Perhaps the biggest plus for film music fans has been the labels\u2019 release of music by European composers generally unknown outside of the EU \u2013 mostly because many European films aren\u2019t given Region 1 or English language releases. (Britain tends to offer the lone chance to see English subtitled versions of European films, as well as British productions, that whatever reasons don\u2019t get picked up in Region 1 land.)<\/p>\n
It may sound like a bias at hand \u2013 \u2018If it\u2019s not available in North America, then the film isn\u2019t notable\u2019 \u2013 but that\u2019s wholly untrue. It\u2019s the flipside: \u2018Why the heck hasn\u2019t anyone picked this up for distribution here when there\u2019s so much direct to video dreck that makes it to a physical DVD instead?\u2019<\/p>\n
From a composer\u2019s stand, the basic desire is that via an album release, their music reaches a broader audience and is appreciated and enjoyed \u2013 something that would satisfy any artist \u2013 but en even greater benefit would be more work for the composer, and it would be interesting to see if some of the artists featured on MSM releases have noticed whether their phones ring a bit more often now.<\/p>\n
As once ardent film music collector (well, maybe scratch the word \u201conce\u201d and substitute \u201ca still avid\u201d), there was and remains the oddity where you hear a score for a film you\u2019ve never heard of, and then wonder if the movie is as moving, shocking, terrifying, or hysterical as the score.<\/p>\n
Gast Waltzing\u2019s JCVD<\/a><\/strong> is a fun score, but it was surprising to see how few themes and variations actually made it into the final film edit<\/a>. A more high profile illustration of contrast is John Powell\u2019s X-Men: The Last Stand<\/a><\/strong>, which ranks as one of his and that year\u2019s best action scores, and yet the film in no way lives up to the score\u2019s depth. Neither the script nor Brett Ratner\u2019s sterile direction evoked the power within the score, and it makes you wonder how a composer can be moved by a terrible film.<\/p>\n Preamble done with, the latest score reviews are Florian Tessloff\u2019s Jasper: Journey to the End of the World<\/a><\/strong>, and Toxic<\/a><\/strong> from Scott Glasgow (Chasing Ghosts<\/a><\/strong>). Both scores are highly recommended.<\/p>\n And coming soon from Silva Screen is the complete score for Miklos Rozsa\u2019s El Cid<\/a><\/strong>, which was previously released as a limited 3-CD set from Tadlow Music. Silva\u2019s 2-disc set reissues the score proper (along with a downloadable .PDF version of the fat booklet), whereas the bonus CD (which featured alternate tracks as well as video footage from the recording session remains unique to the Tadlow release.<\/p>\n![\"\"](\"http:\/\/i917.photobucket.com\/albums\/ad14\/wegeewegee\/JasperToxic_combo.gif\")
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![\"\"](\"http:\/\/i917.photobucket.com\/albums\/ad14\/wegeewegee\/ElCidSilva_s.gif\")