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BIONICLE 2 & 3 Soundtracks Imminent


  

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A short video of the re-mastering session for #LOMN. Yes, #bionicle fans, this means it's been recovered. #LOMN will be available in stores this week. #WebOfShadowsnext week. #WOB will also include a never before heard theme sketch for my original Roodaka theme that didn't make it into the final score.

https://www.instagram.com/p/BcQemlwHd0f/

 

PREPARE YOUR AUDITORY RECEPTORS, GATHERED FRIENDS

IT

IS

HAPPENING

Edited by TheSkeletonMan939
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Welp, time for me to struggle to not cry while listening to the track that plays when Lhikan kicks the bucket (even though he technically doesn't because "muh Red Star" but still).

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Rule #1: Always listen to Kek.

Rule #2: If you break rule #1, kindly don't.

Rule #3: EVERYBODY TYPE IN THE CHAT "AVAK IS A STUPID TRIGGER"

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AAAAAAAAAHHH!

 

I literally just got around to listening to the Mask of Light soundtrack today; it filled me with nostalgia, and there could legitimately be no better time than this for me to learn that the other two are on their way :D They don't quite have the massive nostalgia value for me that MoL does - in spite of the first movie's... many deficiencies - but I eagerly await them, all the same! ^^

Edited by Darth Jaller
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"New legends awake, but old lessons must be remembered.
For that is the way
of the BIONICLE."

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Welp, time for me to struggle to not cry while listening to the track that plays when Lhikan kicks the bucket (even though he technically doesn't because "muh Red Star" but still).

 

One of the highlights for sure. The strings essentially wailing as Vakama clenches up in anguish almost single-handedly sell the scene.

 

Part of what makes this music so effective is that Furst understands how not to overscore. It's so easy for either the composer to push for his music to be loud and proud (which he can probably get away with with smaller productions like this), or the director to cover up clunky scenes with loud music (which diminishes the film as a whole, because you end up with a bad movie whose only saving grace is the score [assuming the music itself is good]). And so as a result it's not until the Vakama/Makuta showdown that big choir comes out; it subconsciously feels like a bigger part of the movie because you've never heard the music quite like this before.

Even during pivotal scenes like his last vision, where he finally understands everything, so much more is said by that wandering, inquisitive woodwind than big brass or magnificent chanting would.

Edited by TheSkeletonMan939
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Welp, time for me to struggle to not cry while listening to the track that plays when Lhikan kicks the bucket (even though he technically doesn't because "muh Red Star" but still).

 

One of the highlights for sure. The strings essentially wailing as Vakama clenches up in anguish almost single-handedly sell the scene.

 

Part of what makes this music so effective is that Furst understands how not to overscore. It's so easy for either the composer to push for his music to be loud and proud (which he can probably get away with with smaller productions like this), or the director to cover up clunky scenes with loud music (which diminishes the film as a whole, because you end up with a bad movie whose only saving grace is the score [assuming the music itself is good]). And so as a result it's not until the Vakama/Makuta showdown that big choir comes out; it subconsciously feels like a bigger part of the movie because you've never heard the music quite like this before.

Even during pivotal scenes like his last vision, where he finally understands everything, so much more is said by that wandering, inquisitive woodwind than big brass or magnificent chanting would.

 

I think the writing of that scene played a huge part in how sad it is. It's what you'd expect out of an interaction between two characters who have the relationship Vakama and Lhikan have. Not only that, but with Lhikan's dying words, he chooses to quell Vakama's doubts rather than say something tacky like "KEEP THE DREAM ALIIIIIVE" or something. And then, for the first and perhaps only time in Bionicle canon, we almost get to see someone cry. Like...ow.

 

This recalls a YouTube video I once saw about why the music from the MCU isn't that memorable, and one example was a scene from Thor where Thor's homies from Asgard show up, and the score treats it as a comedic scene when it could have addressed it as a heartwarming one.

Rule #1: Always listen to Kek.

Rule #2: If you break rule #1, kindly don't.

Rule #3: EVERYBODY TYPE IN THE CHAT "AVAK IS A STUPID TRIGGER"

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This recalls a YouTube video I once saw about why the music from the MCU isn't that memorable, and one example was a scene from Thor where Thor's homies from Asgard show up, and the score treats it as a comedic scene when it could have addressed it as a heartwarming one.

 

Oh boy, it's that video. I appreciate its intentions but it somehow spends 12 minutes yammering on but doesn't get to the heart of the problem.

The scene is obviously met to be ridiculous. They're pressed against the door like little kids staring into a candy shop, and the joke is that that's exactly how Thor was acting a week ago. By putting up that regal music immediately the music is at a disconnect with what's going on-screen - if not the shot where the Asgardians have their faces pressed against the glass, then the slapstick shot of the humans gasping and dropping their coffee cups. There can be some cool times where the music subverts your expectations and gives you a very interesting "perspective", but the way that scene is designed, I don't think it can be one of them.

Michael Giacchino didn't really do much for Rogue One, I feel, but there was one moment where I think he DID successfully "challenge" the audience with something unexpected and it was marvelous:

https://www.youtube.com/watch?v=UinaxxXXt40&t=35s

 

It's so easy to imagine some aimless sinister brass accompanying that shot of the Death Star, as if we need an additional clue that the bad guys are here. But instead we get a lone woodwind, rising slowly up along the horizon with that battle station. It's almost tranquil; and visually there's nothing ominous or threatening about the shot at all, it's almost beautiful how the Death Star blends in the horizon. And you think, "wait a second! I just called the Death Star beautiful!" But it works both ways. There's flexibility to how the shot can be interpreted whereas there's less so in that Thor scene.

 

The real reason that scores don't assert themselves the way they used to, or even the way animated kid flicks today do, is that producers are often repulsed by any music that sets a toe out of the imaginary box of what's "safe". As in, a composer can send a cue in which is rather expressive, rather complex, and it fits the scene, but the producers haven't heard music quite like this before! It's taking control of the picture! It's making me less passive! Aaaaaa! Change it immediately!

 

This is not a problem Furst had on Mask of Light (I don't know what his creative process was for LoMN and WoS). All he was given was storyboards, pieces of animation, and was told to write music. Just stay true what the scene demands. He had other scene-by-scene instructions of course but nothing compared to the little box composers today are asked to stay in. The music was observed by the director et al. as a incredible tool which could augment the emotions of the rather crude 3D characters; today the music is forced down into honest-to-God inaudibility because the spectacle, the VFX are what are supposed to take center stage at all times now.

Edited by TheSkeletonMan939
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I'm not at all a music expert, so feel free to dismiss this. But regarding the Marvel music, I think one of the possible issues is that there isn't much in the way of recurring themes, the Avengers theme being the exception. Since they basically have different composers for each movie, you never really get a consistent Iron Man theme, or a Thor theme, etc. The Iron Man movies have three entirely different soundtracks, for example. The original Bionicle trilogy actually does have recurring music throughout all three movies -- the main title theme, obviously, but there's definitely a specific tune for Makuta that's in all three, among others.

 

Regardless, I'm unbelievably psyched for these soundtracks to be released! I almost can't believe it's finally happening, after all these years!

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I'm not at all a music expert, so feel free to dismiss this. But regarding the Marvel music, I think one of the possible issues is that there isn't much in the way of recurring themes, the Avengers theme being the exception. Since they basically have different composers for each movie, you never really get a consistent Iron Man theme, or a Thor theme, etc. The Iron Man movies have three entirely different soundtracks, for example. The original Bionicle trilogy actually does have recurring music throughout all three movies -- the main title theme, obviously, but there's definitely a specific tune for Makuta that's in all three, among others.

 

Regardless, I'm unbelievably psyched for these soundtracks to be released! I almost can't believe it's finally happening, after all these years!

I love most of the MCU soundtracks, but I agree they're not particularly good at musical continuity. Apart from the Avengers and Guardians of the Galaxy films, the movies only really drop hints and references to previous character themes from time to time rather than bringing them back in full swing; for example, Iron Man's theme from IM3 when he dons the Hulkbuster armor in Age of Ultron, or Patrick Doyle's Thor theme at the very end of Thor: Ragnarok.

 

I think Nathan Furst would be a great fit for the MCU. A while back I was thinking he could do a great Spider-Man score, and now after having seen Homecoming I kinda wish they'd brought him on board for that. I loved the movie, but Michael Giacchino's score was a bit of a letdown (especially after his amazing Doctor Strange soundtrack).

 

Regardless, the release of Legends of Metru Nui and Web of Shadows is sure to mark the end of a long and arduous era of not having these musical masterpieces available. ^_^ ^_^ ^_^

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... but there's definitely a specific tune for Makuta that's in all three, among others.

 

There's more than just a theme for Makuta, there's almost a specific sound for him - that sound of wind blowing, as if Makuta really is a nebulous creature of shadow. I can't remember if that's sound design or something Furst cooked up. Either way, now that's attention to detail! :D

 

Continuing the MCU discussion, I don't think you necessarily need themes in your movies in order for the music to be effective. Everyone had a big cry-fest when Junkie XL was let go of Justice League and Danny Elfman was hired in his place because, "now it's not in the Remote Control family! Elfman won't have any respect for the themes!  :crying: " I haven't seen the movie or listened to the score but to say that the score automatically sucks because it has a new theme or discards an old one isn't a good excuse. Capturing and enhancing and underscoring the emotion on-screen is what is paramount, not quoting a theme for the sake of quoting a theme. But please don't think that by saying this I am devaluing the importance of motifs and themes in general - no way! If  they have purpose, and have reliably carried the audience through thick and thin throughout a movie franchise, then of course you want to retain them for future installments!

 

Let me explain where I'm coming from: I think Patrick Doyle's theme for the original Thor is great. It has those Doyle strings slowly gathering energy, building up before exploding into a regal and austere, yet genuine, melody. They reprised it for Thor 3 at the very very end... but that didn't really help the scene at all more than any other regal melody would. "But it's the original Thor melody!" you say. "That's what makes it special in this context!" No, it's an easter egg! The theme did not develop with the character at all past the initial Thor film. It didn't follow him into Avengers nor Thor 2 nor even Thor 3, until that last moment. It is a quotation for the sake of a quotation, quite literally only done to placate the people who watched that video and agreed with it.

 

Basically I'm saying that trying to fit in old themes into new movies, or aggressively pushing for new ones to be incorporated "just because", is like putting a band-aid on an open wound. It's a nice thought but it doesn't really do much to help the musical problem that Hollywood has, which is more to do with the mere presence of music than the leitmotif device. In using themes, I think there has to be a sense of subtlety and timing to it, which Furst absolutely nailed, as evidenced by everyone here who can recall the different melodies and what they meant in the context of the films.

Edited by TheSkeletonMan939
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Oh, I agree, recurring themes aren't really necessary at all. I'd rather the music fit the scene it's playing in perfectly, that will always trump pretty much any kind of theme. But maybe I'm a bit biased, as I'm a sucker for themes and character motifs. I didn't even catch the original Thor theme in Ragnarok, although that's likely because it's been a long time since I last saw that first movie, and I couldn't remember what the music really sounded like heh.

 

That's actually something I really appreciated in the Bionicle trilogy, though, especially from Mask of Light into Legends of Metru Nui. Furst brilliantly reworked the theme from the first movie into a new version that fit the entirely new setting. In the first, that main theme music had a lot of brass and drums to fit the tribal vibe Mata Nui had. In Legends, it was a much more techno-ish sound to better fit the city of Metru Nui, but it was still very much the same recognizable tune. I loved that so much. Regarding Makuta's music, I'm pretty sure I know what sound you're talking about, and I adored that. But I was thinking of that low, oboe-esque music that I've come to associate with him. For example, in Web of Shadows, it plays right at the beginning when we see him in the crystal prison, when Roodaka speaks to him through the stone right after Sidorak's death, and I believe at the end when we see the empty prison. I'm relatively certain it played for a few of his scenes in Legends, too.

 

But I'm rambling, I think we were somewhat spoiled by Nathan Furst on those movies. Those kinds of recurring themes, character motifs, and such were beyond anything I would have expected from a direct-to-video movie series. Really went a long way to making those movies pretty special.

 

Edit: Oh, and for what it's worth, the Russo brothers confirmed that Alan Silvestri is coming back for the next two Avengers movies, so we'll be getting that great music back from the first one.

Edited by Takatu
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Maybe there is still a small sliver of hope.

 

EDIT: Apologizes about the ambiguity of this post, I was a bit rushed when I intially posted it, lemme add to it.

 

What I mean to say by this is that in the light of my upcoming surgery in a few hours of posting this, in about five hours that is, though I had heard a couple days prior on twitter about this news, it is revigorating to me. Though WoS was not may favorite film, the whole motif of making it through a dark part in time or in one's time of being and overcoming evil for the greater good resonates really well for me in my situation, as BIONICLE in it's intial run seemingly nearly always did for me. I can only hope for new stories to arrise in the future that hit the same cord in me, but for now looking back on the good old times in a seemingly brighter light is just fine.

Edited by Toa Imrukii
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... but there's definitely a specific tune for Makuta that's in all three, among others.

There's more than just a theme for Makuta, there's almost a specific sound for him - that sound of wind blowing, as if Makuta really is a nebulous creature of shadow. I can't remember if that's sound design or something Furst cooked up. Either way, now that's attention to detail! :D

I been working on a mask of light score for a month now and the way I got Makuta's sound is with to clashing diminished chords. On paper it looks ugly but it sounds right.

Hey I got a Flickr because I like making LEGO stuff.

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Just listened through it, and it's just as beautiful as I knew it would be. Definitely the best soundtrack of the trilogy.

 

I'm surprised that a big portion of music from the middle of the movie is missing though. Everything from between the Toa's escape from the Coliseum to arriving in Po-Metru is absent.

Edited by Toatapio Nuva
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