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Check ’em out:
http://www.deccarecords-us.com/artist/releases/release.aspx?pid=60744&aid=96822
Saxophone!
Wow, that is some impressive stuff; and such a broad rage to boot. I agree Ryan, ‘Postscript’ is amazing…just when the clip is about to get really going, it stops…dammit. Another track that I was really impressed by was the horn solo in ‘Vote Passes’. I’ve never really heard Danny do that before…proving once again that he is continually still growing as a composer. This score is definitely a lock for an Oscar nomination.
Lucius
Wow … interesting! Sounds like a mix of Big Fish and SOP. The Main Titles is very strange. Sounds great, though. I love Elfman scores like this!
I got my copy yesterday. It’s definitely a good score that will certainly grow on me, like all Elfman’s 2008 efforts. It’s something between Big Fish, SOP and classic Elfman/Van Sant standards.
By the way, don’t be afraid when purchasing this in stores if the last two tracks are missing on the artwork : they are on the cd.Got my copy today…
The cd leaves me the exact same impression I had when I listened to “A Simple Plan” , “A Civil Action” and “Instinct” exactly 10 years ago… I’m sure the score works perfectly within the movie, and I admire Elfman’s efforts to try new atmospheric scores, but it really isn’t the kind of music I expect when I think of Danny Elfman.
I really loved Big Fish, because the melodies were beautiful. I deeply loved Charlotte’s Web for the same reasons… But, here, except a brief succession of notes, I don’t identify a distinct melody… Don’t get me wrong, it’s not bad, it’s pretty interesting, but it’s far from what I had hoped… I’m still hoping for a score that would remind me of “Black Beauty” or “Sommersby”…I know that most of you guys won’t agree with me, and I understand that, but I can’t get excited with this score the way I felt when I heard the “success montage” from wanted, or even the score for Hellboy 2.
Let’s hope that time will help me appreciate this new score (as it did with Civil Action and SImple Plan)…
Or let’s simply hope history will repeat itself and we’ll experience a “Elfmanish come back” like 1999 with “Sleepy Hollow”, with the 2009 “Wolf Man” score…I think they call it “versatility”. He can do anything — and well! I love the score. To me it sounds like Elfman doing Elfman.
My copy of the CD is already on its way from Amazon, but it looks like iTunes has two bonus tracks “Anita’s Theme” and “Main Titles Sax Solo”
EDIT: Blast it. Never mind. I guess the “bonus tracks” are on the CD anyway. Why the hell are they listed as “bonus tracks”? I don’t understand the world anymore.
To make it seem like you’re getting something extra, even though you’re getting the exact same thing everyone else does. It’s a bogus incentive tactic.
It’s often hard to gage a scores merits outside of the film, but as a whole, I’m really enjoying this soundtrack. I love playing the final four tracks. 2008 was a great year to be an Elfman fan.
I agree, I believe this is Elfman’s best year since 2005. Not only have we gotten some stellar work from the red haired genius, but a broad rage of style. Each score is like a snowflake. And I think ‘Milk’ is just pure and utter brilliance. From the opening credits to …well, the opening credits, this is Danny’s most mature and versatile work to date, I believe. I think it’s almost a middle finger to all the people who claim, “Danny’s scores all sound alike”. Hell, it was even stated in this interview:
ComingSoon.net: If I hadn’t seen Danny Elfman’s name on the credits, I might not have known he composed the score, so what sort of direction did you give him for this compared to what you’ve done with him before?
Van Sant: Well, I wanted him to be kind of crazy, but it’s a relatively conventional score I think. He sort of feels it out and he plays stuff for me and I’m a little bit part of that process, but I usually defer to him, because it’s a huge artistic effort. It’s sort of like Sean building his character, they’re both very intense artists. They can only interpret it their own way. They can’t straddle what you want and what they want.
Well, enough of this tippity-tapping I have more Milk to listen to…it does a body good. (Come on…ONE of us was gonna make that lame joke sooner or later.)
Lucius
P.S. other than ‘Postscript’, ‘The Vote Passes’ still has to be my favorite track due to it’s simplistic, and horn solo-y brilliance.
I would certainly call this a “melodic” score boingomusic. While there is a work around textures and some very good uses of electronics (others more debatable to be honest), this a mostly “theme and motif-driven” score; much more than what Hellboy II has offered us earlier this year for example. After 4 or 5 listens, the themes get obvious and if they are more dim than the themes in Big Fish, they grow on you quite easily.
This is certainly the work of a very experimented and mature composer who doesn’t need much instruments, effects or notes to reach the emotion he is seeking. Everything feels so simple with this score even though it hides a tremendous sense of balance.
You mentioned Charlotte’s Web and I consider this score to be the exact opposite of it : while his 2006 effort seemed too dramatic and “talkative”, Milk is all in economy with the exception of Harvey’s Theme that get quite Americana from time to time.
Of course, all we need now is to see how this plays within the film !
This was truly a marvellous year for us fans and I think it is time that the Academy gives the man a new nomination. We know he doesn’t care much about that (nor do we I think) but it could mean at least that they’d acknowledge that American film music shouldn’t be spelled without “Elfman” this year.
On a site note, I doubt that he will be nominated if the film itself doesn’t turn out to be a major Oscar contender…This is a lovely score, but I don’t understand all the fuss and buzz behind it. Hell Boy 2 completely kicked all assess in its wake, but, on this board, the score that got more posts was The Dark Knight (for God sakes! — the most horrible score, ever
).Has anyone else out there seen the movie? I just cam back from it tonight. Pretty good. Slightly cliche. Anyone notice any missing music cues? I think maybe the closing credits, otherwise a pretty complete score.
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