Ten Tracks Today – 30th April 2012
Posted by Alan Rogers on April 30, 2012
Great use of a small ensemble of players in this track: strings and brass come together in a tense (courtesy of the strings) and dramatic (brass) for a superior game score. The score as a whole is well worth hunting down.
An emotional beginning to this track with a swelling strings passage that leads into an almost fanfare-style brass statement. It’s a very dramatic piece full of emotion. This score is one that I only recently heard but it has become a favourite; possibly my favourite Burwell score.
Score instalments 2 and 3 of this franchise really only shines when Jablonsky quotes his themes he used in the first score. They whole style he uses in the score I quite enjoy and some of the more “sound effects” are quite effective. Not much in the way of finesse here but it does have its moments.
Not one of my favourite Goldsmith scores but the delicate strings and (what sounds like) harp alongside acoustic is appealing here. The “plinky-plonky” rhythms heard in this cue is not too annoying. Neither is Goldsmith’s use of electronics/synths, but it is a close call.
I never hear much about this score but Lockington’s score has much to offer – particularly his action scoring (which is something that can be said in several of his scores in general). As with a few of the tracks so far there’s a good mix of strings and brass that heighten the drama. And there’s a good statement of the predominant theme.
Strings and brass combine again to deliver a catchy cue. The initial brass statement of this short cue is what appeals. It’s a track that is short and to the point. Nice!
It must be difficult to score a Superman piece but to make no reference to Williams’ iconic theme. O’Malley’s cue here is bold, patriotic in its use of brass fanfares but it is in the end not particularly memorable once the track has finished. A good example though of a solid piece of work for a video game.
Several references to the iconic themes and motifs from Barry’s Bond history. Nothing bad can be said about this. But I’ve never been sure about the melding of these with the mid-80s synth percussion rhythms. I’m hoping for something strong and loud to disperse those synth rhythms next…
…And this track, although not a cue that washes Barry’s track away completely with its inherent drama and excitement, Rose’s cue does have a quality that focuses the mind away from James Bond. An oscillating piano line with flutes is a hypnotic listen. Close-miked, this along with strings is very memorable and dramatic in its own way.
I struggle to find any Doyle-isms in this one and there is a tendency to lump it with the large number of other generic action scores that are common at the moment. But there is a certain quality to the music that does keep the attention.