Funomenal Rear-view Contemplation: Best of Film & Game Music 2019

If I were to think back to where I was in 2009, as a reference point for the decade that has just gone by…time REALLY didn’t go by THAT quickly huh?

This year’s contemplation came a few weeks late, because of the seriously bipolar weather suffered by Australia: bushfires in December/January quickly gave away to thunderstorms and flash flooding, which promptly knocked out our broadband.

A lot has happened. A lot of stories I got to witness and tell. A lot of triumphs and a lot of bullshit. Music enjoyment-wise as a fan of film music and soundtracks, the gold plunder is evermore deep, and I always relished in finding new names making it big in the spotlight.

2019 was also a year of goodbyes, as multiple years-long franchises close their curtains on a bygone era. How To Train Your Dragon. The MCU. Star Wars.

In continuing one of this blog’s last longstanding traditions, I present to you: the best in soundtracks of 2019.

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Funomenal Rear-view Contemplation: Best of Film & Game Music 2017

You know…I went into starting this post with snippets of ideas for the intro: something snappy, a humorously depressing comment on 2017, and end it with a cheesy flavour of hope. But instead…I ended up with this.

I think I’ve sampled more albums than I ever did in 2017: more varieties of artists both old favourites and new discoveries, an increasingly diverse set of classical repertoires, genres and origins. That comes with good news and bad news, and I think the good news is kinda obvious already. But the bad news: I’ve listened to less albums COMPLETELY than the past two years, since there’s always something I want to jump onto prematurely.

Nevertheless, I think it’s best I keep up this tradition of massive yearly reviews, where I get to highlight the world of background music, and to continue bastardising this idiotic concept that such music ‘shouldn’t be noticed’.

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A Melodic Comparison: Film Music’s Many Invaluable Personalities | Joe Hisaishi, John Powell

(Page numbers are below the ‘related articles’ section. Please excuse its odd placing, as WordPress doesn’t allow me to alter its position.)

Note: this publication is a highly extensive and lengthy endeavour that invite readers to refer back to for analytical ideas. In other words, it is written with a sea of wiki-style links to additional readings, clips and videos, endless subject matters, tangents and covers a lot of ideas. I recommend that you bookmark this page for future reference, whenever you feel the need for some creative writing ideas, or just some music-based observations you find difficulty in analysing or putting your ideas into words. I hope my efforts help you in that regard.

A few months ago, I went on a tweeting rampage:

(You can find the entire tweet thread by clicking the time & date stamp.)

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Tale Time: Re-Awakening the Force Within Me

The thing about choosing home cities and time zones: The mere fact that you live 12 hours in the future of most U.S. release dates (which for some reason, are all the important ones for Pop culture), means that sometimes, you get to be part of a worldwide Funomenon (shameless plug haw haw haw): being among the first in the world to watch the newest Star Wars film. Interestingly enough, the most bizarre thing about this entire adventure saga for me personally, actually came from the ticket booking incidents. Sure, I will talk about my thoughts on the movie (FYI it was good, so no worries!), but being the ranter that I am, I need to start from the beginning: how a Star Wars casual scum suddenly decided to supposedly fight teeth and bones to watch the film on the 17th of December, a day ahead the rest of the world?

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