Apparant Sunshine Soundtrack Release Date/Sunshine OST (where is it?)

[pafufta816]

Originally Posted by nosajmunson

Nice. I missed this bit during the broadcast.

About 2:39 seconds into The Bang's MP3 is proof positive for me that it is Underworld during the "Mercury sequence". That guitar is so beautifully mellow.

Eff John whatever his name is for trying to take credit for EVERYTHING.

i was pleased with karl's response about the ST, it was friendly and non-accusatory. i remember once a few years ago i asked martin atkins on his invisible forum if he planned on future collaboration with genesis p. orridge, and the response i got was something like (i'm not quoting here):
'his lawyers know where to find me blah blah'

i was a little put off by hearing a musician i enjoy spout some incoherent jumble about his bad relationship with another musician. music is an escape from mundane and taxing negative relations for me, it's best left out of the package.

[Flywaver]

This reminds me of Orbital and Michael Kamen film score for Event Horizon.
Very atmospheric too

[betablue2]

So-- sarcasm alert here, always good for a first post-- Underworld wrote "the majority" of the music... except for the main theme, the "separation theme," the "falling into the sun theme," etc.-- that is to say, ALL the primary musical cues. Cool. Sure.

I have one of the hundred "Sunshine" CD-R packets that John Murphy sent out, and I find it interesting that he included "28 Weeks Later" as a bonus disc but not "28 Days Later." Having read an earlier post in this thread regarding a possible falling out between Murphy and Danny Boyle around the time "Sunshine" was crawling its misbegotten way toward release, a theory: Murphy is rightly upset regarding the mix of tunes and artists on the album. Whoever designed the soundtrack for "28 Days Later" did a beautiful job: Murphy's material, the material from Godspeed You! Black Emperor, Brian Eno's "An Ending (Ascent)," and even the Smith-sounding poppy tracks over the end credits blend together extremely well. In contrast, the musical design of "Sunshine," as reflecting its poorly conceived story and shaky script, ranges from the lovely (I'm including UW's in-film instrumentals as well as Murphy's music here, so don't bother flaming me as a Murphy elitist) to the downright embarrassing: here we find "Peggy Sussed," which falls on the end credits with all the grace of a Steinway grand piano dropping onto a carton of eggs, and the absolutely unsuitable I Am Kloot song, for which Danny Boyle campaigned. (Side note: it could have been worse: Boyle originally wanted "Avenue of Hope" at the BEGINNING of the movie, which would have stopped the film's pacing dead in its already-wobbly tracks.)

So I can see why John Murphy was keen to get his own take on "Sunshine" out before the "official" release hits iTunes. Call it "Pearl Harboritis": yet another orchestral score chopped off at the knees by the insertion of a grotesquely inappropriate pop track over the final credits. (Here, again to shift some of the blame off UW, the I Am Kloot song is the more hideous of the two end-credit pop tracks: Look, Danny, if you couldn't make the audience care about Alex Garland's wafer-thin dimbulb characters during the film, trying to make us care at the end by cooking up a fan-vid quality clips homage with a crappy song pasted on top is not going to make things better.)

And a point of trivia for those whose brains haven't already exploded with fury: the studio's official name is Twentieth Century-Fox. Note the placement of the one hyphen. We're not dealing with a fox from the twentieth century; what we have is the merger of two film studios in the 1920s: "Twentieth Century" and "Fox." The century may have changed; the studio's long-registered, long-recognized name has not.

[BeautifulBurnout]

Originally Posted by betablue2

And a point of trivia for those whose brains haven't already exploded with fury: the studio's official name is Twentieth Century-Fox. Note the placement of the one hyphen. We're not dealing with a fox from the twentieth century; what we have is the merger of two film studios in the 1920s: "Twentieth Century" and "Fox." The century may have changed; the studio's long-registered, long-recognized name has not.

My brain didn't explode, but thank you for your concern.

You appear to have a big, fat agenda sticking out of your back pocket as you post, and that is fine. You dislike Peggy Sussed, (or perhaps it is just any "incongruous" tune, tacked onto the closing credits of a film? I can't quite pinpoint the issue), and that is a matter for you. I thought it worked well as a closing song because it is optimistic and upbeat and, after a pessemistic and sometimes harrowing tale, it reflected the hope of the final scene. I loved the music as a whole, no matter whether a particular bit was Underworld's or John Murphy's creation, and I am disappointed that I still can't buy the OST because of what seems to be, imo, narcissistic artist hissy fits about what HE wanted it to sound like.

If Mr Murphy was so unhappy about the soundtrack he ought, perhaps, to have withdrawn completely from the project. I am not familiar with the legalities of taking that kind of position, as it is not my area. I am sure he has cashed his nice big fee cheque for doing the work he did, so it is, again imo, sour grapes that he is now whining about it. He should have read the Ts & Cs of his contract and made sure he agreed them before embarking on the project. If he wanted absolute artistic control of the final output, he should have made that clear up front. The Director directs - sometimes they do an outstanding job in everyone's eyes, sometimes they don't - but the clue is in the job title.

On a side note, however, your facts are wrong. Twentieth Century and Fox merged in 1935, and dropped the hyphen at their 50th Birthday in 1985. I fail to see why this has any relevance in any case, unless you are referring to a jokey little throw-away comment Karl made during his recent radio show, which went in one ear and out the other for most people, until you brought it to our attention again.