![]() Reportedly, Waititi (by the way, if you don’t know who that is, close this review and watch “What We Do In The Shadows”… but come back after that… please!) viewed the film as a modern “Flash Gordon” and would have loved to get Queen for the soundtrack, but since Freddie Mercury is not among us anymore, he went for Mothersbaugh who jumped immediately on the chance to work with Watiti after having seen “What We Do In The Shadows” and “The Hunt For The Wilderpeople”. As pleased as everyone was, nobody expected this, but if you have heard his two “Cloudy With A Chance Of Meatballs” scores, you knew you were up for a treat. Hiring Mark MothersbaughĬue the huge gasp of surprise as Mark Mothersbaugh got confirmed as the new composer. He did make the effort to use that theme in “Age Of Ultron” at least, so that must count for something.Īfter “Age Of Ultron” however, there has been some yet-to-be-cleared-up fallout between Tyler and Disney, so Tyler got the boot as well and all bets were off for the third “Thor” movie. I mean, it’s not like we’re living in a world where John Williams turned his creepy-ass Emperor theme from “Return of the Jedi” into an annoying happy-sappy children-song in “The Phantom Menace”, right?Īnyway, Tyler’s entry was pretty well received overall, although criticized for his kinda standard-theme. Tyler then ditched Doyle’s theme, making the nonsensical claim, that they wouldn’t fit the more grown-up and developed Thor now because thematic development apparently is non-existent. When Branagh wasn’t hired to helm the sequel, the studio brought in Carter Burwell, only to discard him for Brian Tyler (who scored “Iron Man 3” the same year in a desperate try to make him the main Marvel composer). Since Kenneth Branagh directed the first installment, Patrick Doyle went along with him, instructed by Marvel to make his best Steve Jablonsky impression (yet somehow, fortunately, delivering a pretty good score). The MCU and Thematic ContinuityĪs with any character in the MCU, Thor’s thematic structure was basically non-existent. Sufficient to say that the film did what every Marvel movie does: Make a whole flip-ton of money! Critics, audiences, and wallets all over the world love this movie, as did yours truly (it might be my favorite MCU movie to date). Because the world might not deserve Jeff Goldblum, but god knows we desperately need more Jeff Goldblum. AudioQuest DragonFly : USB Digital to Analog Converter, up to 96kHz/24-bit.Read also: Mark Mothersbaugh's film score for Thor: Ragnarok out now Embracing The Oddityįollowing the success of the two “Guardians Of The Galaxy” movies, “Thor Ragnarok” stopped taking its title character serious (well, as serious as an MCU-movie could be) and just embraced the ridiculousness of a blond hammer-wielding demigod from outer space throwing lightnings around like a crazy person and going on adventures with a green rage-monster called ‘Hulk’ and just hired director Taika Waititi and cast Jeff Goldblum.Meridian Explorer : USB Digital to Analog Converter, up to 192kHz/24-bit.JRiver : plays both AIFF and FLAC formats, $50 but has a free trial period.Audirvana : plays both AIFF and FLAC formats, $50 but has a free trial period.iTunes : plays AIFF, it's free and you probably have it already!. ![]() You may need additional software / hardware to take full advantage of the higher 24-bit high-res audio formats, but any music lover that has heard 16-bit vs 24-bit will tell you it's worth it! Software for Mac OS X ![]() ProStudioMasters offers the original studio masters - exactly as the artist, producers and sound engineers mastered them - for download, directly to you. When you listen to music on a CD or tracks purchased via consumer services such as iTunes, you are hearing a low-resolution version of what was actually recorded and mastered in the studio. High-resolution audio offers the highest-fidelity available, far surpassing the sound quality of traditional CDs.
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