THOR-THE DARK WORLD.

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The score for THOR by Patrick Doyle I thought was great, and I was disappointed when I heard he would not return to score the sequel, but then took comfort in the fact that Brian Tyler was onboard to carry out the musical duties for this second big screen outing for the Norse god of thunder. I have to say WOW this is a score that does not hold back, it lets fly right from the off, and is certainly a thundering and powerful musical accompaniment for the hammer wielding muscle man. The opening cue, THOR-THE DARK WORLD launches itself at the listener driving and pulsating with strings booming percussion, awesome and powerful brass and an imposing choral support, it is good sturdy stuff that evokes memories of past scores by composers such as Basil Poledouris, Jerry Goldsmith and Bill Conti. (I think you get the idea). Its drive is relentless and it has a fearsome and also contagious aura about, the opening cue quickly establishes itself and is a wonderful opener for the score and certainly a taste of what the remainder of the soundtrack contains, bold and strong themes are the order of the day here, haunting and impressive musical passages that literally thrash along at breakneck speed creating a sense of urgency, a sense of dread and also an atmosphere that is filled with hope and emotion. Track number two, LOKASENNA is a little more subdued in its sound and style, female voice is utilized to create an unworldly atmosphere, this is supported by strings and rumbles of percussion, which slowly but surely build to become more than a background to the vocal, but still remain secondary to the voice.

 

 

 

Brian Tyler
Brian Tyler (Photo credit: Wikipedia)

 

With track number three, ASGARD, we return to a more upbeat and a more action driven composition, horns and percussion introduce the track, the composer then bringing more brass and choir into the proceedings supported by strings  to create an anthem like theme that flows and rises into a crescendo filled piece that literally takes your breath away. Track number four BATTLE OF VENAHEIM although short lived makes it mark and is a resounding and powerful cue that utilizes choir again, which is underscored and supported by rasping and insistent brass flourishes with strings and percussion ever present to heighten the mood and add to the drama giving the piece an unrelenting and driving persona. Track number five, ORIGINS is another full throttle composition, but saying this it does have a lull midway, that although not completely subdued is a kind of respite before the music again erupts into a dramatic and fervent working of the scores central theme. Track number seven  INTO ETERNITY, is a return to the female voice that was utilized in track two, but on this occasion, the composition is more developed and contains a fuller and more emotive rendition of the theme, with the voice being more prominent supported by the string section which add warmth and high emotion to the piece. This is a soundtrack that will thrill and delight film music fans and have Brian Tyler devotees in raptures. Go buy it………    

 

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