#howardshore — Public Fediverse posts

The Music of Lord of the Rings

It was Australia Day in January of 2003 that we left the Undying Western Lands (Australia) for Middle Earth (New Zealand). Accompanying us on the journey was the music of Howard Shore to the first two movies of The Lord of the Rings trilogy.

For the next week we passed through Elven lands to the music of Many Meetings and Lothlorien, admired the bare grey rock before an icy glacier to Foundations of Stone, small towns to the music of Concerning Hobbits. It was Shore’s music that added the fantasy to the landscape and, like in the movies, transformed it into an adventure of emotion and wonder.

Has it really only been twenty-five years since the first Lord of the Rings movie was released into cinemas across the world? It feels like Howard Shore’s incredible score has been with forever. Perhaps it is the ring’s fault. It does make us feel, well, stretched.

After the release of The Return of the King in December of 2003, Shore compiled his music as a concert symphony and went on tour. We saw him conduct the Sydney Symphony Orchestra in 2004 with his symphony. Fourteen years ago it was The Two Towers in Concert. Earlier this year it was Anna Lapwood playing part of her Lord of the Rings Suite on the pipe organ at the Opera House. Of course there was also the tragically and hilariously awful The Music of The Lord of the Rings, The Hobbit and The Rings of Power.

Now it is the turn of the Art of the Score team to present The Music of Lord of the Rings at the Sydney Opera House in conjunction with the Sydney Symphony Orchestra, the Sydney Philharmonia Choirs and the Sydney Children’s Choir, along with soloist Kate Miller-Heidke at the Sydney Opera House. Conducting the orchestra is Nicholas Buc, a member of the Art of the Score team along with presenters Andrew Pogson and Professor Dan Golding.

As with the trilogy, the concert begins with the foreboding music of The Prophecy, with the Sydney Philharmonia Choir singing Elvish and warning of The One Ring.

Prior to the concert I spent a couple of days watching 11 hours and 22 minutes of the Extended Editions of the trilogy. A large proportion of that is scored. Shore composed over 80 leitmotifs, or individual themes for people, places and things, for the trilogy, manipulating them, combining them, to create an extraordinary body of music that no one concert can encompass. This is despite the threats of Andrew Pogson and Dan Golding as they attempt to explain, with the help of conductor Buc, the nature of the music.

So unlike previous Lord of the Rings concerts, I entered this one without the expectation that I would hear specific pieces and could enjoy it without disappointment should one beloved track be missing. There was no disappointment to be had. Despite just having listened to the entire soundtrack, what I heard far surpassed what I had listened to before.

The first half of the concert is devoted to the music of The Fellowship of the Ring, including the magnificent escape from Moria. After the interval the other movies, The Two Towers and The Return of the King are covered in less detail, but the chosen highlights are superb. Pogson and Golding explain what is going on at each point and a narrow screen above the orchestra displays the song titles and some of the lyrics in Elvish and other tongues. The visual look better than any of their previous concerts, it is a very nice touch.

The performances by the orchestra and both choirs was absolutely phenomenal, and conductor Buc’s timing impeccable. There was an incredible tonal richness in hearing this music live. From the second track where I had never realised that guitars were part of Concerning Hobbits, to the cimbalom of Gollum and the amazing distressed piano, played with a chain mail glove wrapped with chain. The homeliness of the flute in the shire and watching concertmaster Harry Bennetts’ fingers dance across his violin. The chanting of the male and female choir and the ethereal singing of the children. A special mention goes out to young soprano Scout LaMotta for her beautiful solo performances.

The trilogy’s original score features vocal performances from a number of different soloists, including Enya, Emilíana Torrini and Annie Lennox. Obviously they are not going to be available for this concert, so instead we have the rather well known Kate Miller-Heidke who comes from both a classical and pop background. Every voice is unique and it is unfair to expect Miller-Heidke to replicate the other performers. I think she does a good job for most of the concert, relying more on her fine classical soprano skills, though sometimes the timing seems perhaps a little off.

At the very end of the concert is Into the West, originally performed by Annie Lennox. The song, and the preceding The Grey Havens, mean a lot to me, the release of the soundtrack coming at a point in my life I was very sad and upset, something it took me 20 years to get over. The songs of the trilogy have a simplicity about them that suggests the ancient age of the setting. Unfortunately, with Into the West, Miller-Heidke inserts modern vocal ornamentation, (or melisma as I believe it is called), like so many of the contestants on the singing programs like the one she judges. It grates, and not until the orchestra returns does my heart settle and find peace.

Although the One Ring is destroyed and Frodo has set sail for the Grey Havens and the music is over, there is still a bit of fun to had with a rather long piece of cutlery and the concert ends with a very loud round of applause. Both B and I have really enjoyed this concert. I thought the last Art of the Score concert on James Horner’s music was their best, but I think this may have exceeded even that. I can’t wait to see what they come up with next!

The Music of Lord of the Rings

It was Australia Day in January of 2003 that we left the Undying Western Lands (Australia) for Middle Earth (New Zealand). Accompanying us on the journey was the music of Howard Shore to the first two movies of The Lord of the Rings trilogy.

For the next week we passed through Elven lands to the music of Many Meetings and Lothlorien, admired the bare grey rock before an icy glacier to Foundations of Stone, small towns to the music of Concerning Hobbits. It was Shore’s music that added the fantasy to the landscape and, like in the movies, transformed it into an adventure of emotion and wonder.

Has it really only been twenty-five years since the first Lord of the Rings movie was released into cinemas across the world? It feels like Howard Shore’s incredible score has been with forever. Perhaps it is the ring’s fault. It does make us feel, well, stretched.

After the release of The Return of the King in December of 2003, Shore compiled his music as a concert symphony and went on tour. We saw him conduct the Sydney Symphony Orchestra in 2004 with his symphony. Fourteen years ago it was The Two Towers in Concert. Earlier this year it was Anna Lapwood playing part of her Lord of the Rings Suite on the pipe organ at the Opera House. Of course there was also the tragically and hilariously awful The Music of The Lord of the Rings, The Hobbit and The Rings of Power.

Now it is the turn of the Art of the Score team to present The Music of Lord of the Rings at the Sydney Opera House in conjunction with the Sydney Symphony Orchestra, the Sydney Philharmonia Choirs and the Sydney Children’s Choir, along with soloist Kate Miller-Heidke at the Sydney Opera House. Conducting the orchestra is Nicholas Buc, a member of the Art of the Score team along with presenters Andrew Pogson and Professor Dan Golding.

As with the trilogy, the concert begins with the foreboding music of The Prophecy, with the Sydney Philharmonia Choir singing Elvish and warning of The One Ring.

Prior to the concert I spent a couple of days watching 11 hours and 22 minutes of the Extended Editions of the trilogy. A large proportion of that is scored. Shore composed over 80 leitmotifs, or individual themes for people, places and things, for the trilogy, manipulating them, combining them, to create an extraordinary body of music that no one concert can encompass. This is despite the threats of Andrew Pogson and Dan Golding as they attempt to explain, with the help of conductor Buc, the nature of the music.

So unlike previous Lord of the Rings concerts, I entered this one without the expectation that I would hear specific pieces and could enjoy it without disappointment should one beloved track be missing. There was no disappointment to be had. Despite just having listened to the entire soundtrack, what I heard far surpassed what I had listened to before.

The first half of the concert is devoted to the music of The Fellowship of the Ring, including the magnificent escape from Moria. After the interval the other movies, The Two Towers and The Return of the King are covered in less detail, but the chosen highlights are superb. Pogson and Golding explain what is going on at each point and a narrow screen above the orchestra displays the song titles and some of the lyrics in Elvish and other tongues. The visual look better than any of their previous concerts, it is a very nice touch.

The performances by the orchestra and both choirs was absolutely phenomenal, and conductor Buc’s timing impeccable. There was an incredible tonal richness in hearing this music live. From the second track where I had never realised that guitars were part of Concerning Hobbits, to the cimbalom of Gollum and the amazing distressed piano, played with a chain mail glove wrapped with chain. The homeliness of the flute in the shire and watching concertmaster Harry Bennetts’ fingers dance across his violin. The chanting of the male and female choir and the ethereal singing of the children. A special mention goes out to young soprano Scout LaMotta for her beautiful solo performances.

The trilogy’s original score features vocal performances from a number of different soloists, including Enya, Emilíana Torrini and Annie Lennox. Obviously they are not going to be available for this concert, so instead we have the rather well known Kate Miller-Heidke who comes from both a classical and pop background. Every voice is unique and it is unfair to expect Miller-Heidke to replicate the other performers. I think she does a good job for most of the concert, relying more on her fine classical soprano skills, though sometimes the timing seems perhaps a little off.

At the very end of the concert is Into the West, originally performed by Annie Lennox. The song, and the preceding The Grey Havens, mean a lot to me, the release of the soundtrack coming at a point in my life I was very sad and upset, something it took me 20 years to get over. The songs of the trilogy have a simplicity about them that suggests the ancient age of the setting. Unfortunately, with Into the West, Miller-Heidke inserts modern vocal ornamentation, (or melisma as I believe it is called), like so many of the contestants on the singing programs like the one she judges. It grates, and not until the orchestra returns does my heart settle and find peace.

Although the One Ring is destroyed and Frodo has set sail for the Grey Havens and the music is over, there is still a bit of fun to had with a rather long piece of cutlery and the concert ends with a very loud round of applause. Both B and I have really enjoyed this concert. I thought the last Art of the Score concert on James Horner’s music was their best, but I think this may have exceeded even that. I can’t wait to see what they come up with next!

Saturday Night Live 🗽
#HowardShore
https://www.youtube.com/watch?v=cPDwOTWWwiQ

Saturday Night Live 🗽
#HowardShore
https://www.youtube.com/watch?v=cPDwOTWWwiQ

New York City funktioniert hier wie ein ziemlich schlecht beleuchtetes Verwaltungszentrum der Macht. Nicht die Skyline, nicht der Mythos, sondern die Übergangszonen, Bahngleise, Depots, Hinterhöfe, sind die Orte, an denen Entscheidungen nicht getroffen, sondern weitergereicht werden. James Gray interessiert sich viel weniger für Verbrechen, als für die Art, wie ein System von Loyalität als technische Infrastruktur gebaut wird. Ein Krimi-Drama mit Joaquin Phoenix, Mark Wahlberg, James Caan, Charlize Theron und Faye Dunaway. (ARTE, Wh.)

Tom is now listening to The Sacrifice of Faramir (feat. Billy Boyd Performing "The Edge of Night")
https://open.spotify.com/track/5z89FzQzTQOwSJFlMp6UFd

#HowardShore #BillyBoyd

An organ recital with Anna Lapwood

Before we start, let’s just make this clear: This has nothing to do with anatomical dissections. The organs involved in this concert might be bigger than a muscle vehicle owned by someone said to have a small organ, but they refer to different things. Are we clear about this? This concert is totally G rated.

Forgive me, but this organism didn’t know who Anna Lapwood was before he booked his ticket to this concert. Oh, he knew she was an organist because he is organised and read the Sydney Symphony Orchestra’s guide when he was searching for concerts to subscribe to so he could book his precious film music concerts targets. There were a couple of film music pieces in her concert list, so that would do to fill up another spot. Anyway, the organ is an interesting instrument in itself, right?

It turns out that Anna Lapwood is a big star on the socials.

A damn fine pipe organist, musician and communicator.

And a huge fan of film music.

When I received an email from the orchestra telling me that four of the other pieces listed were dumped and replaced with a suite from Lord of the Rings I was suddenly really looking forward to this concert. Film music. Pipe organ. Wow!

And it was sold out too. Except for the empty seat next to me. Sorry whoever booked that. You missed out.

This wasn’t quite my first pipe organ concert. I once had the pleasure of hearing a short, but very impressive, performance at the Melbourne Town Hall prior to an orchestral concert of film music by the Melbourne Symphony Orchestra a decade or two ago.

I also have a little bit of family history with the pipe organ. One of my uncles rebuilt a small organ in the basement of his previous home in Adelaide and served as a consultant for the instrument on the set of the Australian movie Sweet Country.

I don’t think he appreciates film music though.

For a star of the socials there seemed to be quite a few in the audience approaching my uncle’s advanced age. There were plenty on the other side of the spectrum too. Even the rear stalls were filled with an excited crowd. The only empty spot was the stage, for most of the action takes place high above.

A magnificent pipe organ towers over the concert hall with pipes of shining chrome, the organist’s keyboard located on a small balcony overlooking the stage. The organ is believed to be the world’s largest mechanical tracker-action organ, meaning that the keys and the valves allowing the air to flow into the 10,244 individual pipes are mechanically linked rather than by triggering an electrical motor. However, more recently electric motors have been added to allow for the organ to be remotely controlled.

Lapwood runs out on to the empty orchestral stage in a dazzling coat that sparkles with the amazing lighting from above. She is full of energy and excitement at performing and is greeted with enthusiasm by the crowd. Then she bounds up three flights of steps and out to the balcony of the organ to begin the concert with Hans Zimmer’s Chevaliers de Sangreal from The Da Vinci Code, telling us how she transcribed the music when she was eight years old.

Prior to each piece, Lapwood not only describes the music itself and what it is about, but also what it means to her, personalising it, dedicating it to someone in the audience or elsewhere. She is plays her own arrangements, for most music is not written for a solo organ. But it is a versatile instrument with an incredible range, capable of gentle flute tones to a thunderous cacophony that even an entire orchestra cannot match.

The concert continues with Rachel Portman’s Flight and Olivia Belli’s Limina Luminis, the latter presented as describing the perspective of an astronaut from before their launch to the view of Earth from space. Both are concert pieces rather than film music, but would easily belong in the cinema.

Then we come to a suite of music from Lord of the Rings, excerpts from an organ symphony adaptation that Lapwood is writing. She attempts to describe the nature of the music and the sequence of events portrayed by the 9 individual pieces in under the 5 minutes she took in Melbourne, asking the audience to time her.

Instead we get the 6 minute extended edition.

Now, the Art of the Score are hosting a Lord of the Rings concert with the Sydney Symphony Orchestra later this year and good luck achieving better than that.

The translation of the Howard Shore’s multi-instrumental score to the organ is absolutely incredible. I especially love the Hobbit’s themes, but there is opportunity to explore the full dynamic and tonal range of the pipe organ in the suite. At certain points Lapwood sings in Elvish with a beautiful clear voice, demonstrating her many talents.

We then break for a twenty minute interval, before returning with some John Williams and Dual of the Fates from Star Wars: The Phantom Menace. With its battle between different sections of the orchestra and overall drama, Dual of the Fates works well with the organ. Following on is another movie set mostly in space, though not in a galaxy far, far away, and that is Interstellar, with the Cornfield Chase. Hans Zimmer heavily utilised the pipe organ in his score to Interstellar and perhaps the minimalist nature of his music is better suited to the instrument that John Williams’ classical orchestral complexity. It would be interesting to explore this further.

Luduvico Einaudi’s Experience is another minimalistic piece and it sounds wonderful, as is Lapwood’s story about performing with the composer. Eugene Gigout’s Toccata from his 10 Pieces for Organ is the oldest and most classical of the music performed tonight and it does stand out. I appreciate it for it complexity and skill, but like it the least out of all I hear tonight.

The last item on program for the night is a suite from Pirates of the Caribbean: At World’s End by Hans Zimmer. Lapwood describes it as her favourite music, the one that gives her energy, and that can certainly be heard here. I too would have picked At World’s End from that series. It is a wonderful arrangement for the organ, encompassing the playful music of Jack Sparrow, the diegetic organ playing of Davy Jones and the longing of One Day. She gets the audience to sing along the words to Hoist the Colours at the beginning, then somehow plays four separate melodies simultaneously with each hand, feet and thumbs in Drink Up Me Hearties.

But of course that’s not all. Lapwood offers the audience a choice of Test Drive from John Powell’s score to How To Train Your Dragon or No Time For Caution from Interstellar. We get both and it is perfect way to end.

Lapwood then returns to the stage for a standing ovation. And she tells us that, though many come to concert halls and recitals expecting to hear the great classical composers, it is film music that resonates most with her. I cannot help but agree with her. It is music that goes beyond decoration and technique, instead incorporating fantasy and reality. Listening to her play Lord of the Rings I am not just on a quest in Middle Earth, I’m driving through the South Island of New Zealand on our first holiday there, the music on the car CD player. Or I’m 39,000 feet in the air watching Interstellar on a flight back from Japan. Those are my stories. Others have theirs. It was a privilege to hear Anna Lapwood’s tonight, both in her words and her music.

I really enjoyed An Organ Recital With Anna Lapwood. It was a very different way to listen to the music that I love and a wonderful experience. Unfortunately, I wasn’t able to hang around and purchase a signed CD, but I will definitely be adding her performances to my collection. Organic is supposed to be good for you!

When I reach home my 17 year old kid tells me that he is familiar with Anna Lapwood online and in an amazing coincidence, I switch on the television and Sweet Country is showing on the ABC! I can’t see a pipe organ in it, maybe that’s a task for another day. I shall certainly be paying more attention now.

An organ recital with Anna Lapwood

Before we start, let’s just make this clear: This has nothing to do with anatomical dissections. The organs involved in this concert might be bigger than a muscle vehicle owned by someone said to have a small organ, but they refer to different things. Are we clear about this? This concert is totally G rated.

Forgive me, but this organism didn’t know who Anna Lapwood was before he booked his ticket to this concert. Oh, he knew she was an organist because he is organised and read the Sydney Symphony Orchestra’s guide when he was searching for concerts to subscribe to so he could book his precious film music concerts targets. There were a couple of film music pieces in her concert list, so that would do to fill up another spot. Anyway, the organ is an interesting instrument in itself, right?

It turns out that Anna Lapwood is a big star on the socials.

A damn fine pipe organist, musician and communicator.

And a huge fan of film music.

When I received an email from the orchestra telling me that four of the other pieces listed were dumped and replaced with a suite from Lord of the Rings I was suddenly really looking forward to this concert. Film music. Pipe organ. Wow!

And it was sold out too. Except for the empty seat next to me. Sorry whoever booked that. You missed out.

This wasn’t quite my first pipe organ concert. I once had the pleasure of hearing a short, but very impressive, performance at the Melbourne Town Hall prior to an orchestral concert of film music by the Melbourne Symphony Orchestra a decade or two ago.

I also have a little bit of family history with the pipe organ. One of my uncles rebuilt a small organ in the basement of his previous home in Adelaide and served as a consultant for the instrument on the set of the Australian movie Sweet Country.

I don’t think he appreciates film music though.

For a star of the socials there seemed to be quite a few in the audience approaching my uncle’s advanced age. There were plenty on the other side of the spectrum too. Even the rear stalls were filled with an excited crowd. The only empty spot was the stage, for most of the action takes place high above.

A magnificent pipe organ towers over the concert hall with pipes of shining chrome, the organist’s keyboard located on a small balcony overlooking the stage. The organ is believed to be the world’s largest mechanical tracker-action organ, meaning that the keys and the valves allowing the air to flow into the 10,244 individual pipes are mechanically linked rather than by triggering an electrical motor. However, more recently electric motors have been added to allow for the organ to be remotely controlled.

Lapwood runs out on to the empty orchestral stage in a dazzling coat that sparkles with the amazing lighting from above. She is full of energy and excitement at performing and is greeted with enthusiasm by the crowd. Then she bounds up three flights of steps and out to the balcony of the organ to begin the concert with Hans Zimmer’s Chevaliers de Sangreal from The Da Vinci Code, telling us how she transcribed the music when she was eight years old.

Prior to each piece, Lapwood not only describes the music itself and what it is about, but also what it means to her, personalising it, dedicating it to someone in the audience or elsewhere. She is plays her own arrangements, for most music is not written for a solo organ. But it is a versatile instrument with an incredible range, capable of gentle flute tones to a thunderous cacophony that even an entire orchestra cannot match.

The concert continues with Rachel Portman’s Flight and Olivia Belli’s Limina Luminis, the latter presented as describing the perspective of an astronaut from before their launch to the view of Earth from space. Both are concert pieces rather than film music, but would easily belong in the cinema.

Then we come to a suite of music from Lord of the Rings, excerpts from an organ symphony adaptation that Lapwood is writing. She attempts to describe the nature of the music and the sequence of events portrayed by the 9 individual pieces in under the 5 minutes she took in Melbourne, asking the audience to time her.

Instead we get the 6 minute extended edition.

Now, the Art of the Score are hosting a Lord of the Rings concert with the Sydney Symphony Orchestra later this year and good luck achieving better than that.

The translation of the Howard Shore’s multi-instrumental score to the organ is absolutely incredible. I especially love the Hobbit’s themes, but there is opportunity to explore the full dynamic and tonal range of the pipe organ in the suite. At certain points Lapwood sings in Elvish with a beautiful clear voice, demonstrating her many talents.

We then break for a twenty minute interval, before returning with some John Williams and Dual of the Fates from Star Wars: The Phantom Menace. With its battle between different sections of the orchestra and overall drama, Dual of the Fates works well with the organ. Following on is another movie set mostly in space, though not in a galaxy far, far away, and that is Interstellar, with the Cornfield Chase. Hans Zimmer heavily utilised the pipe organ in his score to Interstellar and perhaps the minimalist nature of his music is better suited to the instrument that John Williams’ classical orchestral complexity. It would be interesting to explore this further.

Luduvico Einaudi’s Experience is another minimalistic piece and it sounds wonderful, as is Lapwood’s story about performing with the composer. Eugene Gigout’s Toccata from his 10 Pieces for Organ is the oldest and most classical of the music performed tonight and it does stand out. I appreciate it for it complexity and skill, but like it the least out of all I hear tonight.

The last item on program for the night is a suite from Pirates of the Caribbean: At World’s End by Hans Zimmer. Lapwood describes it as her favourite music, the one that gives her energy, and that can certainly be heard here. I too would have picked At World’s End from that series. It is a wonderful arrangement for the organ, encompassing the playful music of Jack Sparrow, the diegetic organ playing of Davy Jones and the longing of One Day. She gets the audience to sing along the words to Hoist the Colours at the beginning, then somehow plays four separate melodies simultaneously with each hand, feet and thumbs in Drink Up Me Hearties.

But of course that’s not all. Lapwood offers the audience a choice of Test Drive from John Powell’s score to How To Train Your Dragon or No Time For Caution from Interstellar. We get both and it is perfect way to end.

Lapwood then returns to the stage for a standing ovation. And she tells us that, though many come to concert halls and recitals expecting to hear the great classical composers, it is film music that resonates most with her. I cannot help but agree with her. It is music that goes beyond decoration and technique, instead incorporating fantasy and reality. Listening to her play Lord of the Rings I am not just on a quest in Middle Earth, I’m driving through the South Island of New Zealand on our first holiday there, the music on the car CD player. Or I’m 39,000 feet in the air watching Interstellar on a flight back from Japan. Those are my stories. Others have theirs. It was a privilege to hear Anna Lapwood’s tonight, both in her words and her music.

I really enjoyed An Organ Recital With Anna Lapwood. It was a very different way to listen to the music that I love and a wonderful experience. Unfortunately, I wasn’t able to hang around and purchase a signed CD, but I will definitely be adding her performances to my collection. Organic is supposed to be good for you!

When I reach home my 17 year old kid tells me that he is familiar with Anna Lapwood online and in an amazing coincidence, I switch on the television and Sweet Country is showing on the ABC! I can’t see a pipe organ in it, maybe that’s a task for another day. I shall certainly be paying more attention now.

Saturday Night Live 📺
#HowardShore
https://www.youtube.com/watch?v=ZU_7tlOHOfI

Saturday Night Live 📺
#HowardShore
https://www.youtube.com/watch?v=ZU_7tlOHOfI

Ein Film über Tempo, Beschleunigung und einen Mann, der nie stillsteht, weil er Angst vor sich selber hat. Martin Scorsese interessiert sich hier nicht für ein klassisches Genieporträt. Ihn reizt der totale Crash. Der Moment, in dem Ehrgeiz, Geld, Technik und Ego nicht mehr zusammenpassen. Howard Hughes war dafür die perfekte Figur. Die alte Oligarchen-Schule: Reich. Berühmt. Mächtig. Und innerlich komplett außer Kontrolle. (ARTE, Neu)

Ein Film über Tempo, Beschleunigung und einen Mann, der nie stillsteht, weil er Angst vor sich selber hat. Martin Scorsese interessiert sich hier nicht für ein klassisches Genieporträt. Ihn reizt der totale Crash. Der Moment, in dem Ehrgeiz, Geld, Technik und Ego nicht mehr zusammenpassen. Howard Hughes war dafür die perfekte Figur. Die alte Oligarchen-Schule: Reich. Berühmt. Mächtig. Und innerlich komplett außer Kontrolle. (ARTE, Neu)

Saturday Night Live 🌃
#HowardShore
https://www.youtube.com/watch?v=jHy3dTA4S_g

Saturday Night Live 🌃
#HowardShore
https://www.youtube.com/watch?v=jHy3dTA4S_g

Saturday Night Live 🌃
#HowardShore
https://www.youtube.com/watch?v=yev_U2pN6fU

Saturday Night Live 🌃
#HowardShore
https://www.youtube.com/watch?v=yev_U2pN6fU

#OnThisDay in 1946, #HowardShore, Canadian television and film composer (Lord of the Rings trilogy; 1st music director of Saturday Night Live), born in Toronto, Ontario.
#HappyBirthday #79 🎉🎂✨🍰🥳🎊

#OnThisDay in 1946, #HowardShore, Canadian television and film composer (Lord of the Rings trilogy; 1st music director of Saturday Night Live), born in Toronto, Ontario.
#HappyBirthday #79 🎉🎂✨🍰🥳🎊

Orbit Culture – Death Above Life Review

By Dear Hollow

Orbit Culture is a stellar band, so 2023’s Descent should have been an AOTY contender. An all-killer, no-filler blend of melodeath and thrash with a dark industrial edge sounds like a hodge-podge in the worst ways, but the Swedes have made it their brand with a fluidity that has defined them from the beginning. In this way, the quartet showed their songwriting prowess, with tracks like “Black Mountain” and “The Aisle of Fire” leading the charge in the death/thrash riffage that we’ve all come to know and love. But while the claustrophobic mix provided 2020’s Nija a bloodthirsty darkness, it made Descent impenetrable in its compressed muck – sinking it from formidable to forgettable. It was too much doing too much, with no breathing room to do it. Death Above Life offers a bit of a different feel, although it is undeniably Orbit Culture.

Don’t get me wrong, Death Above Life is claustrophobic and overloud, but its pitch-black overflow feels channeled into a better outlet. At its core a melodeath band with a healthy love for thrash, Orbit Culture has long incorporated a slough of djent and metalcore influences, which Death Above Life utilizes for choppy start-stop riffs and climactic breakdowns – emphasized by Humanity’s Last Breath multi-instrumentalist Buster Odeholm on mixing. While it sounds like a sellout, they provide reprieve for a band amplified to the max with ideas. Alongside this, we get our usual range of thrashy early-Metallica numbers to punishing pitch-black death metal cuts. There is more range in softer ballads and punishing ragers, and it is a production improvement over Descent, but Karlsson’s overloud and often awkward clean vocals are suddenly a nagging issue.

As expected, the traditional thrash vibe is alive and well with Orbit Culture – even the more accessible cuts will rip you a new one. Mastermind vocalist/guitarist Niklas Karlsson continues to shift his Hetfield-inspired cleans more front and center, which adds a bit of gravelly (albeit imperfect) familiarity amid the breakneck riffs. Mostly, it’s easy to overlook, as speedy tempos and intense brutality grace the more traditional verse-chorus formats, in an early Soilwork-esque homage. This portion of Orbit Culture’s sound focuses on the range of emotion, as fury, melancholy, pride, and desperation collide in the mix of chord progressions, vocal varieties, and tasteful synth – highlighting their admiration for film composers Hans Zimmer and Howard Shore. Offer soaring chorus punctuated by djenty start-stop riffs (“Inferna,” “The Tales of War”), while more prominent clean vocals dominate thrashier and more subdued tracks alike (“Into the Waves,” “The Path I Walk”). There’s more metalcore influences as breakdowns add much-needed breathing room (“Inside the Waves,” “Hydra”) and more melodic fretboard wizardry and galloping riffs recall As I Lay Dying’s earlier material (“Nerve,” “The Storm”).1

The deathened intensity that pervades Death Above Life showcases the Orbit Culture’s newly capitalized fury. While many of the heavier tracks do feature clean vocals (“Hydra,” “Neural Collapse”), they are largely an afterthought to the beatdown – and are better for it. Ominous ambient textures and cinematic scope make the brutality all the more intense, with climactic solos and bloodthirsty roars focusing on establishing this misanthropy. The best tracks here are “Bloodhound” and “Death Above Life,” due to their absence of clean vocals and their cutthroat quality amplified by chunky Slipknot-esque rhythms, blazing tempos, and Karlsson’s most vicious performances to date. They put Karlsson’s clean vocals elsewhere to shame, existing as too blaring in the mix and damaging certain tracks with their jarring inclusions, worsened by protracted song-lengths and grating repetition (“Inside the Waves,” “Nerve,” “Neural Collapse,” “The Path I Walk”).

Death Above Life sounds better than Descent, but like any good game of Whack-a-Mole, the stuffy production value is quelled only for Karlsson’s overloud cleans to pop up as an issue, amplified by the album’s fifty-three-minute runtime. The riffs are first-rate, the harsh vocals are vicious, and the songwriting encompasses a range of emotion that reflects Orbit Culture’s respect for film composers – but the increasingly upfront vocal attack wears thin very quickly. It’s a solid release from a band who has earned their reputation as one of extreme metal’s best in a distinct blend of nostalgic thrash and modern melodeath – I just know they could do so much better.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: STREAM
Label: Century Media Records
Websites: orbitculture.bandcamp.com | orbitculture.com | facebook.com/OrbitCulture
Releases Worldwide: October 3rd, 2025

#25 #2025 #AsILayDying #CenturyMediaRecords #DeathAboveLife #DeathMetal #HansZimmer #HowardShore #HumanitySLastBreath #Industrial #MelodicDeathMetal #Metallica #Oct25 #OrbitCulture #Review #Reviews #Slipknot #Soilwork #SwedishMetal #ThrashMetal

Orbit Culture – Death Above Life Review

By Dear Hollow

Orbit Culture is a stellar band, so 2023’s Descent should have been an AOTY contender. An all-killer, no-filler blend of melodeath and thrash with a dark industrial edge sounds like a hodge-podge in the worst ways, but the Swedes have made it their brand with a fluidity that has defined them from the beginning. In this way, the quartet showed their songwriting prowess, with tracks like “Black Mountain” and “The Aisle of Fire” leading the charge in the death/thrash riffage that we’ve all come to know and love. But while the claustrophobic mix provided 2020’s Nija a bloodthirsty darkness, it made Descent impenetrable in its compressed muck – sinking it from formidable to forgettable. It was too much doing too much, with no breathing room to do it. Death Above Life offers a bit of a different feel, although it is undeniably Orbit Culture.

Don’t get me wrong, Death Above Life is claustrophobic and overloud, but its pitch-black overflow feels channeled into a better outlet. At its core a melodeath band with a healthy love for thrash, Orbit Culture has long incorporated a slough of djent and metalcore influences, which Death Above Life utilizes for choppy start-stop riffs and climactic breakdowns – emphasized by Humanity’s Last Breath multi-instrumentalist Buster Odeholm on mixing. While it sounds like a sellout, they provide reprieve for a band amplified to the max with ideas. Alongside this, we get our usual range of thrashy early-Metallica numbers to punishing pitch-black death metal cuts. There is more range in softer ballads and punishing ragers, and it is a production improvement over Descent, but Karlsson’s overloud and often awkward clean vocals are suddenly a nagging issue.

As expected, the traditional thrash vibe is alive and well with Orbit Culture – even the more accessible cuts will rip you a new one. Mastermind vocalist/guitarist Niklas Karlsson continues to shift his Hetfield-inspired cleans more front and center, which adds a bit of gravelly (albeit imperfect) familiarity amid the breakneck riffs. Mostly, it’s easy to overlook, as speedy tempos and intense brutality grace the more traditional verse-chorus formats, in an early Soilwork-esque homage. This portion of Orbit Culture’s sound focuses on the range of emotion, as fury, melancholy, pride, and desperation collide in the mix of chord progressions, vocal varieties, and tasteful synth – highlighting their admiration for film composers Hans Zimmer and Howard Shore. Offer soaring chorus punctuated by djenty start-stop riffs (“Inferna,” “The Tales of War”), while more prominent clean vocals dominate thrashier and more subdued tracks alike (“Into the Waves,” “The Path I Walk”). There’s more metalcore influences as breakdowns add much-needed breathing room (“Inside the Waves,” “Hydra”) and more melodic fretboard wizardry and galloping riffs recall As I Lay Dying’s earlier material (“Nerve,” “The Storm”).1

The deathened intensity that pervades Death Above Life showcases the Orbit Culture’s newly capitalized fury. While many of the heavier tracks do feature clean vocals (“Hydra,” “Neural Collapse”), they are largely an afterthought to the beatdown – and are better for it. Ominous ambient textures and cinematic scope make the brutality all the more intense, with climactic solos and bloodthirsty roars focusing on establishing this misanthropy. The best tracks here are “Bloodhound” and “Death Above Life,” due to their absence of clean vocals and their cutthroat quality amplified by chunky Slipknot-esque rhythms, blazing tempos, and Karlsson’s most vicious performances to date. They put Karlsson’s clean vocals elsewhere to shame, existing as too blaring in the mix and damaging certain tracks with their jarring inclusions, worsened by protracted song-lengths and grating repetition (“Inside the Waves,” “Nerve,” “Neural Collapse,” “The Path I Walk”).

Death Above Life sounds better than Descent, but like any good game of Whack-a-Mole, the stuffy production value is quelled only for Karlsson’s overloud cleans to pop up as an issue, amplified by the album’s fifty-three-minute runtime. The riffs are first-rate, the harsh vocals are vicious, and the songwriting encompasses a range of emotion that reflects Orbit Culture’s respect for film composers – but the increasingly upfront vocal attack wears thin very quickly. It’s a solid release from a band who has earned their reputation as one of extreme metal’s best in a distinct blend of nostalgic thrash and modern melodeath – I just know they could do so much better.

Rating: 2.5/5.0
DR: N/A | Format Reviewed: STREAM
Label: Century Media Records
Websites: orbitculture.bandcamp.com | orbitculture.com | facebook.com/OrbitCulture
Releases Worldwide: October 3rd, 2025

#25 #2025 #AsILayDying #CenturyMediaRecords #DeathAboveLife #DeathMetal #HansZimmer #HowardShore #HumanitySLastBreath #Industrial #MelodicDeathMetal #Metallica #Oct25 #OrbitCulture #Review #Reviews #Slipknot #Soilwork #SwedishMetal #ThrashMetal

Deborah Lipstadts Plädoyer für die Wahrheit – „Verleugnung“ (2016)

Vier Jahre, von 1996 bis 2000, dauerte der Verleumdungsprozess, den der britische Historiker und Holocaustleugner David Irving gegen die amerikanische Professorin Deborah E. Lipstadt angezettelt hatte. Heraus kam ein denkwürdiger Sieg für Meinungsfreiheit und Gerechtigkeit kontra Geschichtsfälschung und Fanatismus. (ARD, WH)

Deborah Lipstadts Plädoyer für die Wahrheit – „Verleugnung“ (2016)

Vier Jahre, von 1996 bis 2000, dauerte der Verleumdungsprozess, den der britische Historiker und Holocaustleugner David Irving gegen die amerikanische Professorin Deborah E. Lipstadt angezettelt hatte. Heraus kam ein denkwürdiger Sieg für Meinungsfreiheit und Gerechtigkeit kontra Geschichtsfälschung und Fanatismus. (ARD, WH)

And another:

The chorus of this ties together several moments of the movie: Gandalf evoking Bombadil when describing death ("the grey rain-curtain turned all to silver glass and was rolled back, and he beheld white shores and beyond them a far green country under a swift sunrise"), Sam's final muster of resolve ("I can't carry _it_, but I can carry you!"), and the ships sailing into the west from the Grey Havens.

All in one chorus.

#HowardShore #lotr

https://music.apple.com/gb/album/into-the-west/3991448?i=3991442

David Cronenberg Thinks ‘The Brutalist’ AI Backlash Was a Smear Campaign by Other Oscar Nominees: “A Harvey Weinstein Kind of Thing”
#MovieNews #Movies #Adrienbrody #DavidCronenberg #HowardShore #International #Thebrutalist #Unitedkingdom

https://www.hollywoodreporter.com/movies/movie-news/david-cronenberg-brutalist-oscars-adrien-brody-howard-shore-1236170503/

David Cronenberg Thinks ‘The Brutalist’ AI Backlash Was a Smear Campaign by Other Oscar Nominees: “A Harvey Weinstein Kind of Thing”
#MovieNews #Movies #Adrienbrody #DavidCronenberg #HowardShore #International #Thebrutalist #Unitedkingdom

https://www.hollywoodreporter.com/movies/movie-news/david-cronenberg-brutalist-oscars-adrien-brody-howard-shore-1236170503/

I'm jamming to the LOTR soundtrack while reading for school. Absolute banger of a soundtrack.

#LOTR
#HowardShore

I'm jamming to the LOTR soundtrack while reading for school. Absolute banger of a soundtrack.

#LOTR
#HowardShore

Tolkien in den Medien 2024/19
Im TolkCast 189 vom 21. Oktober hatte das TolkCast-Team in der Rubrik „Auenland Kurier“ wieder einiges für Euch. Dieses Mal hat das Team sechs tolkieneske Nachrichten aus der Medienberichterstattung gefunden und ausgeführt.
https://www.tolkiengesellschaft.de/53715/tolkien-in-den-medien-2024-19/
#Neuigkeiten #HerrderRingeMarathonHerrDerRinge #HowardShore #LordoftheRingsMusical #McFarlaneToys #TheLordOfTheRings #TolkiensWelt #WarOfTheRohirrim

Howard Shore on ‘Generous’ David Cronenberg, Approaching ‘LOTR’ as One Story and Composing in His Dreams: ‘There Is Some Napping Involved’
#Variety #Global #News #HowardShore #TheLordOfTheRings #ZurichFilmFestival

https://variety.com/2024/film/global/howard-shore-david-cronenberg-1236169340/

Howard Shore on ‘Generous’ David Cronenberg, Approaching ‘LOTR’ as One Story and Composing in His Dreams: ‘There Is Some Napping Involved’
#Variety #Global #News #HowardShore #TheLordOfTheRings #ZurichFilmFestival

https://variety.com/2024/film/global/howard-shore-david-cronenberg-1236169340/

‘Lord of the Rings’ Composer Howard Shore to Receive Career Honor at Zurich Film Festival
#MovieNews #Movies #HowardShore #International #TheLordoftheRings #ZurichFilmFestival

https://www.hollywoodreporter.com/movies/movie-news/lord-of-the-rings-composer-howard-shore-zurich-honor-1235919438/

‘Lord of the Rings’ Composer Howard Shore to Receive Career Honor at Zurich Film Festival
#MovieNews #Movies #HowardShore #International #TheLordoftheRings #ZurichFilmFestival

https://www.hollywoodreporter.com/movies/movie-news/lord-of-the-rings-composer-howard-shore-zurich-honor-1235919438/

‘Lord Of The Rings’ Composer Howard Shore To Receive Zurich Film Festival’s Career Achievement Award
#News #HowardShore #ZurichFilmFestival

https://deadline.com/2024/06/howard-shore-zurich-film-festival-2024-career-achievement-award-lord-of-the-rings-1235969113/

‘Lord Of The Rings’ Composer Howard Shore To Receive Zurich Film Festival’s Career Achievement Award
#News #HowardShore #ZurichFilmFestival

https://deadline.com/2024/06/howard-shore-zurich-film-festival-2024-career-achievement-award-lord-of-the-rings-1235969113/

:zerotwo_rage:​ SHIIRRRE! BAGGINNNSSS!
...is, well, hopefully not quite the scene that comes to mind when you hear this.

https://www.youtube.com/watch?v=lJCB-a19x0Q

:vaporeon_sip:​ Concerning Hobbits is, without a doubt, one of my favourite pieces to play (and probably one of my oldest tracks if we're counting in learning order). It's so good at bringing to mind the wonderful scenery of the Shire and the care-free, food-filled lives of the hobbits who inhabit it.

:cat_think:​ Oddly enough, I get a disproportionate number of people coming up to me and telling me that Concerning Hobbits reminds them of the Titanic movie...Anyway, I hope this is a nice, relaxing track for you (complete with a bit of ambiance) before July 4th blows that all away :cat_wow:​

:shiba_please:​ As always, if you like my music and want to help me survive, you can help me for free by boosting and commenting and subscribing, and not-for-free by donating (or even getting me things from my wishlist?). The links are all over on my linktree at https://linktr.ee/octaviaca :frog_please:​

#Music #Musician #Violinist #ViolinCover #ViolinMusic #Solo #ViolinSolo #MovieMusic #Soundtrack #OST #MovieSoundtrack #HowardShore #LordOfTheRings #Shire #Hobbits #GeekCraftExpo #LiveMusic #LivePerformance

:zerotwo_rage:​ SHIIRRRE! BAGGINNNSSS!
...is, well, hopefully not quite the scene that comes to mind when you hear this.

https://www.youtube.com/watch?v=lJCB-a19x0Q

:vaporeon_sip:​ Concerning Hobbits is, without a doubt, one of my favourite pieces to play (and probably one of my oldest tracks if we're counting in learning order). It's so good at bringing to mind the wonderful scenery of the Shire and the care-free, food-filled lives of the hobbits who inhabit it.

:cat_think:​ Oddly enough, I get a disproportionate number of people coming up to me and telling me that Concerning Hobbits reminds them of the Titanic movie...Anyway, I hope this is a nice, relaxing track for you (complete with a bit of ambiance) before July 4th blows that all away :cat_wow:​

:shiba_please:​ As always, if you like my music and want to help me survive, you can help me for free by boosting and commenting and subscribing, and not-for-free by donating (or even getting me things from my wishlist?). The links are all over on my linktree at https://linktr.ee/octaviaca :frog_please:​

#Music #Musician #Violinist #ViolinCover #ViolinMusic #Solo #ViolinSolo #MovieMusic #Soundtrack #OST #MovieSoundtrack #HowardShore #LordOfTheRings #Shire #Hobbits #GeekCraftExpo #LiveMusic #LivePerformance

Today's #MusicOfTheDay is the Special Edition soundtrack from The Hobbit: An Unexpected Journey by Howard Shore.

Regardless of your overall opinion of the Hobbit trilogy, the music is stellar and sits perfectly along with their LOTRs counterparts.

I do regret not getting the third and final soundtrack in the trilogy.

#hobbit #thehobbit #anunexpectedjourney #howardshore #thelordoftherings #lotr #soundtrack #moviescore #cd #cdcollection #physicalmedia

Vinyle du jour…

La superbe #OST de #TheRingsOfPower par #BearMcCreary et #HowardShore.

#Soundtrack #TheLordOfTheRings #Vinyl #soundtracksonvinyl

#FellowshipOfTheRing #HowardShore #LiveConcert #Nyc

Getting ready to see live a orchestra play this incredible Howard Shore score on Feb 9th. I've had the soundtrack on repeat.

When the cold of
Winter comes
Starless night will cover day
In the veiling of the sun
We will walk in bitter rain
But in dreams
I can* hear your name
And in dreams
We will meet again
When the seas and mountains fall
And we come to end of days
In the dark I hear a call
Calling me there
I will go there
And back again

#FellowshipOfTheRing #HowardShore #LiveConcert #Nyc

Getting ready to see live a orchestra play this incredible Howard Shore score on Feb 9th. I've had the soundtrack on repeat.

When the cold of
Winter comes
Starless night will cover day
In the veiling of the sun
We will walk in bitter rain
But in dreams
I can* hear your name
And in dreams
We will meet again
When the seas and mountains fall
And we come to end of days
In the dark I hear a call
Calling me there
I will go there
And back again

I've LOVED, as only a geek can love, LOVED, the LOTR Soundtrack.

An excellent "The Lord of the Rings - Piano Suite" by Leiki Ueda!! ⭐️ ⭐️ ⭐️ ⭐️ ⭐️

➡️ ❤️ Fav: In the "The Shire" section
https://www.youtube.com/watch?v=fJNzVAIBIws&t=191s

Prologue: One Ring To Rule Them All ❤️
The Prophecy ❤️
The Shire ❤️
A Knife in the Dark ❤️
The Council of Elrond ❤️
The Riders of Rohan ❤️
Bridge of Khazad-dûm ❤️
Minas Tirith ❤️
Twilight and Shadow ❤️
Finale ❤️

➡️ DO you have a FAV?

#LOTR #Soundtrack #LOTRSoundtrack #Music #Tolkien #HowardShore

I've LOVED, as only a geek can love, LOVED, the LOTR Soundtrack.

An excellent "The Lord of the Rings - Piano Suite" by Leiki Ueda!! ⭐️ ⭐️ ⭐️ ⭐️ ⭐️

➡️ ❤️ Fav: In the "The Shire" section
https://www.youtube.com/watch?v=fJNzVAIBIws&t=191s

Prologue: One Ring To Rule Them All ❤️
The Prophecy ❤️
The Shire ❤️
A Knife in the Dark ❤️
The Council of Elrond ❤️
The Riders of Rohan ❤️
Bridge of Khazad-dûm ❤️
Minas Tirith ❤️
Twilight and Shadow ❤️
Finale ❤️

➡️ DO you have a FAV?

#LOTR #Soundtrack #LOTRSoundtrack #Music #Tolkien #HowardShore

#OTD December 19, 2001

Happy 21st Anniversary! 🎉
on the release of “The Fellowship of the Ring”!! 🧙‍♂️🧝‍♀️🏹🗡

One of my favourites because of all the amazing and beautiful sets! AND the fantastically marvellous soundtrack by Howard Shore. 🎶

#LOTR #TheLordOfTheRings #MiddleEarth #FellowshipOfTheRing #Movies #Soundtrack #HowardShore

#OTD December 19, 2001

Happy 21st Anniversary! 🎉
on the release of “The Fellowship of the Ring”!! 🧙‍♂️🧝‍♀️🏹🗡

One of my favourites because of all the amazing and beautiful sets! AND the fantastically marvellous soundtrack by Howard Shore. 🎶

#LOTR #TheLordOfTheRings #MiddleEarth #FellowshipOfTheRing #Movies #Soundtrack #HowardShore