Sphere

Elliot Goldenthal

 
" Goldenthal under water still sounds terrifying "

Written by Thomas Glorieux - Review of the regular release

Does the phrase "terror under water" mean anything to you? Well, I'll bet it will the next time, after having heard Elliot Goldenthal's Sphere for the very first time. As people already know, he is the kind of composer that doesn't stick with the mainstream sound and he will do anything to make sure you'll remember why. The reason is simple, he is just extremely creative. Today we adore and love him for this approach, back then we just weren't ready. I remember my first attempts at listening to an Elliot Goldenthal score, it wasn't pretty. Bombastic, atonal, moody, you name it, he delivered it, I couldn't accept it. But now I'm older, more experienced and yet not wiser. So how do I feel about one of his most demanding? It is still awful? Shut up, you're talking about Sphere! But can we dig it?

Luckily I've seen the movie a couple of times now, and there are various things that stung. Besides the fact I actually like the movie, we have the theme, the incredible wonder theme that is sadly absent in most of the tracks. It didn't appear a lot in the movie, but at least a hell of a lot more than say here. And here is "The Gift". It is one of his most amazing themes I must say, bold, propulsive and wondrous, it gives you the right theme for the right movie.

So, the theme might not appear a lot, at least the other music delivers you something interesting as well. We open with "Pandora's Fanfare" and the horn solos are innovating and catchy. The dreamy main theme in "Main Titles", the explosive main theme version in "Event Entry 6-21-43" (which is a massive guilty pleasure all right), the mysterious mood of "Sphere Discovery" and the atmospheric "Visit to a Wreckage" are all tracks that lure you into the mood of the Sphere itself.

And after mood comes terror. "Water Snake" gets the blood pumping, but it is "Terror Adagio" that gets the blood boiling, definitely Goldenthal at his best. "Wave" calms things down but we soon go back into terror mode once we reach the terror of trio "Fear Retrieval, "Manifest Fire" and "Manifest3". "Manifest Fire" is surely the boldest one, "Manifest3" is definitely the most atonal one in places.

The "Andante" that works between it (mysterious piano music surrounding the main theme) and "Their Beast Within" close the score. Sadly I discover that not everything is presented here. Apparently it has to do about reuse fees, and yet it doesn't change the fact some mighty big tracks are missing from the album. I'm especially talking about the ending of the movie, the last 15 minutes or so.

I'm however shocked to discover how difficult it went in back then, how easily it gets through right now. Elliot Goldenthal is surely one of the more demanding composers out there, and back then I didn't know what to expect. But now, after having experienced the music in the right context (meaning big bad surround sound), there is not a doubt in my mind that says that Sphere is one hell of a ride. It is atonal all right, but once you've experienced it in the movie, you'll never be disappointed again.

Tracklisting

1. Pandora's Fanfare (1.16)
2. Main Titles (2.49)
3. Event Entry 6-21-43 (0.54) Excellent track
4. The Gift (1.41) Excellent track
5. Sphere Discovery (2.08)
6. Visit to a Wreckage (1.59)
7. Water Snake (2.36)
8. Terror Adagio (3.25)
9. Wave (3.18)
10. Fear Retrieval (3.49)
11. Andante (2.20)
12. Manifest Fire (3.49) Excellent track
13. Manifest3 (3.48)
14. Their Beast Within (1.44) Excellent track

Total Length: 35.38
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(total of 20 votes - average 3.9/5)

Released by

Varèse Sarabande VSD 5913 (regular release 1998)

Conducted by

Jonathan Sheffer & Stephen Mercurio

Orchestrations by

Robert Elhai & Elliot Goldenthal