In Dreams
Elliot Goldenthal
" Your inner nightmares come to life, as promised "Written by Thomas Glorieux - Review of the regular release
Elliot Goldenthal is one of the most talented composers of his generation, yet everyone is afraid when he goes atonal, or creative on us. You see, Goldenthal is surely one of those composers that delivers us a different perspective on the movie's view, which becomes through that new yet difficult to listen to. His powerful brooding score haunts every corner of the music's side, and sometimes they are even too atonal to enjoy. It is the same aspect we find ourselves cornered with In Dreams. So hard as listening material, so dark as score but so carefully interesting and so difficult yet stimulating. It may be interesting but some moments will drive you up the wall, like the film requires it, like Elliot Goldenthal delivers it, every time.
Violins in the first track "Agitato Dolorosa", mixed with an electric guitar in the fourth "Appellatron". The difficult moments of Goldenthal's score are demanding but also effective and atonal that they surely make an impression on you. But easy listening it will never be. The main theme, usually the salvation of the horror / thriller scores is not really discovered here, because I couldn't find a repeating theme or a moment that marks itself as main theme.
So, what is there that fulfills the aspect of listening to it? Well, apart from the interesting approach, we find the shrieking violins of Alien 3 are heard for instance in "Scytheoplicity", or a jazz instrument gone wild in "Rubber Room Stomp", or mood that resembles Sphere. But again, listening to it makes you wonder why you bought it in the first place, ... sometimes.
Because what this score delivers as mood setter is superb. Where Sphere was atonal enjoyment, where Alien 3 became a adagio meets horror, here we have mood that dominates. And there's always a strong key mark hidden inside, somewhere. Here it is found in the better tracks like "Rebecca's Abduction" or "Elegy Ostinato".
I tell you this now, those that loath electric guitars, played at the most excruciatingly way of all (and combined with the most difficult music of Goldenthal) will find In Dreams to be a waste of money. And even if this will be a score that I only listen to for several times in all my life, this atonal yet captivating score can somewhat intrigue me.
So why is this so captivating? Why does Close Encounters of the Third Kind receive the highest quotation, if it exists of some creepy cues? Why is Poltergeist such a classic, even if it scares the hell out of you? Well, because it is superior in melody and development. Again, In Dreams is meant for those who seek a little bit more in their music, a little bit way more. Elliot Goldenthal, how do you do it to create such a dark, brooding atonal yet inspiring horror score? I can't stand it, but it intrigues me. Elliot Goldenthal is definitely one of the most talented composers of his generation, yet ...
Tracklisting
1. Agitato Dolorosa (4.59)
2. Claire's Nocturne (2.38)
3. The Pull of Red (2.07)
4. Appellatron (3.32)
5. Wraith Loops (3.27)
6. Rubber Room Stomp (2.00)
7. Pulled by Red (1.11)
8. Scytheoplicity (3.26)
9. Rebecca's Abduction (4.30)
10. Premonition Lento (1.42)
11. While We Sleep (2.37)
12. Andante (3.38)
13. Elegy Ostinato (4.09)
14. Dream Baby: Elizabeth Fraser * (4.30)
* Lyrics by Neil Jordan, Music by Elliot Goldenthal
Total Length: 44.35
Violins in the first track "Agitato Dolorosa", mixed with an electric guitar in the fourth "Appellatron". The difficult moments of Goldenthal's score are demanding but also effective and atonal that they surely make an impression on you. But easy listening it will never be. The main theme, usually the salvation of the horror / thriller scores is not really discovered here, because I couldn't find a repeating theme or a moment that marks itself as main theme.
So, what is there that fulfills the aspect of listening to it? Well, apart from the interesting approach, we find the shrieking violins of Alien 3 are heard for instance in "Scytheoplicity", or a jazz instrument gone wild in "Rubber Room Stomp", or mood that resembles Sphere. But again, listening to it makes you wonder why you bought it in the first place, ... sometimes.
Because what this score delivers as mood setter is superb. Where Sphere was atonal enjoyment, where Alien 3 became a adagio meets horror, here we have mood that dominates. And there's always a strong key mark hidden inside, somewhere. Here it is found in the better tracks like "Rebecca's Abduction" or "Elegy Ostinato".
I tell you this now, those that loath electric guitars, played at the most excruciatingly way of all (and combined with the most difficult music of Goldenthal) will find In Dreams to be a waste of money. And even if this will be a score that I only listen to for several times in all my life, this atonal yet captivating score can somewhat intrigue me.
So why is this so captivating? Why does Close Encounters of the Third Kind receive the highest quotation, if it exists of some creepy cues? Why is Poltergeist such a classic, even if it scares the hell out of you? Well, because it is superior in melody and development. Again, In Dreams is meant for those who seek a little bit more in their music, a little bit way more. Elliot Goldenthal, how do you do it to create such a dark, brooding atonal yet inspiring horror score? I can't stand it, but it intrigues me. Elliot Goldenthal is definitely one of the most talented composers of his generation, yet ...
Tracklisting
1. Agitato Dolorosa (4.59)
2. Claire's Nocturne (2.38)
3. The Pull of Red (2.07)
4. Appellatron (3.32)
5. Wraith Loops (3.27)
6. Rubber Room Stomp (2.00)
7. Pulled by Red (1.11)
8. Scytheoplicity (3.26)
9. Rebecca's Abduction (4.30)
10. Premonition Lento (1.42)
11. While We Sleep (2.37)
12. Andante (3.38)
13. Elegy Ostinato (4.09)
14. Dream Baby: Elizabeth Fraser * (4.30)
* Lyrics by Neil Jordan, Music by Elliot Goldenthal
Total Length: 44.35