slint
Forumsvar Lagt Inn
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Innlegg
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Thanks for the recommendation.
I’ve been listening to some of the synth scores by Maurice Jarre lately, just because I like to keep track of French composers, and not because I have a particular affinity with these films. I can’t say I was impressed, even though I kind of like the Twin Peaks sound, there is thin line between great and new agey.
I have also listened to some of the synth scores by Michel Colombier, again just because I like his earlier French work, but I also wasn’t impressed, it is trying to be too big and bold, and in the end sounds dated with breakbeat dance stuff.
As you know I like the analogue synths of Francois de Roubaix or Piero Umiliani, but I’m also fine with some of the Goblin, Fabio Frizzi action and rhythmical Horror scores from the 1980s.
Any suggestions for Hollywood synth scores are welcome.
Something like
Ennio Morricone
Piero Piccioni
Bruno Nicolai
Armando Trovajoli
Luis Bacalov
Stelvio Cipriani
Nino Rota
Philippe Sarde
François de Roubaix
Francis LaiI actually like Ennio Morricone’s dissonant/atonal scores because of their cinematic and listening qualities.
I also like dissonant/atonal classical music because of their innovative and artistic qualities. Clearly I like “art” in films and scores, which is one reason I like this kind of music equally to lyrical and melodic scores.
Yes, my best guess is extra work when setting shipping rates. Which is why I am a bit disappointed since if that is the case, it shouldn’t be that difficult for a large neighbour (the UK).
I don’t see much correlation with the volume of items on sale, but there is a correlation with the type of items on sale: those selling French or Italian language DVDs or LPs will have much less chances of offering international shipping, while those selling rock music will most likely offer international shipping.
This may be, but the question is why they refuse to ship to the UK.
If the custom forms are correctly filled, it shouldn’t be stopped by customs. It may need a bit more work, but if 50% of the EU sellers can do it, it is a bit surprising the other 50% of EU sellers can’t do it. I don’t really know how their situation would be different.
To be honest, I am mostly annoyed because about 9 of the 10 times I asked the seller if any arrangement could be made to ship to my address, making it clear it was a rare item I couldn’t simply buy elsewhere, the seller did not respond at all.
I’m just pretty sure the culprit in most cases is not the actual store.
Most of the time the culprit is the seller. On Discogs or Ebay sellers have to make a choice, and many refuse to ship to UK.
Yes, that’s really the most significant issue as my want list goes down. For half of the items I want, the seller wouldn’t even bother shipping to my country.
Even Music Box wouldn’t ship to the UK for 2 years. I’m not sure why they were so inclined to punish us since I was not one to vote for Brexit.
I also think synthesisers are like any other musical instrument. I quite like scores with analogue moog synths from the 1960s and early 1970s. I also like some recent film scores using analogue or digital synths.
However, on the other forum, 99% of the time synth scores are mentioned, it refers to Hollywood synth scores from the 1980s. I don’t have any affinities with these scores, so I usually avoid discussions on synth scores for that reason. The main issues is that many of them sound the same to me.
Most scores are short to start with. I certainly dislike the Universal France habit of making a 25 minute score only 20 minutes by omitting one track, which means I must keep the original LP to have the full score.
So just releasing what is on the master tapes is ideal. People can remove tracks later if they want and I don’t need some producer to make that decision for me.
I like the classics, Martin Böttcher, Peter Thomas, Erwin Halletz and Gert Wilden. I just wish there was more. Most CD released from German scores are from the mid 2000s. Almost nothing in the last 15 years.
Morricone has always been and he is still my favourite film score composer. I like all his styles, dissonance included. The only thing is that Morricone only composed less than 5% of Italian scores released on CD. While he is arguably the best, there are tons of other good Italian scores too.
What do you think about all the re-use comments as pertains to Sarde, slint? I don’t mind, personally, just as I don’t mind for Horner, and with about 20 Sarde soundtracks only, I don’t think I’ve noticed very much.
Not at all, some re-use melodies, melody style, arrangement styles, instrumentation, influences and it is all the same to me. But Sarde did not re-use much melodies in the 1970s anyway, my favourite period.
That’s interesting to hear, slint, because I’ve always thought – from your FSM postings – that those Frenchmen were always your favourite composers. You have so much knowledge about them.
I’ve always preferred other French composers, including Philippe Sarde, Francis Lai, Antoine Duhamel or Pierre Jansen.
Georges Delerue is obviously very talented and has some beautiful lyrical scores, so has always been very much on the radar. I guess it is simply a matter of taste: some of his scores are technically very advanced and very cinematic, but I don’t really fancy listening to them over and over. He is one of those composers that are almost too good for their art, with the music outside of the film losing a bit of its strength.
The other two are different. Maurice Jarre had the majority of his scores recorded in Hollywood and I find his French period mostly unremarkable. For Michel Legrand I think some of his Nouvelle Vague scores are great but for different reasons, I am simply not that much of a fan. Both Jarre and Legrand were also a bit monothematic like many European score composers. I can certainly appreciate they had a huge contribution in film music and were 100% into it (they conducted all their scores), so I am now a bit more appreciative after having listened their full catalogues.
