I was able to finally sit down and listen to the “Godzilla Resurgence” score by Shiro Sagisu.
Sagisu’s score of this particular Godzilla movie has more of a Hollywood-style to it than just about any previous Toho Godzilla movie; and I believe, on some level, that may be intentional. I got flashes of Brian Tyler’s “The Expendables” and “The Expendables 2” scores during some of the tracks.
Sagisu has some real talent as he is able to capture the magnitude of chaos within the movie (or so I’m assuming as I’ve yet to see the movie). Some of the tracks are somber and majestic while others bring in a march-like beat–most likely signifying action sequences.
However, his inability to stay within a particular style (read also: vibe) makes the stand-alone listening experience a bit disjointed. Every maestro for every Godzilla score, including David Arnold and Alexandre Desplat, set the tone and theme early and work within those parameters. Sagisu doesn’t stay within those parameters and that’s cause for some of the disjointedness. Another factor in the listening experience being disjointed is the placement of nine Ifukube tracks throughout the score. I’m not saying the Ifukube tracks are the cause, but, rather, their placement is: They’re intertwined with Sagisu’s music. Typically, anyone scoring a Godzilla movie, who is not Ifukube, and uses some of his music [...]
This is our second G-Fest giveaway and I think you’ll enjoy the prizes we have this year:Brand new Godzilla score by Alexandre Desplat Gfantis figure (Gfantis is the kaiju mascot of G-Fan and G-Fest) A copy of World War Kaiju signed by John Finney and Kat Rocha
A big THANK YOU goes to Kat and Josh for being so awesome in providing their signatures for this giveaway!
How To Enter
It’s simple:Email us at firstname.lastname@example.org. Write “Contest” in the Subject line of the email. Then provide your full name, mailing address, and name of your favorite kaiju in the body of the email. *NOTE*: Multiple entries will disqualify you. You also need to provide all of the information stated or you will be disqualified. We can’t possibly email everyone back who may have forgotten one, or more, of the above requirements. We simply don’t have the time. So, please, look over these requirements before hitting the Send button. On August 8th at 1 pm EST, we’ll enter every contestant into a randomizer. The winner will be emailed notifying him/her that he/she has won. The winner will be announced on that podcast along with his/her favorite kaiju. The winner’s prizes will be mailed the following Monday or Tuesday. Please allow 4-7 business days for the prizes to arrive.
For a closer look at the individual prizes, see [...]
Michiru Oshima makes her debut scoring Godzilla X Megaguirus. Oshima also has the distinct honor of being the first, and so far the only, female to compose a Godzilla score.
Many fans consider Oshima’s work to be some of the best in the franchise, but only behind Akira Ifukube of course. Fans have cited her Godzilla theme as being one of the more iconic themes in the series and her attempts at capturing the action on screen is reminiscent of the Great Maestro, but with her own flare.
I must say that I’ve always found Godzilla X Megaguirus to be a lackluster film. There simply not a lot there. I find that there are some fantastic ideas, and some of them are explored; but, for the most part, I find that it falls short of achieving what could have been one of the most original and dynamic entries in the series since Gojira.
But the score is far from flat. Unlike the movie, the score is highly entertaining, powerful, and anthematic. It must be stated that quite a few of the cues Oshima uses here will be recycled in the two Mechagodzilla (Kiryu) movies two and three years later. She does make this score unique from those, however.
Track 24, “Submerged Shibuya,” is one of those tracks that adds the unique spark for this particular outing for Oshima’s triad of Godzilla scores. This cue will end up becoming the Meganula theme and, to a lesser extent, also Megaguirus’s theme. It’s a frantic track [...]