Alien 3
Elliot Goldenthal
" Are you ready for atonality and beauty combined? "Written by Thomas Glorieux - Review of the regular release
We all remember the moment when Elliot Goldenthal unleashed his now famous musical voice upon us. For many it will have been for the very first time on either Alien 3 or Sphere. Truth is, many people weren't ready for his voice, including me. Of course time tells if you're ready to accept certain things, and to judge them whether or not your first impression was a just one. And if Elliot Goldenthal isn't a stranger to you anymore, you will realize that impressions can certainly change.
That doesn't change the fact however that Alien 3 remains a challenging score. But if you know which tricks Goldenthal goes by, the challenge becomes an easier one. For instance, the themes you encounter after repeated listening grow by each take. Take for instance the theme for the alien itself, appearing frequently throughout the score. It appears in "Bait and Chase" after 2.20, at the end of "Lento" (after a wonderful soaring main theme) and during the dissonant "The First Attack". If you look back at what kind of detail Goldenthal put in his music, it is understandable you didn't notice it during the first listen at all.
And the examples are endless. The operatic vocal during the darker "Agnus Dei" is quite literally put haunting in its effect. Also during "Agnus Dei" another theme is heard, namely a fanfare for the planet itself. This is recapitulated in "Wreckage and Rape" (alongside the harsh guitar work) and at the end of "Adagio".
Furthermore, Goldenthal unleashes an impending doom theme as well, using it wisely in "The Beast Within" and "Visit to the Wreckage". But no other theme can show its pride the best than the main theme of the movie itself. The brilliant string theme for Ripley appearing in "Lento" and "Adagio" shows a remarkable emotional depth. It makes of "Adagio" one of Goldenthal's best creations. Also to remember is the dissonant outing during tracks 2 and 9, the wonderful string work during "The Entrapment" and the simply astonishing gothic fanfare at the end of the fierce "Candles in the Wind".
It took me some time to accept Elliot Goldenthal, but once you've succeeded you're looking at his music a whole lot differently. The dissonance you thought that was unacceptable becomes suddenly understandable. The tone of his composition becomes a challenge you want to explore with enthusiasm. And Alien 3 is definitely a challenge worth understanding. Goldenthal remains a different kind of composer. His style is not like any other. But that makes him a challenge and an true revealing experience at times too. Alien 3 becomes through that quite the little knockout score, providing you with material you didn't knew you'd ever accept at all.
Tracklisting
1. Agnus Dei (4.28) Excellent track
2. Bait and Chase (4.40)
3. The Beast Within (3.07) Excellent track
4. Lento (5.47)
5. Candles in the Wind (3.20)
6. Wreckage and Rape (2.41)
7. The First Attack (4.18)
8. Lullaby Elegy (3.39)
9. Death Dance (2.15)
10. Visit to the Wreckage (2.01)
11. Explosion and Aftermath (2.19)
12. The Dragon (3.05)
13. The Entrapment (3.39)
14. Adagio (4.14) Excellent track
Total Length: 50.06
That doesn't change the fact however that Alien 3 remains a challenging score. But if you know which tricks Goldenthal goes by, the challenge becomes an easier one. For instance, the themes you encounter after repeated listening grow by each take. Take for instance the theme for the alien itself, appearing frequently throughout the score. It appears in "Bait and Chase" after 2.20, at the end of "Lento" (after a wonderful soaring main theme) and during the dissonant "The First Attack". If you look back at what kind of detail Goldenthal put in his music, it is understandable you didn't notice it during the first listen at all.
And the examples are endless. The operatic vocal during the darker "Agnus Dei" is quite literally put haunting in its effect. Also during "Agnus Dei" another theme is heard, namely a fanfare for the planet itself. This is recapitulated in "Wreckage and Rape" (alongside the harsh guitar work) and at the end of "Adagio".
Furthermore, Goldenthal unleashes an impending doom theme as well, using it wisely in "The Beast Within" and "Visit to the Wreckage". But no other theme can show its pride the best than the main theme of the movie itself. The brilliant string theme for Ripley appearing in "Lento" and "Adagio" shows a remarkable emotional depth. It makes of "Adagio" one of Goldenthal's best creations. Also to remember is the dissonant outing during tracks 2 and 9, the wonderful string work during "The Entrapment" and the simply astonishing gothic fanfare at the end of the fierce "Candles in the Wind".
It took me some time to accept Elliot Goldenthal, but once you've succeeded you're looking at his music a whole lot differently. The dissonance you thought that was unacceptable becomes suddenly understandable. The tone of his composition becomes a challenge you want to explore with enthusiasm. And Alien 3 is definitely a challenge worth understanding. Goldenthal remains a different kind of composer. His style is not like any other. But that makes him a challenge and an true revealing experience at times too. Alien 3 becomes through that quite the little knockout score, providing you with material you didn't knew you'd ever accept at all.
Tracklisting
1. Agnus Dei (4.28) Excellent track
2. Bait and Chase (4.40)
3. The Beast Within (3.07) Excellent track
4. Lento (5.47)
5. Candles in the Wind (3.20)
6. Wreckage and Rape (2.41)
7. The First Attack (4.18)
8. Lullaby Elegy (3.39)
9. Death Dance (2.15)
10. Visit to the Wreckage (2.01)
11. Explosion and Aftermath (2.19)
12. The Dragon (3.05)
13. The Entrapment (3.39)
14. Adagio (4.14) Excellent track
Total Length: 50.06