Over the last few weeks, I’ve had the great pleasure of trying out Cinesamples’ Piano in Blue. I realised how much I liked this sampled piano very quickly, and I began to compose and arrange pieces just for it. Needless to say, that this is a very beautiful instrument, and the guys were truly right in capturing it. To show you why, I’ve put together a review, featuring both arrangements and original music.
By some strange twist of fate, I found myself reading through more than half of the Wikipedia article on the political positions of Republican presidential candidate Ron Paul. I knew little more about him than that he’s a religious, libertarian pro-life type of conservative.
Eventually, I reached the part where he’s quoted as saying that healthcare is not a right, it is a commodity like any other, and I thought to myself, how the hell does he reconcile that stance with believing in the sanctity of life?
Dirt and Roses was written for the feature film The Avengers, which I haven’t seen, but even if it had been for Lost In Translation, Tim would never be able to keep himself from writing politically charged lyrics. This time, the subtlety has been thrown aside for strong metaphorical, almost poetic, calls for actions and the bold statement that “if we sell our soul for gold, we’ll rue each day.”
I’m writing this after watching Monsters and the Abyss by Thomas Kirk on YouTube, more commonly known as the Amazing Atheist. In it, he seemingly reveals a desire to stop what he’s doing, whilst lamenting the fact that it’s all he knows how to do.
His reasoning is that in what he perceives to be his intellectual struggle against those who value their own sense of comfort and security above the truth, he’s become a monster of a similar nature, failing to abide by Nietzsche’s perennial advice; if you stare into the abyss long enough, it’ll stare back into you.
Jeremy Soule has been around for a long time now, but even with his diverse portfolio of soundtracks, most still know of him primarily because he’s arguably the composer of The Elder Scrolls series by Bethesda. Having recently scored the third instalment — almost 10 years since the first, Morrowind — now would be an excellent time to not only review the Skyrim OST, but also to make a little note on how the music has changed over the years.
I was reading this thread on The Escapist forums, and these people’s willingness to share very controversial opinions and feelings had me thinking; do we all not have these opinions, they’re just not socially acceptable for revealing?
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