrami working together on a super-hero movie. Is it the collaboration of the century?

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James Horner A Composer’s Special [1/3]

Introduction: “A Living Organism”

JamesHornerRIPJames Horner’s music is like a living organism – it grows and evolves over time, without losing any of its unique characteristics. If it were a real person, we’d be talking about dimples, wrinkles and freckles, the way they smile or rearrange their hair. As it is, we’re talking about a bassline here, a counterpoint horn there, that motif or one of many others. The music is one contineous, almost infinite organism that knows no past, present or future; with each score simply being a part of the larger organism. It has a character all of its own; one that we have seen grow and develop over the last three decades or so. One that has aged and matured, but is still undeniably the same character. And with Horner’s passing, we’re not only left wondering what would’ve become of Horner in another decade or two, but also what of his music?
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