> LOL.

> I think if Linford had eschewed trying to use samples that sounded like
> orchestral instruments he would've been better off. That library of sounds
> did that album no favors. Morris' album didn't have the same 'my ears!'
> problem, and Holkenborg wouldn't even bother trying doing anything other
> than underground music for his 2007 entry.

Gonna ask something insane about a narratively light racing game score from a then green composer, but is there anything in the way of a thematic narrative from Carbon? I’ve specifically been looking into Morris (first Iron Fist, then Dragon Age Inquisition, next Olympus Has Fallen) to find his strongest works, and I’d be lying if I said that the thematic base didn’t make a huge difference for me.

> I'll admit ignorance played a part. But Con Air didn't show up in
> Rabin's album list on Spotify (it's in the 'appears on' section), and
> Armageddon I skipped because the commercial album is incomplete.
> And I think Jack Frost was only released on Rabin's 2020 box set
> Changes - physical media only. I will probably address the first
> two once I get to the end of the Remote Control era (2005-12), along with
> other odds & ends.

> I admittedly have enjoyed exploring Rabin's works more than I thought I
> would. It hasn't quite been the revelation that Mark Mancina's output has
> been, but the below ratings breakdown (including some stuff I haven't
> published yet) is still nothing to scoff at.

> **** - 2
> ***1/2 (4) - 1
> ***1/2 (3) - 3
> *** - 3
> Sub-*** - 2