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Only God Forgives Import

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Page Artiste Cliff Martinez

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  • CD (16 juillet 2013)
  • Nombre de disques: 1
  • Format : Import
  • Label: Mis
  • ASIN : B00CX7ELV2
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 3.3 étoiles sur 5 3 commentaires client
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Format: CD Achat vérifié
Cette BO est très intéressante à écouter car elle remet tout de suite dans l'univers du film! Pour ma part j'adore la piste 9 qui a un côté mélodieux des années 80 au synthé. Je regrette tout de même que beaucoup de pistes se ressemblent dans le rythme et la conception.
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Format: Téléchargement MP3 Achat vérifié
Très bonne bande originale qui permet de se remémorer l'excellent film de NWR ! A découvrir absolument après celle de Drive.
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Excellent thèmes de musique du film, superbe composition de Cliff Martinez ... ... .... .... ... .... ... ... ....
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Amazon.com: HASH(0x9d51e660) étoiles sur 5 12 commentaires
8 internautes sur 8 ont trouvé ce commentaire utile 
HASH(0x9d543420) étoiles sur 5 Cliff Martinez does it again 17 juillet 2013
Par Terrence Aybar - Publié sur Amazon.com
Achat vérifié
Regardless of what you've heard from people who either loved or hated the film in their reviews, one thing remains certain. Nearly every review comments on the film's music, calling it one of the single best things about the film.

If you liked composer Cliff Martinez's work on Nicholas Winding Refn's "Drive", then I'm sure that you'll love what he's done with the score for "Only God Forgives", the second (and hopefully not the last) Refn/ Ryan Gosling collaboration. The music is dark and foreboding, equal parts electronica and orchestral painted in shades of general easiness. As of this writing, the film has not been released stateside but I can attest that the music goes perfect with the visuals we've seen so far in the trailers and photos made available. Many of the tracks have an appropriate sounding Asian flair to them, perfect to accompany one's travels through the neon lit streets of Thailand at night, where anything or anyone can be around any corner or behind any doorway. There are parts of the score where horns are employed, helping to establish a common link to old school film scores like Bernard Hermann's "Taxi Driver" and
noir films from back in the day.

In fact, I'd put this one right up there with Trent Reznor and Atticus Ross's score for "The Girl With the Dragon Tattoo", one of my absolute favorite scores of the last five years. Both share a sparse but undeniable presence and help create a palpable sense of dread and doom. There are also a couple of karaoke style songs here to add to the mix, a couple of which you've probably already heard in the trailer. This review reflects the deluxe version of the soundtrack, which has an extra six songs including a dynamite remix of the track, "Bride of Chang" by Mac Quayle (the original is also included). The deluxe version is definitely the one to get.

If you like dark, moody stuff then by all means, pick this up. I highly doubt you'll regret it.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x9d543750) étoiles sur 5 Only God Forgives 18 juillet 2013
Par C. Loescher - Publié sur Amazon.com
Format: CD Achat vérifié
While Cliff Martinez is no stranger to psychologically and emotionally heavy film scoring, his recent works Arbitrage and The Company You Keep have been angled more towards the withdrawn or despondent end of the musical spectrum. 2011's Contagion and Drive remain Martinez's most bleak and morose scores in the last ten years, favoring oppressive, almost apocalyptic themes atop the tried-and-true atmosphere for which Martinez is known. Fitting, therefore, that Drive director Nicolas Winding Refn again chose Martinez to score his next project, this year's Only God Forgives. A dark tale of vengeance set in the harsh Bangkok underground, the narrative of Only God Forgives prompted Martinez to revert to the scathing, austere environment displayed on the score for Refn's Drive and its sonic cousin Contagion. Along the way, Martinez introduces some interesting and uncharacteristic qualities that lend Only God Forgives its own musical identity.

Second track "Ask Him Why He Killed My Brother" begins to unveil the score's primary musical theme, as an eerie, mysterious, and dreamy wash of keyboard receives a tonal injection of Thai influence, almost immediately granting the score a harrowing and alien vibe. "Chang and Sword" is ultimately where the theme shines, however, containing shaky feedback hearkening back to Contagion layered with Martinez's trademark echoing guitar effects, along with a pulsing melody that reminds slightly of the less perturbing moments of Clint Mansell's Requiem for a Dream. Later cues "Take It Off" and "Leave My Son in Peace" develop the theme further, the former layering it with heavy yet hollow ambient feedback, and the latter with quick rhythmic percussion funneling into astral, hypnotic guitar motes. Finally, on "Bride of Chang," Martinez thrusts forward the primary motif with insistence, allowing the guitar to take the foreground with the same alien-sounding effects before being yanked back with a lush and forceful organ melody.

More tumultuous elements also present themselves on the album, at some times pushing Only God Forgives close to the horror film score realm. "Do as Thou Will" piles low, stifling and dreadful horns atop one another, bringing to mind the tactile and onerous nature of Jason Graves's Tomb Raider and some of the droning passages of Akira Yamaoka's Silent Hill compositions, before being drenched by the often-reappearing gothic taste of the aforementioned organ. "More Hands" offers a disturbing and discordant string/bass combination before melting into a nervous and no less affecting din. The monolithic eight-minute "Ladies Close Your Eyes" powerfully encapsulates the more malevolent nature of the score, immediately assaulting with dissonant feedback and low, disturbing bass, resembling an aural drop into a dark, deserted hell a la David Julyan's The Descent, complete with harrowing noise effects and pummeling drums cascading over panic-stricken strings before coming to rest upon the more reserved Martinez-style mysticism of prior tracks.

The remainder of the score actually contains the most impassioned work of all. "Chang Vision" weaves a string-based tapestry with wavering volume before entering ambient keyboard territory, a soothing track illuminated by an aura of anxiety. "Sister Part I," actually composed by M83's Anthony Gonzalez (but performed by Martinez), is right at home and on par with Martinez's delicate material on Arbitrage and The Company You Keep, containing simple, drifting and melancholic Tangerine Dream-style synth, a track whose pale gloom is overshadowed only by its murky beauty. "Wanna Fight," however, takes top honors as the album's best tune, an electronic synth track immediately recalling the magnificence of Brad Fiedel's The Terminator and recent outings like Power Glove's score for Far Cry 3: Blood Dragon; its loud opening foray simmers to the background twice, each time given a rest in favor of Martinez's guitar or heavy-handed organ.

Only God Forgives is Cliff Martinez's return to form, not in the literal sense, but in the darker thematic sense last explored with Drive and Contagion. A wading in the forlorn waters of Solaris, Arbitrage, and The Company You Keep this is not, but Only God Forgives will manage to satisfy many a Martinez fan as it meanders back and forth between those works' brooding ambient-style passages and more disconcerting material both rancorous and ethnically-tinged. Only God Forgives is yet another confident and accomplished entry in Cliff Martinez's musical catalog.
4 internautes sur 5 ont trouvé ce commentaire utile 
HASH(0x9d543a20) étoiles sur 5 Only God Forgives - Original Soundtrack 17 juillet 2013
Par JMM - Publié sur Amazon.com
As a fan of Cliff Martinez the film composer, I anxiously awaited his next collaboration with director Nicolas Winding Refn (the two worked on "Drive" previously). The music for "Only God Forgives" provides a wonderful ambiance and atmosphere to the film. It's one of those low-key scores where the music does its job, but not in a way that calls attention to itself. I recommend this soundtrack, but would advise you to sample it first to make sure it's compatible with your personal taste.

[1] Only God Forgives
[15] Bride of Chang
[16] Wanna Fight

*Please Note: There are two versions of this album - the regular edition has 17 tracks, and the Deluxe edition has 23 tracks. I'd recommend the Deluxe edition, because I think the six bonus tracks are high quality and worth owning.

If you like this album, here are some past movie scores by Cliff Martinez that I think you'll also enjoy:
Contagion: Original Motion Picture Soundtrack
Drive (Original Motion Picture Soundtrack)
The Company You Keep [+digital booklet]
HASH(0x9d543ab0) étoiles sur 5 Moody and Unsettling 29 juillet 2013
Par Movie Music Mania - Publié sur Amazon.com
Nicolas Winding Refn's latest feature, Only God Forgives, marks the reuniting of the Danish auteur and his go-to lead of late, superstar Ryan Gosling. A dark, visually arresting, and graphically violent nightmare of a film, Only God Forgives has polarized audiences as much as critics. Also returning from the crew of Refn's last (and much better received) effort, Drive, composer Cliff Martinez has concocted a suitably brooding and bizarre score to match Refn's frightening world.

When it comes to providing electronic, minimalist, textural scores, Martinez is one of the best in the business. His trademark ambient soundscapes are equal parts sound design and film score, making him a unique and controversial name in the film music community. Perhaps it is this uniqueness that has drawn directors like Steven Soderbergh and recently Nicolas Winding Refn to form lasting alliances with the former Red Hot Chili Peppers drummer. Only God Forgives, composed for the most part during a five week stint in a Bangkok hotel room, inhabits that same general sonic world that Martinez has created for himself over the years, albeit with an even darker, more challenging ethnic flair.

Musically, Only God Forgives draws from numerous influences. Given the film's setting of the seedy Bangkok underworld, Martinez sought to bring in some authentic Thai sounds to the film's sonic palate. Though Refn originally intended the film's karaoke numbers to be American country hits (Johnny Cash's "Ring of Fire" and the like) he was thankfully swayed to allow Martinez the opportunity to explore routes more authentic to the setting. "Can't Forget", sung by the menacing Lt. Chang, comes across as the most traditionally "folksy" of the Thai numbers. "Falling in Love", on the other hand, plays like a light, modern pop effort. The best of the karaoke songs is "You're My Dream", heard in the end credits and composed and performed by the four-piece, Thai pop group Proud. Lullaby-like and haunting, the song is a stark contrast to the onscreen violence and generally dark demeanor of Refn's film.

For Only God Forgives' more tender moments (a phrase as inappropriate as they come) Martinez looked to German classical composer Richard Wagner for inspiration. The "love theme", heard in "Chang Vision" and "Crystal and the Bodybuilders" oozes melancholy like the darkest of Wagner's broodings. Interestingly enough, the theme was applied to two disparate sections of the film, one involving a prostitute and another involving Julian's mother, hinting at the character's unique maternal relationship. That or it might have dawned on Martinez that the closest this film comes to romance is a particularly unsettling, surreal masturbation scene. You'll also hear snippets of the theme's generally meandering chord progression in other tracks but these two signify its most prominent occurrences. What's more, these pieces afforded Martinez the opportunity to test the waters outside of his comfort zone, pushing the composer to make use of a live orchestra. Though budget constraints allowed only the main line of the "romantic" material to be played by the Bratislava Orchestra and the rest to be accomplished through synthesizers, it's still interesting to hear Martinez tackle an orchestra.

The film's most prominent theme, a minimalistic beat for electronics, percussion, and some Thai flavored twanging, is first heard in "Chang and Sword" but recurs numerous times during the course of the film. Also appearing in "Take It Off " and in variation in "Leave My Son in Peace", the theme reminds vaguely of the dark, pulsating moodiness of Cliff Martinez's Contagion (for instance, the low wailing effect at 0:56), albeit with a much more ethnically appropriate flair. A faster tempo in the second end credits track "Bride of Chang" causes the theme to remind slightly more of Contagion but the title, on the other hand, suggests that the cue is meant to be a companion piece to Martinez's Drive cue "Bride of Deluxe". The two share a similarly fast-paced beat, but Drive's "Bride of Deluxe" and Only God Forgives' "Bride of Chang" are clearly separate beasts..

To thicken the ambiance, Martinez predictably includes his beloved Cristal Baschet, an immediately recognizable, trademark instrument of the composer that produces varying ambient tones from oscillating glass cylinders. Though it crops up numerous places as an accent to other instruments, the Cristal Baschet takes the center stage in "Crystal Checking In" and "Sister, Pt. 1", the latter of which features an almost identical, slightly more melancholic rendition of "I Drive" from Drive. Also present is a tension upping, rolling percussive effect over synthetic growling and building organ heard in "Only God Forgives" and "Leave My Son in Peace". It's certainly an effective anxiety inducer and it works well in the film to enhance Refn's visually assaulting imagery. If you have a pension for classic horror scores, this bit should remind you of Goblin's iconic score for Dario Argento's Suspiria and the frenetic percussion in the cue "Witch". Indeed, Martinez sited Goblin as a major influence for the album's highlight cue, "Wanna Fight", in addition to composers Philip Glass and Ennio Morricone. A hypnotic piece centered on a core, ascending and descending synth line, "Wanna Fight" also makes use of an organ to truly nightmarish effect. That being said, though, the cue is an extremely minimalist exercise in score composition, proving quite repetitive and undergoing only minor variation ala the horror scores of John Carpenter. I have a feeling, however, that unrelenting and unpleasant was what Nicolas Winding Refn had in mind.

Cliff Martinez's score for Only God Forgives is a very good match for the film but as a standalone listening experience it will not be to most people's tastes. If you were a fan, however, of Nicolas Winding Refn's dark and divisive "experience" of a movie or if you are generally interested in challenging, experimental music, I would recommend exploring Martinez's score as it is an effective and unsettling extension of the downbeat tone of the film. Difficult but well-done, the score does a lot of the heavy lifting in this film and will likely have people arguing its stylistic merits for quite a while... and maybe that's the point.

Go to moviemusicmania . com for more great film score reviews! Happy listening!
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x9d543ce4) étoiles sur 5 Immediately after seeing the film in the theater... 23 septembre 2013
Par T. Hunter - Publié sur Amazon.com
Format: CD Achat vérifié
I knew that I wanted to buy the soundtrack as soon as I got home! It doesn't disappoint! If you liked the movie at all... you'll love the soundtrack. Even better than the Drive soundtrack.
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