Customize a Thing. Download All Files. Select a Collection. Save to Collection. Tip Designer. Share this thing. Send to Thingiverse user. Remixed from: Select a Collection. Apr 10, Print Settings. Monday, June 23, Adulthood. Into The Wild - Eddie Vedder. Get Smart - Trevor Rabin. Download Link part 1 Download Link part 2. Posted by Soundtracker at AM 1 comment:.
Posted by Soundtracker at PM 3 comments:. The Fountain - Clint Mansell. Posted by Soundtracker at PM 2 comments:. Finding Neverland - Jan A. I don't feel like it can be classified as post-rock or modern classical, or really anything. There are moments that are film-like "The Last Man" and there are songs that are firmly rooted in post-rock and Mogwai's influence is very heavy "Death Is the Road to Awe".
I count three linchpins for this album. Mansell composes the whole thing, but most of it is performed a string quartet and a rock band, so there are soft piano moments that are completely Mansellian, nice string moments that are Kronos', and rock elements that sound like if they didn't also have strings and piano, could be on a Mogwai or Grails album. In terms of the piano, I think everything is handled very well. The piano is played with a very light touch, and everything sounds beautiful and soft.
I sense that if all of the solo piano were compressed into one collection, they could be mistaken for some of Albeniz's piano suites. Overall, the piano suits the love story well as it is touching and soft music, but it also suits the death aspects as well because harmonically, it is dramatic and somber as well. In terms of the strings, they seem to be a way of elevating the drama of the harmonies.
Usually strings automatically give weight and an epic sense to certain modern music, and here is no exception. The sound is much grander with the strings, but also like their presence in Requiem for a Dream , the strings also contribute to the claustrophobic sound of the piece.
The strings, when playing repetitious content have a certain pulse and drone to them that is hypnotic, and Mansell uses that effectively on certain songs like "Holy Dread. They also figure prominently in the overall soundscape. There are a lot of songs that have the strings just enter with little background harmonizations that help fill out the sound of build it up at certain points.
The strings also add weight with their softness instead of just their loudness. In terms of the post-rock elements, the fare is just off of center. Most of the songs on this album build from little ideas and have crescendos, which is a staple of post-rock, so in a narrow way, most of the songs here could be labeled as such. I feel like instead of using Mogwai's presence to make the album more rock-like or palatable, he actually uses it to just punch in at certain moments. The soundtrack is dominated by Mansell's piano and Kronos' strings, and Mogwai doesn't take center stage ever really, and often lays out for whole songs at a time.
It seems as if Mansell wasn't interested in using them to make his soundtrack sound more like post-rock but wanted to make their post-rock sound more like his composition. He really just used them as tools, which is really effective, because instead of sounding like another Godspeed clone, with symphonic sounding minute songs, Mansell composes rather concise yet moving songs that don't depend on a massive build or collapse of dynamics and instrumentation. The synthesis of these primary factors lead to a work that is in all of these places at once.
The sound is singular and really wonderful. Overall, the soundtrack works well with the film, and works well on its own. It uses modern classical, minimalism, and post-rock but is never dependent or too strongly in any one category. From performer to audience via the shared experience of the music. Years later, the Clash fell apart.
A demise that began with the sacking of Topper, and later, their musical driving force, Mick Jones. You can always get another drummer in, another guitar player, but its the character and personality of those involved that makes the magic. When we made The Fountain, we were The Clash! The people we were, the creativity we had, we were at the top of our game.
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