Deliciously dark, and vibrantly alluring, that is how I would describe the score for the movie READY OR NOT by composer Brian Tyler. We are all aware that Tyler is a driving force in film music from Hollywood, and many say he has taken up where Jerry Goldsmith left things after his passing. But there is a lot more to Tyler than just creating action cues for superheroes, war movies and horror pics. This is a composer who is perfectly capable of fashioning beautiful and mesmerizing musical poems for film, and it is a testimony to this composer’s talent and versatility that we hear so much fresh and alluring richly thematic material within his film scores and TV soundtracks. My first encounter with Brian Tyler’s ample creative talent came when I added DARKNESS FALLS to my collection, it was not long until I also added TIMELINE and items such as CHILDREN OF DUNE and FRAILTY. It seems an age away that I first encountered his musical prowess and looking back now and seeing just how many films he has scored and enhanced with his powerful sound I can see I was right. His latest project RAMBO LAST BLOOD is still ringing in my ears as I listen to another tour de force of wonderfully thematic material which is taken from his soundtrack to the horror, comedy READY OR NOT. Tyler once again bringing depth and atmosphere to an already tense and somewhat harrowing film, the music that he has written to underline and support this motion picture although largely atonal or action led still manages to remain entertaining in a thematic fashion, as in yes it is racing and percussive but all the time as it rushes ahead full steam we still are conscious that Tyler is introducing a theme or a hint of a theme at least. The tense score is filled with jumps and musical stabs, swirling and menacing strings, darkly percussive moments and rasping brass flourishes that seem to slide in and out of the proceedings adding their own ominous brand of dread and fear as they do. There is also a driving or up-tempo beat to the work which underlines the strings and brass as it launches itself at the listener in a relentless and merciless onslaught of sounds. I like this score a lot, it never rests and gives the listener so much as in action and also a few lighter moments of respite, Driving, and forthright this is a release that is Recommended.
Tom Cruise in THE MUMMY, well not entirely sure on this, for me the jury is still out. I am used to Mummy movies from studios such as Hammer etc, so maybe the MUMMY 2017 is just too much to take. The score however is something else. We all love Jerry Goldsmiths score for THE MUMMY and, we are all just as fond of the musical scores for Mummy adventures as brought to the screen by the house of horror and studios such as Universal. So, when I heard that Brian Tyler was to be the composer on this latest re-telling of the story, I was quietly confident that we would be delivered a score that was filled with action, suspense and more importantly some good thematic material, glad to say I was not wrong. This is a large-scale work, which is written for full orchestra and includes many choral performances throughout that are themselves bolstered and supported by various synthetic sounds. I was immediately taken with the composers grand and epic approach to the movie, his rasping and growling brass flourishes instantly grabbing one’s attention, these alongside and fused with driving strings that are embellished by thundering percussive elements are imposing and at times fearsome. I have always been a fan of Tyler, and particularly enjoyed his rhythmic yet grandiose approach to IRON MAN and his epic and powerful score for THOR THE DARK WORLD, he has this knack of creating fantastic film music that fits the movie like the proverbial glove but at the same time stands on its own as just a great and inspiring piece of music. With Brian Tyler you at least get a score that is filled with real themes that develop, breath and grow throughout the score, there are none of these electronic unlistenable grating compositions, if indeed these are compositions that have graced or disgraced block busters over the past few years, by composers who we will not mention now. Tyler’s score for THE MUMMY is a class act, it will enthral and delight film music fans and for me as always Tyler evokes many memories of the style of the late Jerry Goldsmith with also a nod in the direction of Bernard Herrmann. In many way’s this is a score that is written and performed in the same fashion and passion as good old fashion film music which sadly seems to be a thing of the past these days, it is a work that is commanding and at the same time mystically emotive, although poignancy is at times rather scarce, the composer often introducing a cue with something that is not at all action orientated but transforming a lilting motif into something rather more sinister, melancholy and calm more often than not falling by the wayside when things really get going, this is a nonstop, no holds barred action score that has real heart and character and will I know be returned to many times after an initial listen. Tyler hits the spot on every occasion, each time stepping up the mark and enhancing, underlining, punctuating and supporting. His artistry creating a soundtrack that is at times as foreboding, and virulent as the MUMMY itself.
One to add to your collection, a real rollercoaster ride with so many twists and turns it may well send you dizzy. One cue that particularly evoked Jerry Goldsmith for me was track number 24, FORWARD MOMENTUM, swirling strings and timpani supported by brass, woodwind and a scattering of percussion create a wonderfully tense and fraught mood, with the strings carrying along the remainder of the instrumentation on a surge of excitement that is unrelenting and unstoppable, propelling the listener into a volatile and frenzied situation. The same can be said for SANDSTORM another piece that is a showcase for the string and percussion sections, this time supported by choir and brass that together generate and electric atmosphere. So highly recommended.
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.
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………
FILM AND TELEVISION MUSIC FROM AROUND THE WORLD. WITH MOVIE REVIEWS AND NEWS FROM ALL OVER THE GLOBE.