This is Not the First Time
This is Not the First Time is track 25 of the 27 tracks on the Carbon Harbor soundtrack album.
I'm a big fan of Thomas Newman's scores in which he uses what I call his "Shawshank Palette." You know what I mean if you have seen/heard The Shawshank Redemption, Road to Perdition and the new Cinderella Man. I like his other palettes as well, such as in The Player and Pay it Forward (the movie sucked but the music was great), but his Depression Era, "Shawshank Palette" is where he always best demonstrates an interesting mix of familiar orchestral-style film score music along with ambient-like, synth and other electronically generated sounds. He's about my age and I get the feeling when listening to his music that, years ago, like me, while his friends may have been listening to Deep Purple or Disco, he was listening to film scores, along with a heavy dose of Brian Eno and Kraftwerk.
Overall, I like Newman's scores because, in my opinion, he doesn't try to blow you away with emotion as though you couldn't figure out for yourself which way a movie is going. He can get giddy and playful at times or just plain interesting, but most of the time he lays back with some soft, fragile sounding piano accompanied by occasional gut swells.
Anyway, when I first brought Ableton LIVE and Reason 2.5 into my bag of tricks, Newman's music was often on my mind as a sort of benchmark I wanted to strive towards -- no matter how long it may take me, if ever, to get there.
This track is a key one in the Carbon Harbor score, though I'm not going to go into why until sometime in the distant future. But, as was the case with track 18, "To the Bottom of It," I felt this track had a strong, emotional direction to it which, in this specific case, was one of discovery or revelation of a rather dark secret that someone had been trying to figure out. And that went a long way on helping me with me early efforts to focus on Carbon Harbor, the story and screenplay.
I'm a big fan of Thomas Newman's scores in which he uses what I call his "Shawshank Palette." You know what I mean if you have seen/heard The Shawshank Redemption, Road to Perdition and the new Cinderella Man. I like his other palettes as well, such as in The Player and Pay it Forward (the movie sucked but the music was great), but his Depression Era, "Shawshank Palette" is where he always best demonstrates an interesting mix of familiar orchestral-style film score music along with ambient-like, synth and other electronically generated sounds. He's about my age and I get the feeling when listening to his music that, years ago, like me, while his friends may have been listening to Deep Purple or Disco, he was listening to film scores, along with a heavy dose of Brian Eno and Kraftwerk.
Overall, I like Newman's scores because, in my opinion, he doesn't try to blow you away with emotion as though you couldn't figure out for yourself which way a movie is going. He can get giddy and playful at times or just plain interesting, but most of the time he lays back with some soft, fragile sounding piano accompanied by occasional gut swells.
Anyway, when I first brought Ableton LIVE and Reason 2.5 into my bag of tricks, Newman's music was often on my mind as a sort of benchmark I wanted to strive towards -- no matter how long it may take me, if ever, to get there.
This track is a key one in the Carbon Harbor score, though I'm not going to go into why until sometime in the distant future. But, as was the case with track 18, "To the Bottom of It," I felt this track had a strong, emotional direction to it which, in this specific case, was one of discovery or revelation of a rather dark secret that someone had been trying to figure out. And that went a long way on helping me with me early efforts to focus on Carbon Harbor, the story and screenplay.
posted by Bryrock at 4:37 PM
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