if anything, Final's soundtrack might be a more classical Genre approach rather than say a more modern up-beat range of songs like throughout the other Rebuild films (and im not saying anything along the lines of a dubstep Komm Susser tod) but songs like; Kanon D Dur (or more known as 'Kanon in D'), Suiten fur Violoncello solo or even a piano version of; Jesus Bleibet Meine Freunde put somewhere at the end of the film. But somehow, I could also hear 'Star' from the Refrain soundtrack at the climax of the film or like how End of Evangelion had 'Thanatos if I cant be yours' half way through the film. But, I honestly have a more positive outlook on how the Final film is going to end--so I cant imagine Shirou Sagisu and Anno using remakes of any of the End of Evangelion songs...

Not even KST? Maybe there will be an Anti-KST. Same lyrics same singer different lyrics and meaning to fit Final.

I'd be super happy if we get "Fly Me to the Moon" again, the original from NGE (while I like Utada, I don't like her rendition of the song).

Rather than look to the past, I'd love to hear Sagisu expand upon the sound of "God's Gift". Electronic elements grounded with strings could create a really compelling score.

Chroma wrote:I'd be super happy if we get "Fly Me to the Moon" again, the original from NGE (while I like Utada, I don't like her rendition of the song).

^ I partially second that. As I do prefer the Utada Hikaru version... but the Fly me to the Moon version done in the Eva Vox Album by loren and Mash (the Tumbling down mix) would be awesome

*My first post here, sorry if this is misplaced or anything rule break-y.*

So, was watching the video for the song Leave It Alone by Broken Bells, and noticed the imagery evoked a lot of the same visual cues as EoE and the Rebuild series.

[url]http://www.youtube.com/watch?v=E36_UiCiIxk[/url]

Notably: Shapes similar to the Angels, a sort of red liquid being all that's left of an empty world, the red goo coalescing into a giant ball and nude figure while ascending into the sky. Overall very Instrumentality-ish. The lyrics themselves telling a similar tale (IMO) to Shinji's journey from the end of 2.0 up through 3.0 I won't go into, words are a lot more up for interpretation on this I think.

Anyway, aside from wanting to share this with you guys (and more OT), I think I'd prefer something we haven't heard in the Eva series up until now over Komm, süsser Tod/other callbacks from the franchise, should we get a 5th (completed 4th?) Impact and Instrumentality scene. We've heard the pop-impact, the uplift'mpact, and a classical rendition. Something similar to Leave It Alone could make for an interesting indie-pact. Okay, I'll stop that.

Clover wrote:The more I listen to them, the more the Rebuild soundtracks remind me of video game music, especially with the need for epic choir in every 3.0 song. They also seem too... melodic? When you listen to a given track from any of the movies, it doesn't flow with the action in a natural way. The song follows its course like they wrote it and later decided it would go well with a given scene, instead of scoring the film after the fact. It's not bad music, but it makes me feel like I'm watching a video game cutscene instead of a high budget theatrical film. I really don't want to pick on 2.0, but it has the biggest issue with this; the giant monster attacks are given final fantasy music. There's no musical cues or any association with the onscreen action. They have this big 15 minute action sequence against one monster, but instead of giving the battle a coherent musical identity (bs term I don't know how to describe it) they wrote 4 completely different songs that were 'epic' and had them playlisted in the background as the boss changed forms.

What I want in 4.0, but am guaranteed not to get, is an actual film score.

quite frankly.... this is EXACTLY what i love about the rebuilds scores i think it works and its absolutely amazing. the final battle in 1.0 and 4th impact in 3.0 especially, 2.0 i LOVED its use of a slightly metalized version of the beast 2 theme, while i have warmed up to it a lot i cant not fault anyone who thought the give me wings song during 3rd impact in 2.0 was out of place.

sorry to disagree, but well, ive been thinking my self how at times like movie trailers and there music over what we see seems to just get me more pumped and excited than scores in scenes and actual movies, and for me i think the rebuilds (which i just watched this weekend) seemed to find the perfect balance between them

movieartman wrote:while i have warmed up to it a lot i cant not fault anyone who thought the give me wings song during 3rd impact in 2.0 was out of place.

NOOO it was like the best part of that whole movie! It added so much pathos to the scene! And when you consider what the event sets in motion it's really really fitting! We now return to our regularly scheduled topic.

Monk Ed wrote:NOOO it was like the best part of that whole movie! It added so much pathos to the scene! And when you consider what the event sets in motion it's really really fitting! We now return to our regularly scheduled topic.

i agree, it just took me out of the scene for just a moment when it began as it went along it merged with the scene much better.

If Final ends up mirroring EOE or at least being very similar I want that dubstep remix of KST that everyone hates. And no I'm not joking, I actually like it. It has a very dream like quality to it and if used right it could give the film a very surreal atmosphere while also being a great call back to EOE.

Yeah. . . I guess we are in a minority when it comes to liking that. But Dubstep remixes are a real love it or hate it thing. An original dubstep song has a lot less to live up to, a remix of a popular song already has the preconceived expectations of the fans of the original song. I like Arianne's "Smash The Box" remix myself, although I can understand why some people hate it. Can someone do a dance remix, or get Skrillex or D3eadMaus on that?

It would be awesome visually, but we already got instrumentality in the original series. Expectations have been raised much higher since the 90's.

Again, even if KST only shows up in the end credits or as a bonus track on the Final OST, I'll be happy.

LightDragonman wrote:As for FINAL music, maybe they could go for a triumphant repeat of Beautiful World or Cruel Angel Thesis.

I've always thought a Cruel Angel's Thesis for 5th Impact and Beautiful World for the final sequence would be good. It's fun to imagine an epic KST style rendition of Cruel Angel with a unique new impact to go along with it. Beautiful World would fit with a scenery porn "rebuild" of the Earth at the end.

Shiro Sagisu will convince Anno to use the "Peaceful Times" melody again. Even if its just a slow piano solo at a pivotal moment for Shinji in the movie.

It would be funny if he put it at the very end, over a black screen. The fans would go nuts.

Q was almost an entirely new score. A couple of tracks resurrected from Nadia, return of Ode to Joy and Jikai Yokoku, a motif from NGE's score snuck into one or two tracks, but I think that was about it. I don't expect to see much referencing to NGE's score at all in Shin.

ElMariachi wrote:Actually, it was from a very early proposal in which Asuka was supposed to die from the Bardiel incident, and Shinji would got to see Asuka extracted from EVA-03's entry plug, like with Toji in NGE... except that she would had her face ripped off for him to see.

The scene made it to the final storyboards (in which Asuka explicitly survived the incident), and it even seems that Sagisu created score for it (listen to the end of the extended version of "Kyou no hi wa sayonara"; it fits perfectly). Asuka survived getting her face ripped off. Somehow.

Clover wrote:The more I listen to them, the more the Rebuild soundtracks remind me of video game music [...] When you listen to a given track from any of the movies, it doesn't flow with the action in a natural way. The song follows its course like they wrote it and later decided it would go well with a given scene, instead of scoring the film after the fact.

I may be mistaken, but I think this is an "issue" with Japanese soundtracks in general. From what I've sampled of Japanese musical scores (admittedly limited in scope to mostly anime and video games...), they tend to be written precisely as you describe. They seem to care more about evoking mood than having the action complemented with any kind of Looney Tunes-esque precision. I vaguely remember Joe Hisaishi allude to a fundamental difference between Hollywood and Japanese scoring techniques, when he was brought in to rescore Laputa for the Disney dub, but I don't have the time to dig around for that interview at the moment.

I don't think that the difference in philosophies is actually a bad thing. It would be boring if everything sounded like a Hollywood film.

(I don't quite understand the comparison with cut scenes and Final Fantasy, considering a lot of Final Fantasy cut scenes have had music written specifically to accompany them. Then, I haven't paid much attention to the franchise after the 90s ended.)

I felt the opposite, really. When I watch NTE, I always feel like the music was written for the moment, and not the other way around (or with total lack of communication.) However, to your first note, we can probably expect to find one piece of NGE music in Shin. Just as a final callback.

Seeing as how the NTE films all feature musical callbacks to Anno's prior works, I expect the following out of the Final OST:

-More recycled cues from NGE, specifically, any variant of Decisive Battle, Borderline Case, Thanatos, Rei's Theme, or any other oft used cue from the series.

-Musical references to Gunbuster, the only major Anno-directed anime to have not yet received a significant musical reference. Being that Shiro Sagisu did not compose Gunbuster, this might not come to be.

-More original music composed by SS (this is a given).

-KST may or may not make an appearance, but it might make a cameo or referenced in a subtle manner, same with ACAT.

Decisive battle has appeared in every film, IIRC.

If its about classical compositions for FINAL, then Haendel's Sarabande can also work.

https://www.youtube.com/watch?v=44Mx3yg8hoM

The music from Until You Come to Me was pretty good, minus the steel drums which just remind me of The Little Mermaid. I want more subdued music like that for Final, and less POUNDING EPIC VOCAL ARRRRRGGHH music.