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You’re not a real Elfman fan if you download without paying. No excuses. Go out, get the album. Come back here, talk about it. If you downloaded it for free, don’t bother chiming in.
I’ve bought it last Friday Mister Ryan !
Good score, not a great one. The themes are very effective and the album does have its highlights (Opening, Fireside, Reveal/The Escape, the opening of A Solution) but I doubt it will be played a lot on my cd player. It’s just regular Elfman action cues, with lots of percussions, brasses and strings (the woodwinds are very discrete, not to say absent). It’s enjoyable but it does get generic from time to time (the film itself doesn’t look like a monument of subtlety anyway).
I’m also not fond of the album : it lacks some breathing and diversity; we’ll see how it sounds in the film and what was left off…Decent score to help waiting for The Wolf Man and Alice…
Free too. Waiting for my order from Amazon.
I done bought it, and I’ve been listening to it non stop. It’s gets better after each pass. I’ll get more detailed in the near future.
Lucius
Call me crazy, but I’m actually going to buy this on COMPACT DISC! Remember those?
Also, I’m in no big hurry. I’ll wait a bit untill the price drops somewhat. But of course, I’m going to get it – perhaps even before I get to see the film.
I bought the CD tonight. Interesting thing is that I got the LAST copy. The same thing happened last summer when I bought Wanted. Either Best Buy is only putting out one copy or they REALLY are selling out.
Where I bought it they said they only had One copy… seems like this is becoming more and more the norm for stores on releases because of online file sites like iTunes and Amazon. I remember when I managed a music store we would get about 100 copies of about 3 or 4 of the biggest titles being released that week, but I doubt any store orders that many copies any more.
I don’t know, man. They had a lot of Star Trek and Wolverine. I think Best Buy just hates Danny Elfman.
I disagree with Danny Biker. The movie having a well-defined theme helped it from being generic. The Kingdom was a score that was generic as a result of it being random action cues. Here you had a great theme that held it all together. I can just imagine John Connor doing something heroic and that theme blasting through the cinema speakers. This may actually be Elfman’s most crowd-pleasing score since Men in Black.
By the way, is it just me or does track #8, Hydrobot Attack kinda sound like Planet of the Apes?
Don’t forget, Warner Bros. also released Jablonsky’s TRANSFORMERS, and that went out print in a matter of months. My guess is that Warner Bros. is not pressing massive runs of these discs and if you want one you need to act fast.
Bought it last night. Listened to it 1.5 times. Enjoyed it. Went to look at its chart placement today and got very frustrated with the lame Amazon reviews. Added mine:
4.0 out of 5 stars
Terminator for a New Generation, May 20, 2009If you are looking for the music to the first two TERMINATOR films, buy the original soundtracks. With TERMINATOR SALVATION, Danny Elfman delivers a fresh musical perspective for McG’s re-imagining of the franchise. We don’t get the beloved Terminator theme on the album (though it is reportedly used in the film). Instead, we get a smart and respectful homage to the sound world Fiedel created–the familiar thumps, scrapes and even the terrifying downward synthesizer glissando (the sonic equivalent of one’s heart being pulled to the pit of one’s stomach by a cold, metal hand). Elfman’s lush horn writing recalls Fiedel’s heroic themes, but with richer color and more densely layered orchestration. The sound is bigger, more spatial, from a restrained, contemplative guitar motif to some of the darkest, dirtiest low-brass grumbles I’ve ever heard on a soundtrack. Elfman offers some of the cleanest action music of his recent scores with less reliance on dissonant clusters and stings to underscore what is on screen–just a building pulse that incorporates the ticka-ticka/ratta-tat rhythmic intricacy of his self-made percussion samples–a little THE KINGDOM and PLANET OF THE APES, but uniquely its own. Finally, though I’m not one for mixing score with songs, Alice in Chain’s “Rooster” is a good closer for its quality, themes and hard edge.
This album is definitely one for the collection and worth repeated listens. Enjoy!
(ed. 17:16)
It wasn’t that the samples were bad, it’s just that I wasn’t feeling it, sounded too RC to my ears. On my second listen to the album as a whole, I like it a lot. I wish Fiedel’s theme was in there somewhere to tie all of the films together thematically, but I might change my mind after a few more listens.
We watched the first Terminator tonight in preparation, tomorrow we’ll watch T2, but we’re not going to get a chance to watch T3 before Friday. That’s not a major crisis as the only thing I really loved from T3 was the finale. I thought that was a perfect ending to the “trilogy” as it was final enough to end the franchise and open enough to keep it going.
If you think anything Danny Elfman writes sounds like Remote Control, then you’re on the wrong message board.
So, I saw the film last night and had a fairly good time with it. The action scenes are great, and there where some really fun sections, but all in all I thought it was Ter’meh’nator. I regards to the score, I don’t know if it was the film mix or the theater’s sound system (even though it was at the Mann’s Chinese in Hollywood, which as always awesome) but I could barely hear Danny’s music. Especially in Harvester Returns (which is one of my favorite pieces) it was completely drowned out by sound effects. I mean, don’t get me wrong, I get it…people wanna hear those fancy robutts buzz and whir (the sound design was great) but this is the prime example movie in which I know Danny gets furious scoring cause all his hard work goes unnoticed. But near the end, the score volume got turned up and it was great. Actually some great music that wasn’t on the album….hopefully there will be a score only track when it’s released on Blu-Ray. And yes, Feidel’s T2 percussion theme did show up, tacked onto the opening credits, an a couple times near the end.
Lucius
Agreed, Lucius. Elfman’s score was BARELY heard. I think I heard maybe 10 minutes of his music. Elfman wasted his time with this movie. He and Raimi should have made up so he could have scored Drag Me to Hell.
Not sure why he still does action movies. He’s always complaining about how his music is always sacrificed for loud sound effects. Haven’t heard the score yet (not thrilled about the movie), but I still WAY prefer his “quieter” scores over his bombastic ones.
I just got out of the movie.
So I thought the movie was good. The score was by far the best part for me! I don’t have the soundtrack yet(Soon hopefully), but what I heard was really really exciting. There were no problems for me with sound and foley and all that. I didn’t like the cheesiness. There were some pretty awkward parts. But the Terminator fight at the end is cool. That part when it comes out(I won’t ruin it for everyone) was worth the $8.25 I paid… well and the music of course.
Everyone should see it. Its cool to see how Elfman fits it all together.
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Mr. Dantz, Elfman’s music isn’t always sacrificed. In last year’s Wanted his music was very respected by the filmmakers. And I recall in Kingdom it being the same. Although not as much as in Wanted. But here….I don’t know what McG was thinking. He spent all this money on having Elfman score his movie and then doesn’t use it.
Ryan, all I was saying was at FIRST listen I thought it didn’t sound like Elfman, once i listened to the full album my opinion changed. I have a Love-Hate relationship with samples because sometimes I get whet the composer is going for, like the Serenada sample you posted on cinemusic, and other times i need to hear it in context with the rest of the album, such as this one, I’m very sorry if I offended you, that was not my intent.
Would I be in the wrong Message Board if I said that I thought The Kingdom sounded like a Media Ventures score?
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