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Well, considering there's a lot more advanced orchestral writing in a lot of Transformers: The Game (which was composed by Jablonsky and Flood), than in many of Steve's other projects, I can't help but feel the more advanced stuff here was Flood too. Plus Flood's contribution to "Flying Battle" in D-War kind of makes him seem like the more advanced orchestra composer.Any idea about Bobby's credits here Hybrid? ASCAP doesn't list anything for the specific album cues and I got no idea what to search for regarding session names. Bobby is credited on the "Outlander Theme" though, so does that mean that every cue with the main theme present he should be credited?If you have no idea what exactly Flood contributed to the cues then theres not much reason to be sad about it.Credits for Jay Flood taken from his soundcloud: <br><br>Divine Magic Kingdom (Prelude)<br>Blessing (Annette Raleigh Theme)<br>Wonderland (Mark Theme)<br><br>Kind of sad to see "Blessing" and "Wonderland" were at least partially composed by Flood instead of Jablonsky, as those were the most rich, unique, and impressively composed.Some credits for Jay Flood taken from his soundcloud: Flashback, and Flying Battle<br><br>Sadly no credits for Pieter A. Schlosser that I've been able to find...
The greatest thing that could happen, if Katsuhiro Otomo, who returns after very long 15 years break, reunited with Steve for his new anime «Orbital Era». I don't know the story behind the creation of «Steamboy» and how Steve get that job, but this was one of the best works of Jablosnky and my favorite. <br><br>It could be the greatest joy to hear Steve in full-orchestral mod and in anime-project like this.<br><br>I know, that all of this is a long shot and almost imposible, but you never know how things could turn.I am still surprised that "X-SS" isn't inserted into "Gap." That is easily the best iteration of the main theme.This is seems like HBO wanting to get Djawadi and couldn't get him so they get the guy next door. <br><br>Honestly, they should have gone for Wallfisch or Harry Gregson-Williams (probably too busy with Mulan).Poor Micheal thinks Mikeal's response is simple disagreement when it contains sentences like;<br><br>"Also film music doesn’t have to sound like it’s from the 1960’s all the time." Implying that's the only music Edmund likes.<br><br>Also, poor Micheal thinks pages can't have any other discussion other than the movies on them! (Plus, considering the fact that Balfe does do projects in a short time span all the time, it's not exactly negative to point out that producers hire him for that task too much.)Poor Edmund thinks disagreeing is having a go !thought this page was about crawl and the music by Aruj and Steffen????they did a great job and the film was fun.
Been a while since one of Balfe's paid (or unpaid?) shills had a go at me. I'm almost nostalgic. :pEdmund maybe listen and watch the show first before being negative about it?Nice strawmanning there MikealTypical Edmund response!!<br>Balfe doesn’t always write the most amazing scores but when he does it’s the best.if Balfe was only “good enough” why do the world top directors want to work with him ????????<br>Also film music doesn’t have to sound like it’s from the 1960’s all the time.Balfe seems to choose projects that don’t always require big melodies all the time.Zaras a girl and I agree with Edmund there is some sine signals and noise in the upper register that is noticeable in some cues. But that's the nature of the media it was recorded on. <br><br>You could use a spectral repair tool and non-destructive noise removal tool to fix them, such as those found in iZotope RX<br>
so only you can hear it eh? Zaralyth? that you? lolWhile I'm sure the Lorne haters will be unhappy, I was very excited today to learn that Mr. Balfe is composing the score for the BBC's new "His Dark Materials" series (adaption of the same book that guided the 2007 film "The Golden Compass", composed by Desplat). I think there might actually be enough emotional material in this project to have Lorne finally write some melodies again! :)Has anyone noticed a high-pitched whining in the background of some tracks? It's particularly bad in the mid-section of "Witt in Brig/Tall and Quintard", from about 4 minutes onwards. It's such a high frequency that I bet a lot of people wouldn't hear it (including the QA team at LLL, I guess), but I can and it's really debilitating.Yeah it's an underwhelming choice for me. Balfe feels like the guy you get when you want "good enough", or when you need a score turned over in a really short time. Doesn't speak to much ambition on the showrunners' part when it comes to the music in this series. I'm sure it won't be bad, but I doubt it will be amazing.Heh, if it's anything like the 1994 score, then you'll be waiting a LOOOOOOOOOOOOOONG time.
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Hans ZimmerGeoff ZanelliJim DooleyClay Duncan
ComposerAdditional MusicAdditional MusicAdditional Music
Matchstick Men
Label: Varese Sarabande
Length: 55'28 (Score: 40'00)
HZimmer.com rating:        3/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (4676 votes)
  1. The Good Life (2:23)
    Bobby Darin
  2. Flim Flam (0:12)
    Hans Zimmer
  3. Ichi-Ni-San (2:51)
    Hans Zimmer
  4. Matchstick Men (2:09) *
    Hans Zimmer
  5. Weird Is Good (6:42) *
    Hans Zimmer
  6. Lonely Bull (2:15)
    Heb Alpert & The Tijuana Brass
  7. Ticks & Twitches (2:48) *
    Hans Zimmer
  8. I Have A Daughter? (1:06)
    Hans Zimmer
  9. Swedish Rhapsody (2:37)
    Mantovani & His Orchestra
  10. Keep The Change (1:24)
    Hans Zimmer
  11. Nosy Parker (2:44) *
    Hans Zimmer
  12. Leaning On A Lamp Post (3:00)
    George Formby
  13. Pool Lights (0:54)
    Hans Zimmer
  14. Pygmies! (2:07)
    Hans Zimmer
  15. Charmaine (3:05)
    Mantovani & His Orchestra
  16. Roy's Rules (2:04)
    Hans Zimmer
  17. Carpeteria (2:26)
    Hans Zimmer
  18. Shame On You (2:55)
    Hans Zimmer
  19. Tuna Fish And Cigarettes (1:55)
    Hans Zimmer, Geoff Zanelli
  20. No More Pills (4:39) *
    Hans Zimmer, Geoff Zanelli
  21. Tijuana Taxi (2:05)
    Herb Alpert & The Tijuana Brass
  22. The Banker's Waltz (3:07)
    Hans Zimmer
* Contains "La Dolce Vita" from La Dolce Vita written by Nino Rota.
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isildur reply Replies: 2 || 2013-08-30 06:56:41
I really like this score. Don't know why so low rating. I thought it was really different from Mr. Zimmer's usual scores.


MacArthur2013-08-30 17:13:58
I Think that's why because by the looks of the cover it looks like an action film and its a rom-com.


Mike2013-09-09 19:11:18
Really different indeed. Reminds me in some ways of John Williams' "Terminal" score.

Anonymous reply Replies: 0 || 2013-09-09 13:27:24
The early parts of "Weird is Good" sound a lot like the ideas John Powell later incorporated in Mr. & Mrs. Smith. Maybe Powell helped with this cue here? Or maybe this cue was among the stuff Mr. & Mrs. Smith was temp-tracked with.

Scorefan reply Replies: 0 || 2013-08-31 03:44:43
Hybrid, is it true that there are 4 versions of the sessions for this movie?

Enrico reply Replies: 0 || 2009-06-25 00:00:00
I dislike this...Not good...5/10!!!

Anonymous reply Replies: 0 || 2004-12-26 00:00:00
Si alguna vez escucharon la melodia para "--MEJOR IMPOSIBLE"-- entonces sabrán lo que están escuchando, pero esta vez es más ritmica.

Fabian Ek

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Matchstick Men soundtrack - Hans Zimmer 2003