Land of the Lost
Michael Giacchino
" Matt Lauer can suck it "Written by Thomas Glorieux - Review of the regular release
Welcome to Michael Giacchino's Work that never stops. It is no wonder the busy composer called for a time out soon after having finished his work on Up and Land of the Lost, the man has been virtually writing non stop music for over a couple of years now. Strangely, this hasn't affected his creative mind whatsoever. After all what he composed for Up was sweet and exciting. But what could we expect of an exaggerated time warp to the Land of the Lost? Only Giacchino knew the answer.
Varèse Sarabande's release of the least anticipated Giacchino score of the summer became therefore the most interesting one. After all we all knew from the start J.J. Abrams and Pixar could mesmerize Michael for writing top notch material. But what about loony comedy and freaky adventure? And would this be heard through the music as well?
The answer is a pretty big YES. Michael Giacchino's Land of the Lost is nutty, crazy and foolish. And yet somehow it doesn't fail. Like one certain John Powell, Giacchino's good in thematic creation and exaggerated animation. And in Land of the Lost both styles are battling one another to the death. The opening alone must warn you that this isn't what you were expecting all along. An eerie ethic opening in a Deep Rising setting is enough to warn you crazy isn't far far away.
We receive music from any setting after that, all found in too many tracks. Percussive Lost in "The Lighter Side of Archaeology", a funny flute moment in "Food Coma for Thought", a nice orchestral rousing and electronic rocking accompaniment in "A Routine Expedition", Giacchino delivers you nuttiness in a mere couple of minutes. But this doesn't mean the longer tracks provide more development. No, the music's as mickey mouse as can be. This results in fragments of crazy wild music, with flavours of good old Giacchino brilliance.
The Deep Rising threat returns at the end of "The Greatest Earthquake Ever Known", there's a wondrous fanfare in "Matt Lauer Can Suck It" and there's chaotic and better approachable (Deep Rising) music in "The Ones That Got Away". But it is all just too crazy. One minute you don't know what to listen to first, the other minute you're encountering thematic and coherent music.
Take for instance the enchanting use of the Theremin alongside a great choral moment in "Sleestack Attack", it is so cool. The same for the rise of Marshall's theme in "A New Marshall in Town", the amazing orchestral ending of "Undercover Sleestack", the choral heroism (Speed Racer) during "If You Don't Make It, It's Your Own Damn Vault" or the heroic altered Marshall's theme in "Stackbusters". These are by far the most promising tracks.
Don't forget there's a Goldsmith and Williams in Land of the Lost as well. We mentioned Goldsmith before with the frequent statements of the Deep Rising theme, we must mention the frantic John Williams music too in "When Piss on your Head is a Bad Idea" or The Lost World percussion in "Undercover Sleestack".
And there's relief as well. Once we encounter the "Enik the Altrusian" the Lost signatures are present with Theremin assistance. Same for the old fashioned romance in "Never Trust a Dude in a Tunic". Yet I have the hardest time connecting to the music. It's all fun in a way, chaotic in another, diverse all together and yet I can't connect to it. The same problem occurred a bit during Speed Racer, even though that was a whole other story on itself.
Don't forget the rocking (Beltrami inspired) "End Credits Can Suck It", which is always a good showdown for a final track. The truth is, there are plenty of returning motifs and yet I don't consider them to be themes, because I still don't remember them after a couple of times. Strange isn't it?
In the end, it would have been a perfect adventure for one Jerrald Goldsmith. After all he excelled in doing mad cap adventures. And there's no doubt about it that Michael Giacchino has given Land of the Lost madcap adventure. The problem is, it is too madcap even for its listening experience. Jerry knew where to give his experience cohesion, he knew where to tie all loose ends together. Michael Giacchino hasn't quite perfected that yet, leaving you with brilliance and frustration in a matter of minutes. Sad really because there's still inspiration in the voice of Michael Giacchino. But Land of the Lost is too chaotic to get a kick out of it.
Tracklisting
1. Swamp and Circumstance (1.21)
2. The Lighter Side of Archaeology (1.02)
3. Food Coma for Thought (1.00)
4. A Routine Expedition (0.49)
5. The Greatest Earthquake Ever Known (3.11)
6. Matt Lauer Can Suck It (1.22)
7. Chaka Chasedown (0.43)
8. The Ones That Got Away (4.16)
9. Enik Calls for Marshall (1.16)
10. Sleestack Attack (2.01)
11. Enik the Altrusian (3.19)
12. The Cosmic Lost and Found (1.35)
13. When Piss on your Head is a Bad Idea (3.52)
14. A New Marshall in Town (1.36)
15. Pterodactyl Ptemper Ptantrum (0.43)
16. The Crystal Cave (1.42)
17. In Search of ... Holly (1.34)
18. Undercover Sleestack (2.17) Excellent track
19. Never Trust a Dude in a Tunic (4.18)
20. If You Don't Make It, It's Your Own Damn Vault (2.37)
21. Holly Mad as Sin (0.51)
22. Sleestack Showdown (0.53)
23. Stackbusters (2.33)
24. Fight Fight Fight (1.26)
25. Crystal Clear (2.32)
26. Mystery Cave Reunion (1.21)
27. Ready and Will (1.36)
28. End Credits Can Suck It (3.26)
29. Pop Goes the Sleestack (0.16)
30. A Routine Expedition (Version 1) (0.49)
31. The Devil's Canyon Mystery Cave (Version 1) (2.03)
32. Crystal Clear (Film Version) (2.18)
Total Length: 55.24
Varèse Sarabande's release of the least anticipated Giacchino score of the summer became therefore the most interesting one. After all we all knew from the start J.J. Abrams and Pixar could mesmerize Michael for writing top notch material. But what about loony comedy and freaky adventure? And would this be heard through the music as well?
The answer is a pretty big YES. Michael Giacchino's Land of the Lost is nutty, crazy and foolish. And yet somehow it doesn't fail. Like one certain John Powell, Giacchino's good in thematic creation and exaggerated animation. And in Land of the Lost both styles are battling one another to the death. The opening alone must warn you that this isn't what you were expecting all along. An eerie ethic opening in a Deep Rising setting is enough to warn you crazy isn't far far away.
We receive music from any setting after that, all found in too many tracks. Percussive Lost in "The Lighter Side of Archaeology", a funny flute moment in "Food Coma for Thought", a nice orchestral rousing and electronic rocking accompaniment in "A Routine Expedition", Giacchino delivers you nuttiness in a mere couple of minutes. But this doesn't mean the longer tracks provide more development. No, the music's as mickey mouse as can be. This results in fragments of crazy wild music, with flavours of good old Giacchino brilliance.
The Deep Rising threat returns at the end of "The Greatest Earthquake Ever Known", there's a wondrous fanfare in "Matt Lauer Can Suck It" and there's chaotic and better approachable (Deep Rising) music in "The Ones That Got Away". But it is all just too crazy. One minute you don't know what to listen to first, the other minute you're encountering thematic and coherent music.
Take for instance the enchanting use of the Theremin alongside a great choral moment in "Sleestack Attack", it is so cool. The same for the rise of Marshall's theme in "A New Marshall in Town", the amazing orchestral ending of "Undercover Sleestack", the choral heroism (Speed Racer) during "If You Don't Make It, It's Your Own Damn Vault" or the heroic altered Marshall's theme in "Stackbusters". These are by far the most promising tracks.
Don't forget there's a Goldsmith and Williams in Land of the Lost as well. We mentioned Goldsmith before with the frequent statements of the Deep Rising theme, we must mention the frantic John Williams music too in "When Piss on your Head is a Bad Idea" or The Lost World percussion in "Undercover Sleestack".
And there's relief as well. Once we encounter the "Enik the Altrusian" the Lost signatures are present with Theremin assistance. Same for the old fashioned romance in "Never Trust a Dude in a Tunic". Yet I have the hardest time connecting to the music. It's all fun in a way, chaotic in another, diverse all together and yet I can't connect to it. The same problem occurred a bit during Speed Racer, even though that was a whole other story on itself.
Don't forget the rocking (Beltrami inspired) "End Credits Can Suck It", which is always a good showdown for a final track. The truth is, there are plenty of returning motifs and yet I don't consider them to be themes, because I still don't remember them after a couple of times. Strange isn't it?
In the end, it would have been a perfect adventure for one Jerrald Goldsmith. After all he excelled in doing mad cap adventures. And there's no doubt about it that Michael Giacchino has given Land of the Lost madcap adventure. The problem is, it is too madcap even for its listening experience. Jerry knew where to give his experience cohesion, he knew where to tie all loose ends together. Michael Giacchino hasn't quite perfected that yet, leaving you with brilliance and frustration in a matter of minutes. Sad really because there's still inspiration in the voice of Michael Giacchino. But Land of the Lost is too chaotic to get a kick out of it.
Tracklisting
1. Swamp and Circumstance (1.21)
2. The Lighter Side of Archaeology (1.02)
3. Food Coma for Thought (1.00)
4. A Routine Expedition (0.49)
5. The Greatest Earthquake Ever Known (3.11)
6. Matt Lauer Can Suck It (1.22)
7. Chaka Chasedown (0.43)
8. The Ones That Got Away (4.16)
9. Enik Calls for Marshall (1.16)
10. Sleestack Attack (2.01)
11. Enik the Altrusian (3.19)
12. The Cosmic Lost and Found (1.35)
13. When Piss on your Head is a Bad Idea (3.52)
14. A New Marshall in Town (1.36)
15. Pterodactyl Ptemper Ptantrum (0.43)
16. The Crystal Cave (1.42)
17. In Search of ... Holly (1.34)
18. Undercover Sleestack (2.17) Excellent track
19. Never Trust a Dude in a Tunic (4.18)
20. If You Don't Make It, It's Your Own Damn Vault (2.37)
21. Holly Mad as Sin (0.51)
22. Sleestack Showdown (0.53)
23. Stackbusters (2.33)
24. Fight Fight Fight (1.26)
25. Crystal Clear (2.32)
26. Mystery Cave Reunion (1.21)
27. Ready and Will (1.36)
28. End Credits Can Suck It (3.26)
29. Pop Goes the Sleestack (0.16)
30. A Routine Expedition (Version 1) (0.49)
31. The Devil's Canyon Mystery Cave (Version 1) (2.03)
32. Crystal Clear (Film Version) (2.18)
Total Length: 55.24