MirrorMask


La-La Land Records (0082692410312)
La-La Land Records (0826924103128)
Film | Data wydania: 20/09/2005 | Uwolnienie filmu: 2005 | Format: CD
 

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# Tor   Czas
1.Sock Puppets/Flyover2:50
2.Circus Overture2:01
3.Spanish Web2:09
4.Gorillas!1:07
5.Running For The Bus1:06
6.Abandoned Hall3:33
7.Leaving The City1:05
8.Arresting Helena1:43
9.The White Queen Sleeps/The White Palace2:52
10.Rabbit Band0:40
11.The Library0:33
12.The Myth of Creation1:37
13.Fish Street0:47
14.Looking Through The Window1:17
15.Giants Orbiting4:23
16.Outside Bagwell’s1:05
17.Mrs. Bagwell’s Rhumba3:15
18.Meeting The Sphinx and The Dark Queen4:42
19.Monkeybirds2:12
20.Dream Park/Meeting In A Dream3:39
21.Conjuring A Dome1:25
22.In The Dark Forest1:13
23.Betrayed!4:01
24.Close To You2:06
25.A New Life2:36
26.A Rather Tense Dinner Party1:20
27.Butterfingers0:59
28.Discoveries/Fight of Flight?/Goodbye Evil Helena10:05
29.My Waltz For Newk3:54
30.If I Apologised3:42
 73:57
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MirrorMask - 04/10 - Przegląd wersji Tom Daish, zgłoszone w (Język angielski)
Mirrormask looks like a less creepy, but more extensive version of the 'dream' sequences in The Cell (with an exotic and disturbing score by Howard Shore). The film is almost entirely composed of surreal computer generated sequences, onto which the live action is grafted. Most reviews seem to have deemed the film an interesting experiment, but one where it really is style over substance. The same, but different (as my old maths teacher would say) to Sky Captain, where the people are just cyphers for the imagination of the graphics artists. The music is by Iain Ballamy who has what sounds like an impressive list of credits; if only any of them actually meant anything to me, but sadly, the bands and album releases listed do not.
Being a saxophonist, most of the tracks are led by the composer performing himself, but generally accompanied by a variety of up to seven instrumentalists, although the synths pad out the textures from time to time. In an apparent attempt to match all the crazy imagery, the music is similarly outlandish. Ballamy clearly has a strong personal style as, despite the myriad of ideas thrown in, you're clearly within the same sound world (well, the same universe, somewhere). The limited instrumental palette helps exert the remainder of the score's personality; there aren't m/any scores, led by sax, accompanied by accordion and manic muted trumpets (as in Rabbit Band).

Unfortunately, instead of something akin to the genius schizophrenia of Elliot Goldenthal (who strikes me as perfect for a project like this - think the more insane passages of his Batman scores), Mirrormask sounds like a half cut circus band playing through music where half of the pages missing. The brevity of the tracks would be frustrating if the ideas seemed to receive short shrift, but in truth, much of the time, I was glad when they were over. Like the film, the score is not a total failure, but very much an acquired taste. Added to this, the album is probably about twice as long as it needs to be; there are plenty of ideas, but many of them simply aren't worth hearing and the up tempo passages are generally grating and/or tiring. Fans of the composer may well rejoice, but the average film score fan will probably want to pass.


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