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Author Topic: Music of Alien Covenant  (Read 14657 times)

Feb 14, 2017, 03:13:02 AM
Reply #60 on: Feb 14, 2017, 03:13:02 AM
"'Nature Boy' travelled to the wrong f**king planet."


Feb 19, 2017, 10:59:57 PM
Reply #61 on: Feb 19, 2017, 10:59:57 PM
Since Prometheus/Covenant/Mountains of Madness discussion came up in other thread n I happened upon this

This utub channel is by the composer btw


At the Mountains of Madness HP Lovecraft Orchestra and Choir Horror Music.

Graham Plowman - Composer
May 17, 2016

Full album of 15 Lovecraftian tracks: The Horror of H.P. Lovecraft, is available here:

This is a new extended version of At the Mountains of Madness, which features on the updated album 'The Horror of H.P. Lovecraft'. The original piece was one of the very first I wrote and was short. To bring it up to date with my current style and writing length (for Lovecraftian tracks), I extended it.

« Last Edit: Feb 19, 2017, 11:01:42 PM by Astronoë »

Feb 25, 2017, 01:50:30 PM
Reply #62 on: Feb 25, 2017, 01:50:30 PM
If they decide to follow Alien tradition and use classical piece
for ending scene, I myself would like to hear something like this :

Finale 36:30 -

Covenant slowly drifting into void, scenes of planets left behind, dark and gloomy;
Spoiler (click to show/hide)

T Dog
Feb 25, 2017, 02:56:43 PM
Reply #63 on: Feb 25, 2017, 02:56:43 PM
Ive heard that the music is minimal and industrial. A lot of metal on metal sounds.

That description comes from someone whos seen a bunch of footage and has a good knowledge of avant garde music.

Feb 25, 2017, 03:15:26 PM
Reply #64 on: Feb 25, 2017, 03:15:26 PM
Thats ok... I like industrial, ambient, electronic...

But despite that, they can always use some conventional classical/orchestral music for the ending...

Robert Ames   ...   conductor / solo viola / viola improvisation
Galya Bisengalieva   ...   solo violin / violin improvisation
Hugh Brunt   ...   orchestrator
London Contemporary Orchestra   ...   score performed by
Tommy Laurence   ...   additional orchestrator
Tony Lewis   ...   music editor
Steve Mair   ...   musician: double bass
Cliff Masterson   ...   conductor
Arabella Winter   ...   assistant music editor
Mark Jan Wlodarkiewicz   ...   music editor (uncredited)

Stings, a lot of strings and bass flutes, taking those information into account we can conclude that it is indeed going
to be dark, "metallic"/industrial in a sense but also very much natural, orchestral... BIOMECHANICAL music. :)

« Last Edit: Feb 25, 2017, 03:21:09 PM by Enoch »

Feb 25, 2017, 03:56:57 PM
Reply #65 on: Feb 25, 2017, 03:56:57 PM
I hope the soundtrack will have some distinctive melodies/themes, but I'm afraid not.

His soundtrack for Macbeth is nice, though it's also a bit of a drag. I hope Covenant sounds different.

Feb 25, 2017, 03:59:48 PM
Reply #66 on: Feb 25, 2017, 03:59:48 PM
Thats why I mentioned some classical influences... because of
them Jerry Goldsmith was a master of movie soundtracks...

You can not be a GREAT musician (no matter the genre) without the
knowledge of classical music and its essence.

Melodies, rhythms... etc. Todays composers try to depict whats visible on the screen (thus the melodies and themes are two dimensional and too anemic), once they used to look beyond, they depicted something deeper, something hidden within. As if they tried to connect single soul with the vast spaces of the cosmos in order to allow us (the viewers) to grasp some greater knowledge beyond the screen and visible images.

« Last Edit: Feb 25, 2017, 04:09:03 PM by Enoch »

Feb 25, 2017, 04:07:39 PM
Reply #67 on: Feb 25, 2017, 04:07:39 PM
I absolutely agree.

I wonder if he'll use themes from Alien or Prometheus. Probably not, I think it's going to be 100% original music.

Feb 25, 2017, 04:13:53 PM
Reply #68 on: Feb 25, 2017, 04:13:53 PM
I hoped to hear that mysterious and wondrous horn (from Life theme) again...
I would be very happy if he tried to convey some of the original Alien melodies, tunes and ideas...

For example, Allan Pettersson (1911-1980), greatest Swedish composer, shortly after the composition of above mentioned symphony no.7,  wrote this to Leif Aare, his friend and biographer (published in Nutida Musik), with his direct style : "The mankind today is a little boy starving on this earth, right now, and the music nowadays, it is the moaning of this child in this fair for vultures. This is what has been done by the adult man, the fatty and twisted man".

This is obvious example how true artist always tries to depict the deepest emotions and things which affects us all. They do not focus on one individual phenomenon but on the whole system... not only on one particular image but rather on the series of images and their deepest meaning.

Like that simple ending with strings, peaceful but bearing some uncertainty and gloominess.

Thats why Howard Hanson's second symphony "The Romantic" worked in the ending of Alien.
It is triumphant, calm, peaceful you can feel the element of relief in the geginning... but as it progresses it all grows slower
towards the end and turning into discomfort and anxiety... the fear for the future. Thats why its called romantic... containing both
specters of the feelings. Jerry's track intended for the end is also great but it only focuses on the aspect
of mysterious, on the uncertainty and pain, there is NOT that triumphant part, a melody of Ripley psychological relief.

Hanson symphony no. 2 - used in movie

Jerry Goldsmith alternate ending

Low strings, and that horns but primarily mysterious  trumpets, it almost
feels like Jerry is trying to ask the question is it really over, this was only one monster,
imagine 100 of them... In his music you can almost feel the fear of unknown, of vast universe
lying in front of Ripley.

His version is strongly influenced by another American composer and his famous piece:

Only the use of pure ambiance and metallic sounds and tunes is not enough for Alien movie.
With such "sounds" and soundscapes (that is not real soundtrack and musical composition) you can only depict one aspect of the atmosphere and maybe action but not psychological aspects of the characters which is in my opinion the most important thing to depict with soundtrack. Hope you all agree.

You can use music like (non-orchestral) this to convey and explore some emotions,
but I always feel like there is some small but equally important element missing.

Or perhaps this:

But its just sounds...

« Last Edit: Feb 25, 2017, 05:24:34 PM by Enoch »

Mar 06, 2017, 10:46:42 PM
Reply #69 on: Mar 06, 2017, 10:46:42 PM
Any news on the soundtrack? It's one of the few things we know almost nothing about.  :)

Mar 09, 2017, 12:19:03 PM
Reply #71 on: Mar 09, 2017, 12:19:03 PM
Could this be the song they used in recent trailer??

Eye spied over at IMDB.COM.....

Vairo - Raindance
Written by Vairo
Performed by Vairo
Courtesy of TEXTURA under license from Major Music Enterprises

It's utterly horrible :) What the hell is it?

May 20, 2017, 09:06:20 PM
Reply #72 on: May 20, 2017, 09:06:20 PM
my favs

Salt The Fries
May 21, 2017, 09:22:04 AM
Reply #73 on: May 21, 2017, 09:22:04 AM
I think this film might have delivered the very best score for an Alien film yet, that would have to placed second, only after Alien, just because how freaking influential it was. My favourites are The Medbay of course, Face Hugger, then Command Override (an emotional zenith of the film), but also Dead Civilization. Jed Kurzel did such an outstanding job. I can't praise him enough. Gregson-Williams, far more well-known composer wouldn't be able to match it. He'd be too conventional, too reliant on traditional elements.


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