MICHAEL GIACCHINO - THE BATMAN (2022) / THE BATMAN: PART 2 (2027)

[Paweł Stroiński]

Przesłuchane, jutro kolejny odsłuch, ale jest faktycznie bardzo, bardzo dobrze.

Bawi mnie trochę fakt tylko, że ten czteronutowy motyw Batmana to jest odwrócenie tematu Hansa - nie tercja w górę, a w dół

[Adam]

Oj tam, drugie tyle doszukuje się, że to bardzo zwolnione tempo pierwszych taktów Marszu Imperatora.

[Mystery]

Najlepsze jest to, że temat ten ma już 2 lata... albo jak kto woli 200


youtu.be/b-GW7_e2aJA

[Kaonashi]

Oj tam, drugie tyle doszukuje się, że to bardzo zwolnione tempo pierwszych taktów Marszu Imperatora.

Czyjego marszu?

Najlepsze jest to, że temat ten ma już 2 lata... albo jak kto woli 200


youtu.be/b-GW7_e2aJA

No ja jak ostatnio słuchałem "Śmierci na Nilu" to też ciągle miałem z tyłu głowy, że ten score to ma ze 2 lata co najmniej.

[lis23]

Music Box Records: Pré-commandez maintenant et nous vous livrerons dès que cet article sera disponible (mars 2022) - 24,95 Euro.

[Adam]

no i ? nie widzisz zaznaczone na żółto, że CD-R..

[lis23]

To znaczy, że wersja z Amazonu też będzie na CD-R?
Dla mnie najważniejsze, że w ogóle będzie.

[Adam]

też. amazon zaznaczył od razu że cd-r. jest jak byk "manufactured on demand" w opisie.

[Mystery]

No i recki wypłynęły, na RT 87 % przy ponad 200. Sporo się pisze o zdjęciach i muzyce, nie tylko zdaniami, a nawet całymi akapitami, także szykuje się nie lada uczta dla oka i ucha, wybrane cytaty o muzie.


Giacchino’s work here may be the best of his career. It’s soft when it needs to be, percussive during the fight and action scenes, and finds a way to incorporate “Ave Maria.”

Michael Giacchino delivers one of his greatest scores, including a gorgeous “Catwoman” theme blending a ‘60s heist picture with a dishy French ‘60s romance, doomed romance division.

ominous, adrenaline-fueling score from all-time great composer Michael Giacchino who delivers arguably the best work of his career.

Michael Giacchino’s eerie, symphonic score, The Batman is an all-encompassing experience that sucks you in.

Michael Giacchino’s haunting score, his fifth collaboration with Reeves. It so perfectly reflects on the tortured soul of the film’s namesake.

Michael Giacchino’s brilliantly gloomy score

Jagged horror movie strings and Michael Giacchino's relentless score ratchet up the tension.

Michael Giacchino’s incredible score

Michael Giacchino’s gorgeous, hypnotic score

unforgettable score (from composer Michael Giacchino)

Michael Giacchino’s simple (in an unfussy way), commanding score

A pulsating score by Michael Giacchino evoke

Michael Giacchino’s haunting score perfectly captures the noir vibe.

Michael Giacchino’s excellent, haunting score.

Michael Giacchino’s bombastic, Gothic score

fantastic score by Michael Giacchino that runs the gamut of genres and really elevates the on-screen events and visuals (nicely crafted by Dune and Rogue One’s Greig Fraser). During the more pensive moments of the movie especially, the score nails the tone of the moment each time. It’s marvellous.

Michael Giacchino’s distinguished score—certainly a new career-high for the fan-favorite composer who’s now created the best for Marvel, Pixar and DC.

Composer Michael Giacchino (Spider-Man: No Way Home) crafts a booming Batman score that is memorable and effective.

Michael Giacchino's new Batman theme is fantastic, epic and frisson-inducing, and it is used to great effect to enhance the mood.

insistently memorable Michael Giacchino theme

terrific score from Michael Giacchino. Hitting at just the right time with both the minimalist but already etched-in-my-mind new theme for Batman, along with big orchestral moments matching the film and its ideas when they are at their best, there’s plenty to like about the sound of The Batman.

Michael Giacchino's original score is sublime perfection, simplicity emphasized and a score that practically held me even when the occasional scene threatened to detach me from the goings on. The use of music is inspired, perhaps a wee bit predictable, but I'm still humming it so it must've worked.

Michael Giacchino’s absolutely stellar score. It doesn’t quite reach the infectious, iconic heights of Elfman’s work on Burton’s films, but it certainly has more of a hook than any we’ve heard since. It, too, absorbs some previous Batman material.

score from veteran composer Michael Giacchino. Best known for his Pixar movie music, he does something totally different with “The Batman”: percussive and horn-heavy, it is massive and demanding, and you will feel it deep in your core.

pounding soundtrack by Michael Giacchino mixed with Greig Fraser‘s cinematography keeps the movie perfectly atmospheric.

Apes composer Michael Giacchino amps up the mayhem with a dread-filled score that transports, without resorting to the bone-shuddering excess of Fraser’s Dune compatriot Hans Zimmer.

a baroque teeth-rattling monolith by Oscar-winning composer Michael Giacchino

Oscar-winning composer Michael Giacchino provides a decidedly mournful and grungy score.

Michael Giacchino’s pristine score which combines the best of both what Danny Elfman and Hans Zimmer made in previous bat-tunes.

every scene is wonderfully constructed and composed, both visually and sonically, thanks to the haunting score by Oscar-winning composer Michael Giacchino.

Michael Giacchino’s brilliant, minimalist score completes the effect, building on the hugely effective work of Hans Zimmer — evolution, then, rather than revolution.

Reeves’ movie is the best-scored comic book film since 2008’s “The Dark Knight.” A composer with the creativity to be this generation’s John Williams, Michael Giacchino constructs individual character themes and a genre-mashing piano-and-orchestra soundscape that are essential elements in making “The Batman” a triumph.

Between The Batman and Spider-Man: No Way Home, Giacchino continues to craft a superheroic sound that stays with the viewer long after the credits have rolled.

Michael Giacchino’s thunderous score makes us feel it is justice itself — vengeance — closing the gap to take out this version of a “Teflon Don.”

Michael Giacchino’s doomy, Nirvana-sampling soundtrack is Batman’s best yet

Michael Giacchino’s score intensifies the energetic rage encased within the film.

Michael Giacchino's operatic score

Michael Giacchino’s operatic score lives on the edge of unsettling

Michael Giacchino’s pitch-perfect score

stunning score by Michael Giacchino, who immediately gives Batman another iconic score to add to an already diverse portfolio.

Michael Giacchino’s driving score feels as much like a Baroque piano concerto as it does a superhero theme.

Michael Giacchino’s phenomenal score also adds to the gothic atmosphere, with Batman’s haunting (and at time tender) repetitive motif building to a real crescendo throughout the film.

Michael Giacchino‘s score sets the mood with a variety of tracks ranging from the haunting and playful to the propulsive and triumphant.

Michael Giacchino’s sweeping, dramatic score brings it all together, creating a few epic moments worthy of one of comic books’ most famous characters.

The musical score by Michael Giacchino is simultaneously beautiful and haunting; it’s perhaps most pronounced when Batman emerges from the darkness to enter a scene, leaving the other characters shaking in fear, huffing in annoyance or shifting in discomfort.

The robust mood set by the gloomy gaze is intensified by a phenomenal musical score from composer Michael Giacchino, working with Matt Reeves for the fifth time. Layered with personalized themes and strong motifs, Giacchino’s sonatas and dirges carry the potency to resonate peak moments with both unnerving and triumphant crescendos.

This extends to Michael Giacchino's magnificent score, which weaves in influences like 'Ave Maria' and Nirvana's 'Something in the Way'. There are the booming and ominous beats, especially in Batman's theme, but it's distinct from Hans Zimmer and James Newton Howard's work on Christopher Nolan's trilogy.

The remarkable score by Michael Giacchino is infused with all of the noir sensibilities, sense of impending doom, and triumphant declaration of the rest of the film. It’s haunting at times, inspiring at others, and is on par with Hans Zimmer’s and Danny Elfman’s finest compositions for past films in the series.

Michael Giacchino’s incredible score. Many will be humming The Batman’s simple, rhythmic main theme, but dig beneath the surface and you’ll find Giacchino’s gorgeous handling of variations and throughlines. From The Riddler’s haunting “Ave Maria” leitmotif to Catwoman’s slinky, noir-inspired suite, the sounds of The Batman are instantly iconic.

And the film sounds even better, thanks to a remarkable Michael Giacchino score that alternates minimalist strums and imperial marches; it’s somehow in the same league as the operatic themes Danny Elfman once lent the franchise.

career-best Michael Giacchino score that pounds into your head as if Batman were sitting at the piano and playing it himself.

Michael Giacchino’s impeccable score sets the tone right from the get-go, as we are introduced to the slime of Gotham and how they perceive and fear the caped crusader. Giacchino’s music takes cues from the work of Danny Elfman while mixing in his own ominous, mysterious twist on the classic Batman theme. Batman’s narration, amplified by the score, is notably chilling as he remarks that, “when that light hits the sky, it’s not just a call, it’s a warning.”

Michael Giacchino's theme music contributes to the tone. The notes almost weigh on the audience like the crime of Gotham City weighs on Batman. It's not the majestic Danny Elfman score from 1989, but it's appropriate to this film. The score follows the tone of the movie. It's almost operatic, as many scenes play without dialogue. Music and sound effects provide the emotional beats.

Something it’s important to note that enhances every single frame we see on screen is Michael Giacchino’s score. Batman's theme hits you right in the chest and is a suitably relentless piece of music that couldn't be better suited to this iteration of the character. The score is sublime, and there's not a single scene in the movie that doesn't benefit from the composer's work in some way

Over the past few months, Michael Giacchino has been teasing the masses with sprinkles of his score for The Batman, and the final product is an absolute home run. His score captures the urgency of each character within the film and, more importantly, he lends his talents to construct an essential bat-march. Since Danny Elfman’s masterclass of a score for Batman, every composer has attempted to replicate the bat-march Elfman created, and Giacchino accepts the challenge with one of the best bat themes in Bat film history.

But it’s the Oscar-worthy work of composer Michael Giacchino and cinematographer Greig Fraser that really left me in awe. Giacchino’s stellar score might just end up being my favourite composition of the year. He’s crafted an immediately iconic new Batman theme that perfectly compliments Pattinson’s performance. His score is loud and booming, but also elegant and haunting. Much like the dichotomy between Bruce and Batman, Giacchino’s score is a contradiction in itself. Yes, the Batman theme is played rather repetitively, but one could say the same of Danny Elfman’s theme in the original Batman quadrilogy. This is how you craft a score that will become entirely synonymous with a tentpole character. And Giacchino knocks it out of the park.

Then there’s Giacchino’s score. It’s a tall order to put something down as effective as Danny Elfman and Hans Zimmer did with their Batman movies. However, Giacchino is up to the task and delivers a score that will be equally as revered. Embracing simplicity and layering it with atmospheric sounds (like church bells), the music is another strong component. This is most notable in how Giacchino mixes Nirvana’s “Something in the Way” and Franz Schubert’s “Ave Maria” in the same fashion that Jordan Peele and composer Michael Abels crept Luniz’s “I Got 5 On It” throughout Us’ score. (I’m eagerly awaiting the vinyl release.)

Michael Giacchino’s score, too, enhances the odd stateliness Pattinson brings to Batman. This Batman lurks, he looms, he slides by in the periphery, an incongruous figure everywhere he goes, at home nowhere in the mortal realm he graces. Giacchino’s score starts with a spaghetti Western twang that situates Batman in a long line of outsider gunslingers come to settle a score but builds with an orchestral intensity better suited to religious sacrament (indeed, Ave Maria, a prayer for mercy, winds in and out of the original music at key points). The only complaint is that the score is a bit aggressive, especially in the early going it feels like Reeves & Co. don’t quite trust the audience to buy into this rather disorienting Batman and leans on the score and voiceover to make sure we “get it”.

[Wurger]

Jest CD u skośnych, ale uwaga - WW84 było tam jako CD-R do którego dołożyli tylko OBI - opisy były takie same jak niżej, więc może to być tylko znów CD-R..

https://arksquare.net/detail.php?cdno=RBCP-5683

Pewnie masz racje. Zobaczę jak przyjdą płyty A przy okazji w obecnej sytuacji na Ukrainie wysyłka z Japonii tylko DHLem..

A muzyka Giacchino pierwsza klasa Uwielbiam taki duszny i mroczy klimat

[Adam]

no niestety napisali że tylko pierwszy pressing jest tłoczony, a potem CD-R, ALE nie podali ile jest tego sztuk.
więc w 5 minut mogło się wyprzedać te 100, 200, 500 sztuk ? , skoro winyle w Mondo po 3 tysiące sztuk schodzą często w 2 minuty.

nie powaliło mnie, żeby taki ciężki hajs płacić za sprowadzenie z Japonii jednego albumu w ciemno nie wiedząc co dostanę.

Ludzie z Amazonu już dostają - CD-R

[Ghostek]

Nie panikować. Będzie na polskim Amazonie, to się zamówi i najpewniej będzie to tłoczone.
Bo że w USA CDR to wiadomka.

[Mystery]

Już jutro Na soundtracku ponoć brakuje sporo muzy, w tym paru ważnych tracków, w tym End Credits

[Adam]

wow, myslałem że sonata jest end credits

[Mystery]

Ta sonata to najprawdopodobniej suita, którą Michael napisał jeszcze, gdy Reeves pisał scenariusz.

'I love working with Michael Giacchino, he's one of my favorite people.' Explained The Batman director Matt Reeves. 'So, when I got The Batman, I went to him knowing he has the same kind of love and connection to Batman that I do. He told me he wanted to do what we'd never been able to - to record before I ever shot a frame. He said, 'I want us to record a suite, as if it was the unknown Beethoven Sonata of Batman that was found, and we use that to score the entire movie.' I was excited about it, so he started writing while I was still writing, and he would send me little sample recordings of pieces he was doing on the piano.'

Reeves said that later, 'the night before Robert (Pattinson) was to screen test, Michael sent me this incredible suite which contained the Batman theme - he had put it together with an orchestra - and I was blown away! It was so emotional. I drove to the set, and (The Batman producer) Dylan Clark was there, and I said to him, 'You have to get in the car.' He sat in the passenger seat, and I turned up the music. The two of us literally cried. He, too, felt it was amazing.

'I just felt like this was a very special, fated day, because Robert was about to be in one of the classic Batsuits, we were going to shoot some scenes, and there we were listening to this perfect music,' Reeves continued. 'Suddenly you felt you were about to be part of film history that meant so much to you and meant so much to everyone. That music helped Robert Pattinson to become Batman, and we listened to that music all the time.'

( - WaterTower Music - )
https://www.filmmusicsite.com/en/soundt ... i?id=97292


A tu muzyczne creditsy.
https://www.watertower-music.com/releas ... =TheBatman