“Vibrant, romanticized, diverse fantasy classic”

The trouble with creating a superb score is that composers often get asked to repeat it. Those who don’t believe me can look to the proliferation of Media Ventures action scores post-Crimson Tide.  After writing Star Trek II and receiving heaps of praise for it, James Horner was asked to form a score for Krull based on almost the exact same template, and critics of the score are correct in pointing out numerous stylistic and thematic similarities.  Many string parts in the main titles mirror how the former film opened, some percussion work for the villain sounds like more subdued work for Khan, and some secondary themes are reused (e.g. the end of “Kirk’s Explosive Reply”).  Yet to Horner’s credit the score is so infectiously enjoyable, not to mention chock-full of a number of interesting elements not featured in ST2, that most similarities cease to be bothersome.

Vibrant

Central here is a vibrant, romanticized approach, not necessarily in the exact style that would dominate most of Horner’s lush dramatic scores of the 90s but still similarly enjoyable.  The score’s main theme is a wonderful flowing melody, the kind that rarely gets explored in such length these days and always gives you a sense of joy to hear; after all the uneasy material in the latter half of the first album, “Leaving the Swamp” makes for a beautiful sense of relief.  It’s downright exhilarating when taken up with a full orchestra in the main titles and the lengthy “Ride of the Firemares”.  If only it showed up more!  Ah well, there’s still the sensational brass fanfare assisting the heroic feel, making one actually feel like the cavalry is charging right out of your speakers.  And who’s really going to gripe when the accompanying love theme is so beautiful?  Blending such a lush string theme with a gliding, graceful backup of piano and woodwinds to start and a lush orchestral backup in later cues is an easy way for one to forget the main theme is gone.  Certainly these elements were repackaged into a lovelier, more mature whole in the composer’s future score for Willow, but even with that hindsight these elements are still exceptionally executed.

Comparison to Khan

The action and the villain material will likely draw the most comparisons to Khan, although here Horner’s extended ruckus is less harsh and more melodic at times (still just as addictive as well!), a style that would extend to his later action fare in The Land Before Time and Willow. The driving use of the brass and strings make “The Slayer’s Attack” downright thrilling even if the former is somewhat indebted to Gustav Holst’s Mars.  Following cues like “Battle in the Swamp” and “Battle of the Parapets” amp up the thudding percussive and exuberant brass for an equally electrifying feel.  The final three action cues are certainly relentless but feature enough variation and excitement to overcome any exhaustion, e.g. the swelling grandeur in the middle of “In the Black Fortress”.  The actual villains don’t get a real theme, rather being dominated by the Mars-like pulse, bellowing choir (see the close of “The Slayer’s Attack”, and (surprisingly) effective electronic hits.  Considering the strength of the stylistic elements and how good the rest of the material is, this registers only as a minor disappointment.

Conclusion

What definitively separates this score from Khan is the diverse fantasy element throughout.  The brilliance here is how music is both wondrous and menacing, often towing the line between the two parts in the same cue as with “The Changeling”.  The high-pitched choir make for an ethereal start to “Quest for the Glaive” and “The Widow’s Lullaby”, though the more complex final three minutes of the former feature the stronger highlight, a dense buildup towards a mammoth explosion of awe and beauty. “The Walk to the Seer’s Cave” and “Quicksand” glisten with near meditative wonder.  The downright menacing side of the score is fantastic as well, with the horrific choir and dissonant string and brass hits in “The Widow’s Web” making for a growling rebuke of the score’s romantic sensibilities.  It also makes the following highlight “The Widow’s Lullaby” seem even more magical.  And bravo to the composer for not letting the love theme exist only in sappy-romance-land, instead twisting it into uneasy situations like the suspenseful “Vella” and the dark brass of “Lyssa in the Fortress”.  Considering all the dense, varied and gorgeous elements within Krull, as well as The Land Before Time Willow, it’s no wonder Horner was offered the chance expand in other fantasy world like Harry Potter and the Lord of the Rings, though his refusal to explore either does have the effect of making a classic like this even more valuable.

Album Situation: Good luck finding any of its albums for a cheap price.  The 2-Disc album remains the best bet (and the only one I’ll list) since its complete presentation features few superfluous moments

2-Disc Album (93:04)
Disc One
1. Main Title and Colwyn’s Arrival (7:35)
2. The Slayer’s Attack (9:20)
3. Quest for the Glaive (7:24)
4. Ride to the Waterfall (0:54)
5. Lyssa in the Fortress (1:29)
6. The Walk to the Seer’s Cave (4:11)
7. The Seer’s Vision (2:19)
8. Battle in the Swamp (2:41)
9. Quicksand (3:39)
10. The Changeling (4:05)
11. Colwynn and Lyssa – Love Theme (2:35)

Disc Two
1. Leaving the Swamp (2:01)
2. The Widow’s Web (6:20)
3. The Widow’s Lullaby (5:03)
4. Vella (3:47)
5. Ynyr’s Death (1:42)
6. Riding the Firemares (5:23)
7. Battle on the Parapets (2:53)
8. Inside the Black Fortress (6:16)
9. The Death of the Beast and the Destruction of the Dark Fortress (8:32)
10. Epilogue and End Title (4:50)

Listen to Krull by James Horner below:

Find more videos like this on Soundtrack Fans

“As far as horror efforts go, this is definitely above average, but not much more.”

The horror scores keep on coming in 2009, and it’s a great thing. New on the list is composer Ramin Djawadi with his first ever true horror score. Yes, ladies and gentlemen, it’s a horror debut! Isn’t it exciting!? Yes alright, he did the score to Blade: Trinity which is in the horror genre of sorts, but The Unborn is his first real horror movie score. Let’s see if Ramin Djawadi can fill the shoes of the horror greats.

Track List

1. The Unborn (*****)
   
2. The Glove (*****)
   
3. Jumby Wants To Be Born Now (*****)
   
4. Twins (*****)
   
5. Mom’s Room (****)
6. Barto (****)
7. Possessed (***)
8. Experiments (***)
9. Breakin Mirrors (****)
10. Dybuk (****)
11. The Doorway’s Open (****)
12. Sofie’s Letter (****)
13. Medicine Cabinet (***)
14. Bugs (***)
15. Book Of Mirrors (***)
16. Circle Of Trust (***)
17. Hex Or Schism (***)
18. Inhabit The Helpless (****)
19. Sefer Ha-Marot (***)
20. Casey (****)

The Beginning

Let’s start at the beginning, and it’s a great one at that. The opening theme ‘The Unborn’ is a nice introduction for what’s to come. It’s creepy and also features an interesting, but unremarkable theme. Perhaps the favourite parts of this cue are the non-thematic parts where Ramin Djawadi just plays on atmosphere with an excellent percussion beat. Moving on, there’s ‘Glove‘ which has no apparent thematic parts (almost), just ambience, but creepy ambience at that. It works well within the context and builds on to make it a hopefully great score.

Jumby is a creepy character and ‘Jumby Wants to be Born now’ helps with that fact. It’s a scary tune which is why I like it. I am not going to listen to it much, but its right up there with the best of what Christopher Young does in The Uninvited. ‘Twins‘ is another one those creepy must-have cues on horror scores, but Ramin does well by keeping it nice and tidy. He doesn’t go overboard with the dramatic violins in a random fashion, at least not yet.

Leave us Hanging

Unfortunately after setting the mood, Ramin Djawadi leave us hanging a bit and forming our own thoughts on what could have been greatness. What Christopher Young did so well in The Uninvited was keeping is tight and strong, but in The Unborn, it all declines rapidly. There are many examples of this like the cues ‘Possessed‘ and ‘Experiments‘ which tries to be scary, but it fails in that respect. As atmospheric builders, they work to an extent, but this score is filled with them. Almost pushing it, but leaves you hanging.

‘Hex or Schism’ is the longest cue on the score and it’s the perfect example of this score’s lack of “something”. It lacks an overall scariness and it lacks themes. There’s a point in there where you can sense some voices, that’s pretty scary, go with that Ramin! Other than that, it’s just endless ambient sounds that almost gets you there, but gives you no emotional response. I have to say that if I reviewed this as heard in the film, the score would be much higher. It’s a decent movie and the score builds up great atmosphere, but I like the music to be present in an off-movie setting as well.

Conclusion

The Unborn is a score of divided attention. There’s the score written for the movie and then there’s the score written for the rest of us, or is it? As far as horror efforts go, this is definitely above average, but not much more. It doesn’t scare me enough, nor does it move me with emotional thematic pieces. I sound a bit negative in this review, but it isn’t bad, just doesn’t move me the way it should.

Listen to The Unborn by Ramin Djawadi below:

Find more videos like this on Soundtrack Fans

I admit that it’s hard to pick out the 5 worst film or TV scores. Ok, the nr. 1 and nr. 2 stood out for me, but the next 3 was much harder. The scores could easily have been replaced by other equally mediocre scores.

But before we go with my choices, here’s the critics choice of the worst 5 scores so far:

05. The Last House on the Left by John Murphy (53/100)

“Supposed action cues Looking For Krug and John V Krug are let down by repetitive string dirges and relentless buzzing.” – Danny Graydon, Empire

Well it’s a decent score I think. Nothing special about it and certainly not John Murphy’s best score. If you want a great horror John Murphy score, go with La-La Land’s recent release 28 Weeks Later instead.

Best cues: Opening Titles, The Pool, The Boathouse

My Rating: 60/100

04. Watchmen by Tyler Bates (51/100)

“A score-only album of 45 minutes of material meanders between genres indiscriminately, likely limiting its appeal to concept loyalists.” – Filmtracks

Well well… I could have guessed the critics didn’t like this one. I on the other hand quite enjoyed this. It had some good cues in there to keep the quality quite high.

Best cues: Rescue Mission, Prison Fight, I Love You Mom

My Rating: 70/100

03. The Unborn by Ramin Djawadi (50/100)

“The album as a whole turns into the same sort of dull ambiance that defines the vast majority of modern horror music.” – Clark Douglas, Movie Music UK

Again, I don’t really agree. There’s some ambience there, but it has to be. You can’t score a horror movie without ambience. Besides, some of the ambience is quite nice and scary. There’s a good theme in there as well.

Best cues: The Unborn, The Glove, Twins

My Rating: 60/100

02. X-Men Origins: Wolverine (49/100)

“This seems to be a case of just going through the motions – there’s nothing even vaguely unique about it.” – James Southall, Movie-Wave

That sentence from James says it all really. It’s just going through the motions without really going anywhere. At the first listen I thought that it wasn’t so bad, but I soon realize that my high hopes for this score got in the way of my better judgment. Sadly not near Harry Gregson-Williams best…

Best cues: Logan Through Time, Wade Goes to Work, Kayla

My Rating: 50/100

01. Underworld: Rise of the Lycans by Paul Haslinger (39/100)

“Underdeveloped and underachieving. Those are two words I would use to describe this soundtrack.” – Jørn Tillnes, Soundtrackgeek

This is the clear winner so far in the worst of the worst. It isn’t my choice of worst, but it’s a very disappointing score with hardly much to shout about.

Best cues: Lucian and Sonja’s Love Theme, The Wolve’s Den, Per Aspera Ad Astra

My Rating: 40/100

So that was the critics choice for the worst of the worst. Agree or disagree?

Here’s my top (bottom) five:

05. Super Capers by Nathan Lanier

The score itself is fine, but almost all the cues are ruined by talking. I’m sure it’s supposed to be funny, but it is really annoying. Sometimes it works, sometimes it doesn’t and this is one of those times.

Best cues: Main Theme, The Throne Room, The Bridge

Critics Say: Don’t know and couldn’t care less…

My Review: Ain’t gonna happen…

04. JCVD by Gast Waltzing

I do love Jean Claude Van Damme… back in the 80s! Coupled with composer Paul Hertzog he was invincible. This film is supposed to be an artsy comedy and it’s enjoyable, but I simply can’t like the jazzy/funky score.

Best cues: JCVD Theme, JCVD Theme II, JCVD Theme III

Critics say: Only one review that I’ve seen from KQEK and they seemed to like it. Hmmm…

My Review: Nah… but some of his 80s/90s scores might appear…

03. My Bloody Valentine 3D by Michael Wandmacher

Not my favorite horror score to put it mildly. It felt like a big step backwards after scores like Marco Beltrami’s The Eye for example. It was hard to get through it all without hitting the volume button down a few notches. It’s noisy, loud and simply too complex. Then again, maybe I’m not smart enough to judge it.

Best cues: Buried Alive (Main Titles), Prodigal Son, First Responder

Critics say: I’m the only one who has reviewed it (to my knowledge)

My Review: My Bloody Valentine 3D Soundtrack Review

02. Crank: High Voltage by Mike Patton

Mike Patton is too experimental for me. I don’t really know what to do with a score like this. Is it funny? Yeah it can be, but it’s also painfully strange and weird and strange and weird! If you’re a fan of Mike Patton, then this will give you a kick I’m sure.

Best cues: Sweet Cream (Redux), Tourettes Romance, Epilogue in My Dreams

Critics say: IGN loved it while FSM disliked it. That’s true of this score. You either love it or hate it.

My Review: Nope

01. He’s Just Not That Into You by Cliff Eidelman

I’m usually a fan of Eidelman’s work, but I just don’t like this score. Sorry Cliff! The things I don’t like about it is that it doesn’t really go anywhere, but keeps up with the light comedy cues. There seems to be no real purpose. It doesn’t entertain or evoke any emotions…

Best cues: Not to be Trusted, Are you going to marry me, End Credit Suite

Critics Say: No reviews… probably for the best.

My Review: Doesn’t look like it’s happening…

So there you have it… the worst of the bunch. Have your say… what do you think is the worst of 2009 so far?

Yesterday was all about the critics, my peers. As interesting as that was I bet you are wondering how much my top 10 list will be different from that. Quite a bit!

2009 has been good to my ears and mind. So much good stuff has been released this year and still only half-way in.

So here’s my top 10 for the first half of 2009:

10. Heroes by Wendy & Lisa

I’ll start with a TV show that once was great. It’s true I don’t watch this anymore, but the music, or the real music I should say, is finally here. Last year the soundtrack to Heroes was released, but it was a various artists soundtrack that didn’t have much to do with the show. Finally the score is here by Wendy & Lisa and its great!

I don’t know why critics don’t like this… why!?

Best cues: Peter, Claire, Mohinder

Critics Say: 60/100 (27^th best score so far this year). They are not happy!

My review: It’s coming!

09. Home by Armand Amar

A wonderful score to a great documentary by French composer Armand Amar. A great companion to earth, our home.

I highly recommend this and other work by Armand Amar. He is truly a unique and great composer.

Best cues: Home Part I, Home Part II, Home Part IV

Critics Say: Not much! I’m the only one who has reviewed it so far…

My review: Home Soundtrack Review

08. The Taking of Pelham 1 2 3 by Harry Gregson-Williams

Hated by critics (I think…), loved by me. I don’t know if it’s the awesomeness of the sounds or the subtle but extremely tense cues that gets me. It’s Harry Gregson-Williams at his action/thriller best.

Best cues: The Train Leaves the Station, The Lights are all green, Manhattan Bridge

Critics Say: Don’t know! I’m the only one who has reviewed it to my knowledge, but I bet it won’t be a pretty sight when the critics sharpen their knives…

My review: The Taking of Pelham 1 2 3 Soundtrack Review

07. Outlander by Geoff Zanelli

A limited release by La-La Land records swooped in and grabbed my heart and mind. I kind of cheated since I watched the movie a long time ago and pleaded for its release. For a small release it sounds pretty epic! It has those sweeping moments, great action cues and wonderful themes.

Best cues: Setting the Trap, Killing the Beast, Kainan Becomes King

Critics Say: 73/100 (11^th best score so far this year). The critics are pretty pleased as it almost got into the top 10.

My review: Outlander Soundtrack Review

06. Terminator: Salvation by Danny Elfman

Oh Danny boy… Where have you been hiding these skills? Don’t get me wrong, Danny got skills, in the fantasy genre, but this is a whole new can of whoop-ass. A simply awesome action score from start to finish, well-polished and delightful.

Best cues: Opening, Marcus Enters Skynet, Final Confrontation

Critics Say: 68/100 (17^th best score so far this year). Not a bad score by something so un-Elfman’ish. Some hated it, but most seem to like it.

My review: Terminator: Salvation Soundtrack Review

05. Angels & Demons by Hans Zimmer

Hans you did it again! I know most people disagree, but I think Angels & Demons is a better score overall than The Da Vinci Code. So the marvelous theme Chevalier De Sangreal is hardly used at all, but so what? This score is more explosive and a bigger better package.

Best cues: I60 BPM, Black Smoke, Science and Religion

Critics Say: 66/100 (24^th best score of the year). Ouch! Most critics don’t like this very much and I really can’t understand why.

My review: Angels & Demons Soundtrack Review

04. The Tudors Season 2 by Trevor Morris

Another wonderful TV score by Trevor Morris. The first one was of course season 1, but this is a better score overall. Mr. Morris took it up a notch integrating the main theme and added more drama and more bang for the bucks. Well done!

Best cues: And so it begins, The shape of things to come, Anne Dreams of her Childhood

Critics Say: Unfortunately no one seems to bother reviewing this marvelous score…

My review: The Tudors Season 2 Soundtrack Review

03. Star Trek by Michael Giacchino

I really love this score. Star Trek is back! At first, I was a bit disappointed, because I really love the Star Trek universe and its many scores. I’m glad I was proved wrong (to myself). This is an epic and wonderful score which embodies what s beautiful about the Star Trek universe. Great themes and the best bad guy theme in a Star Trek movie so far. It is the best Michael Giacchino score I have ever heard.

Best cues: Labor of Love, Nero Sighted, End Credits

Critics Say: 75/100 (8th best score so far this year). The critics agree. Inspiring work by Mr. Giacchino!

Jon’s Review: Star Trek Soundtrack Review

02. The Lazarus Project by Brian Tyler

What a super super score by Brian Tyler. I dare even to be so bold as calling it his best work so far. Yes even better than Children of Dune… or is it? In any case, this is extremely inspiring and has a nostalgic, but modern feel about it. I really can’t recommend this score highly enough.

Best cues: Jaybird, The Lazarus Project, The Lazarus Project End Title

Critics Say: 80/100 (6^th best score so far this year). Critics love it, so do I!

My review: The Lazarus Project Soundtrack Review

01. Transformers: Revenge of the Fallen by Steve Jablonsky

Like you didn’t know? I think I’ve almost broken my mp3-player which is now strangely avoiding this score in my random playlist. No wonder, because this has been going non-stop since I’ve first heard it. I love it so much, and I can’t believe Jablonsky bettered the original. It was a tough and bold decision to take away some of the thematic from the first cue and replacing it with bigger and bolder, yet somewhat experimental cues, but it paid off!

Best cues: Nest, The Shard, I Claim Your Sun

Critics say: 64/100 (25^th best score so far this year). Pfff, what do the critics know anyway!

My review: Transformers: Revenge of the Fallen Soundtrack Review

Tomorrow I will do part 3 which will be called THE WORST!

Other scores I recommend you listen to:

Total number of reviews: 233

Most reviewed soundtrack: Star Trek by Michael Giacchino (20)

Average score from 233 reviews: 70

The last statistic is interesting because if you take all of last year as a whole, the average was 66. It has improved, but it’s not entirely accurate since we’re just halfway in, but it looks promising.

Star Trek is by far the most reviewed soundtrack so far in 2009. Angels & Demons by Hans Zimmer and Watchmen by Tyler Bates are in second place with 13 reviews each.

In this roundup I have chosen to go with TV and Film scores only. There simply aren’t enough sources for a proper Video Game roundup at the moment.

Let’s start with the critics top 10 list for the 1^st half of 2009:

10. The Uninvited by Christopher Young (73/100)

“This is such a fine score, such classy music; if you find yourself questioning whether you really need another Christopher Young horror score, then question no more – you do. You need this one.” – James Southall, Movie-Wave

I agree with James. It’s a great horror score with some great thematic stuff in addition to the scary parts. Some cues in here are so scary that I’m afraid to listen to them.

Best cues: The Uninvited, I’m at a party, The Screaming Bell

My score: 80/100

09. Lesbian Vampire Killers by Debbie Wiseman (74/100)

“I can’t recommend Lesbian Vampire Killers highly enough, especially when you compare it to the majority of the Hollywood fare which has accompanied genre films lately.” – Jonathan Broxton, Movie Music UK

Jonathan is right on the money. This one is a surprise hit score to a bad movie which is probably why not a lot of people aren’t praising about this one.

Best cues: Centuries ago…, Vampires? Lesbian Vampires!, Lesbian Vampire Killers

My score: 80/100

08. Star Trek by Michael Giacchino (75/100)

“Giacchino’s is an energetic and exuberant orchestral soundtrack that works very well with this new brand of Trek.” – Danny Graydon, Empire

I really love this score. It’s grand enough for a Star Trek movie and unlike many, I wasn’t disappointed after listening to the trailer music that everyone seemed to love (including me). It’s also very un-Giacchinoistic I feel, and he really stretches my imagination and love for film scores.

Best Cues: Labor of Love, Nero Sighted, End Credits

My score: 90/100

07. Knowing by Marco Beltrami (76/100)

“Knowing delivers beautifully on this continuous combo of shock, wonder and acceptance of the godly forces at hand.” – Daniel Schweiger, IF Magazine

I appreciate Marco Beltrami more and more. His scores always grow on me and this one was really good as well. He is a composer to be watched and listened to carefully as I have no doubt he will deliver more great scores in the future.

Best Cues: Knowing Maine Titles, Thataway!, Caleb Leaves

My score: 80/100

06. The Lazarus Project by Brian Tyler (80/100)

“This is nothing short of sensational stuff from Brian Tyler. Every tone has me crying for more, dreaming for more, wanting more and craving it all.” – Jørn Tillnes, Soundtrackgeek

I totally agree with that Jørn guy! This is probably Brian Tyler’s best ever score so far and guess what, it’s not an action score. Tyler has talents in bucket loads and can do wonderful themes and drama music. Recommended!

Best cues: Jaybird, The Lazarus Project, The Lazarus Project End Title

My score: 100/100

05. Caprica by Bear McCreary (85/100)

“The score is beautifully crafted for large orchestra, and it’s certainly the most lyrical and accomplished work in McCreary’s canon.” – Mark R. Hasan, KQEK

I don’t think its McCreary’s best work, but it’s up there. It’s certainly a quieter score than his previous TV scores. In the mix are some great percussion type battle cues like in the Battlestar Galactica series. While we wait for BSG season 4, this will do just fine.

Best Cues: Terrorism on the Lev, Zoe Awakens, Caprica End Credits

My score: 80/100

04. Lost Season 4 by Michael Giacchino (87/100)

“What Giacchino and Varèse have provide us here is a fantastic compilation of the music from season four.” – Anthony Cornfield, Maintitles

While I’m not as impressed as I was with Star Trek, this will provide more great music for the fans of Lost. I Still feel season 3 music was a little better, but you can’t fault Giacchino’s effort. More of the same, and I bet you love it!

Best cues: Giving up the Ghost, Bobbing for Freighters, Landing Party

My score: 70/100

03. Coraline by Bruno Coulais (87/100)

“In an industry plagued by stock, anonymous film scores, Coraline is a frightfully engaging pleasure.” – Filmtracks

I gave it 10/10 when I reviewed it back in January. It’s simply a great score that reminds me of Danny Elfman under Tim Burton’s wings. It’s incredibly adventurous and daring in a world full of mainstream scores.

Best cues: The Supper, In The Bed, Dangerous

My score: 90/100

02. The Mutant Chronicles by Richard Wells (88/100)

“We have to congratulate Wells to had the guts to deliver a high octane score for large orchestra.” – Jorge Saldanha, Scoretrack

I don’t quite share the wide enthusiasm for this score. There are few highlights in between the cues which sound almost identical (Just give it a few listens if you don’t believe me). A very standard score, not the worst, but not the best.

Best cues: The Sewer, Monastery, Mutant Chronicles End Credits

My score: 50/100

01. Up by Michael Giacchino (90/100)

“Giacchino’s UP gets a huge “thumbs up” from me. The experience of his original score went from mediocre to marvelous with a single viewing of the film.” – Christopher Coleman, Tracksounds

It’s certainly seems to be Giacchino’s year judging by the critics. Our own Jon Blough loved it. I liked it too, but not as much as most. Star Trek is his best score so far. While Up is quite charming and will bring back memories of Ratatouille, it lacks oomph. I do expect Up to be nominated for the Oscars next years and it has a very good chance of winning.

Best cues: Memories can weigh you down, Canine Conundrum, Up with End Credits

My score: 70/100

Michael Giacchino is the clear winner here with 3 scores in the top 10. Two TV scores, one from Michael Giacchino and one from Bear McCreary in the top 10 which is very good. I hope more TV scores deliver the same quality in the future.

It will be fun seeing where these scores end up in the total chart of 2009 when the year is over and all the reviews are in.

Tomorrow in part 2, I will tell you my top 10 so far this year!

AOL Radio has an exclusive premiere of the Harry Potter and the Half Blood Prince™ soundtrack by Nicholas Hooper. The movie hits theaters July 15th, but if you can’t wait make sure to tune in to the Movie Scores station on AOL Radio. You’ll hear a track from the album every hour at the top of the hour!

The Harry Potter and the Half Blood Prince™ soundtrack will be released July 14th.

Go here to listen. Enjoy!

In this edition which will be the last one for now (more to come at some later time) we will get adventurous with some great music from World of Warcraft: Wrath of the Lich King and more.

To see over 120 videos like these, go to Soundtrack Fans and go nuts!

Enjoy!

World of Warcraft: Wrath of the Lich King (2008)

Find more videos like this on Soundtrack Fans

Kameo: Elements of Power by Steve Bruke (2005)

Find more videos like this on Soundtrack Fans

Socom: U.S. Navy SEALs: FireTeam Bravo by Chuck Doud (2005)

Find more videos like this on Soundtrack Fans

Silent Hunter 4 by Jason Graves (2007)

Find more videos like this on Soundtrack Fans

Keepsake by Marc Derell & Yves Bordeleau (2005)

Find more videos like this on Soundtrack Fans

The Book of Unwritten Tales by Benny Oschmann (2009)

Find more videos like this on Soundtrack Fans

Command & Conquer 3: Kanes Wrath by Trevor Morris (2008)

Find more videos like this on Soundtrack Fans

Star Wars: The Force Unleashed by Mark Griskey (2008)

Find more videos like this on Soundtrack Fans

Brothers in Arms: D-Day by Stephen Harwood Jr. & David McGarry (2006)

Find more videos like this on Soundtrack Fans

Rainbow Six: Vegas 2 by Paul Haslinger (2008)

Find more videos like this on Soundtrack Fans

I’ve uploaded over 120 video game soundtrack videos on Soundtrack Fans so please go and listen to some more video game scores. Will there be a part 3? Hmm… maybe .

Too Human by Steve Henifin (2008)

Find more videos like this on Soundtrack Fans

Gears of War 2 by Steve Jablonsky (2008)

Find more videos like this on Soundtrack Fans

Wanted: Weapons of Fate Trond Viggo Melssen & Danny Elfman (2009)

Find more videos like this on Soundtrack Fans

Red Faction: Guerilla by Tim Wynn (2009)

Find more videos like this on Soundtrack Fans

24 The Game by Sean Callery (2006)

Find more videos like this on Soundtrack Fans

Spider-Man: Web of Shadows by Jamie Christopherson (2008)

Find more videos like this on Soundtrack Fans

Terminator Salvation by Trond Viggo Melssen (2009)

Find more videos like this on Soundtrack Fans

KillZone 2 by Joris De Man (2009)

Find more videos like this on Soundtrack Fans

Transformers: Revenge of the Fallen (PSP Version) by Steve Jablosnky & Bobby Tahouri (2009)

Find more videos like this on Soundtrack Fans

Transformers: Revenge of the Fallen (PS2 Version) by Steve Jablosnky & Bobby Tahouri (2009)

Find more videos like this on Soundtrack Fans

I would say 2001 was the year things really started happening in video game music, at least for me. The midi music started being replaced by actual sampled music, sometimes composed with real orchestras. They did appear before 2001, but I feel it was a significant year. I remember Max Payne by Peter Hajba impressed the hell out of me. Harry Gregson-Williams work on Metal Gear Solid 2: Sons of Liberty was also amazing.

The music we hear these days is comparable with the best of the film scores in my opinion. I’ve uploaded over 120 video game score videos to Soundtrack Fans and here’s the first batch of video game scores which are dear to my heart:

Rengoku: The Tower of Purgatory by Yuji Nomi (2005)

Find more videos like this on Soundtrack Fans

Battlestations Midway by Richard Jacques (2007)

Find more videos like this on Soundtrack Fans

Damnation by Paul Ruskay (2009)

Find more videos like this on Soundtrack Fans

NecroVisioN by Globus (2009)

Find more videos like this on Soundtrack Fans

Dreamfall: The Longest Journey (2006)

Find more videos like this on Soundtrack Fans

Fable II by Russell Shaw (2008)

Find more videos like this on Soundtrack Fans

Metal Gear Solid 4: Guns of the Patriots by Harry Gregson-Williams (2008)

Find more videos like this on Soundtrack Fans

Rise of the Argonauts by Tyler Bates (2008)

Find more videos like this on Soundtrack Fans

Frontlines: Fuel of War by Matthew Harwood (2008)

Find more videos like this on Soundtrack Fans

Ace Combat 5: The Unsung War (2004)

Find more videos like this on Soundtrack Fans

Part 2 will be forthcoming. What are your favorites?

“Like Max Payne I didn’t like it the first time I heard it, but I wonder if Marco Beltrami has a sneaky way of inserting good music so that I have to look, or rather listen to find it”

Knowing is one of those movies with lots of promise, loads of special effects, but ultimately fails to deliver the experience we deserve. It isn’t a bad movie, but could have been better. It’s all about doomsday and the choice of Marco Beltrami as a composer is an exciting one. I have been waiting for this since Max Payne last year. Naturally this has a different style, but I expected a dark score like Max Payne was and in that respect I got exactly what I expected. This time Marco Beltrami acts alone, at least for the official release and knowing Marco Beltrami, this could go either way for me.

Track List

1. Knowing – Main Titles (*****)
   
2. Door Jam (****)
3. Emt (***)
4. John And Caleb (***)
5. New York (****)
6. Aftermath (***)
7. Not A Kid Anymore (***)
8. Moose On The Loose (***)
9. Stalking The Waylands (***)
10. Numerology (***)
11. It’s The Sun (***)
12. John Spills (****)
13. Trailer Music (***)
14. 33 (***)
15. Loudmouth (***)
16. Revelations (****)
17. Thataway! (*****)
    
18. Shock And Aww (****)
19. Caleb Leaves (*****)
    
20. Roll Over Beethoven (*****)
    
21. New World Round (*****)
    
22. Who Wants An Apple? (*****)
    

Unremarkable Theme

It’s quite a lengthy score with 22 cues and a total play time of 1 hour and 5 minutes. Max Payne last year got a complete version released through unofficial channels and I wonder if this won’t get the same treatment. The question is: Is it worth it? The main theme is very nice, but it’s also a theme I won’t remember 10 years from now. It’s dark and very doomsday-like with a 5 beat heavy percussion to drive it on. It’s a slow theme, but so is most of the score. The beginning is quite interesting, kind of sci-fi-esque drops of sounds. You hear it again in ‘Moose on the Loose’.

‘Door Jam’ is probably the most interesting cue on the score. I love it but I also hate it. It’s a bit whimsical, but not very light. It’s almost Elfman-like at times of his Burton days, but not quite. The way the bass plays the cue is addicting and I quite like it. ‘New York’ can be argued has similarities because its use of bass is similar except that it keeps a straight and narrow path and only used for rhythm. There’s a lighter instrument which disturbs the rhythm. This is as good as action will get on Knowing and it’s not bad at all. Then there’s ‘Numerology’ with similar insanity. I believe the crazy rhythm has something do with the unpredictability in life, but that’s just a theory of mine.

Action

Getting back to action, there are a couple of action cues later on. They are ‘Loudmouth‘ and more notably ‘Thataway!‘ and I have to say that the action is of the classic kind. Loud and large orchestration unless for example The Dark Knight kind of action or Paul Haslinger’s rock action scores. I like the action cues here and wish there were more of it. Most of the score is rather quiet and thoughtful but I hope for an expanded release down the line.

Conclusion

Like Max Payne I didn’t like it the first time I heard it, but I wonder if Marco Beltrami has a sneaky way of inserting good music so that I have to look, or rather listen to find it. Good music I found and it was overall a very enjoyable experience. Especially the last 4 cues were great and I loved the darkness of it all. The score says the end is near, but I don’t want it to end. His recent scores have gotten the best of my curiosity. I never paid much attention to his scores, but perhaps I was too hasty. There are bucket loads of quality in this score, Max Payne and Terminator 3 which I listened to recently. This effort is not quite up there with Max Payne, but I truly had a great time.

Listen to Knowing by Marco Beltrami below:

Find more videos like this on Soundtrack Fans