Titus
Elliot Goldenthal
" Now this is Elliot Goldenthal, from straight usual to the unusual "Written by Thomas Glorieux - Review of the regular release
There was a time Elliot Goldenthal could be Elliot Goldenthal. Every year he surprised us with his diversity. Whether Alien 3 or Final Fantasy, Goldenthal remained a composer to follow. Yet, Elliot Goldenthal isn't an easy composer as well, because dark, atonal or diverse, there was always something that could danger the experience for film music fans. And the movie Titus of his wife Julie Taymor is perhaps one of the best examples to prove this danger.
Titus is different than most albums I've come across. Different because it transforms from the typical expected grandeur to the unexpected diverse. And you can't open grander than with "Victorious Titus". Forget the story around "Victorious Titus" and the 300 hoopla, just marvel at the basic brilliance of choir and orchestra making a statement.
After this we welcome the diversity, the eclectic, the bizarre, the refreshing change. We have sinister vocal use in "Procession & Obsequis", a typical Goldenthal fanfare in "Revenge Wheel" and we have jazz and fanfares saluting one another in "Tribute & Suffrage". Whatever one can say about Goldenthal, there is something about his enormous original voice that keeps his music above standard.
And Goldenthal doesn't beat around the bush in what follows next. Crazy energetic fanfares ala Batman continue the show in "Arrows of the Gods", classical inspired violins going deep and dark in "Crossroads", but I love the amazing brassy work at the end. "Swing Rave" totally explodes with the jazz while "Ill-Fated Plot" goes for an atonal, creepy and eerie experience. Sadly "Pickled Heads" will only make sense to those who saw the movie, because for me it is like revisiting "Code 187" of Demolition Man (it is the same obnoxious and weird experience).
The better moments after that are "Titus' Vow" which is a mix between the fanfares of Goldenthal and the Elfman'esque score, the noble score of "Philimelagram" (that will be fleshed out later in another track), the dramatic fanfare in "Aaron's Plea", the dramatic weight in "Coronation" and the frenetic trumpet / percussion feast in "Apian Stomp". The best is saved for last when we listen to "Finale", and it is here that Goldenthal paints a noble, emotional and above all worthy climax. (Hence the reason the producer of 300 wanted this too, in fact I'm surprised he didn't want the tiny Heat moment as well).
Weirder moments are sadly the zany eclectic mix in "Mad Ole Titus" or the totally rambunctious jazz in "Adagio" (which is strange considering I think Adagio to be something else).
Put this all together and Titus is surely one of Goldenthal's most bizarre creations. All his influential ideas are here and I think almost every score he's written pays a little homage in Titus. Sadly and this solely because I'm talking about personal tastes now, I think the main idea has been used too sparsely. I think the brilliant opening and closing track show ample the true strength of Titus' potential. But that couldn't' be done, simply because Taymor didn't want something ordinary, she wanted something extra ordinary. And her husband filled in the blanks as eclectic as he could.
Tracklisting
1. Victorius Titus (2.58) Excellent track
2. Procession & Obsequis (3.00)
3. Revenge Wheel (0.54)
4. Tribute & Suffrage (4.17)
5. Arrow of the Gods (1.33)
6. An Offering (2.04)
7. Crossroads (3.24) Excellent track
8. Vortex (1.34)
9. Swing Rave (1.53)
10. Ill-Fated Plot (2.20)
11. Pickled Heads (5.05)
12. Tamora's Pastorale (1.13)
13. Titus' Vow (3.43)
14. Mad Ole Titus (2.27)
15. Philimelagram (1.46)
16. Pressing Judgement * (3.32)
17. Aaron's Plea (2.01)
18. Coronation (1.54)
19. Apian Stomp (1.32)
20. Adagio (2.25)
21. Finale (8.34) Excellent track
22. Vivere (3.33)
* From the original soundtrack "A Time to Kill"
Total Length: 61.56
Titus is different than most albums I've come across. Different because it transforms from the typical expected grandeur to the unexpected diverse. And you can't open grander than with "Victorious Titus". Forget the story around "Victorious Titus" and the 300 hoopla, just marvel at the basic brilliance of choir and orchestra making a statement.
After this we welcome the diversity, the eclectic, the bizarre, the refreshing change. We have sinister vocal use in "Procession & Obsequis", a typical Goldenthal fanfare in "Revenge Wheel" and we have jazz and fanfares saluting one another in "Tribute & Suffrage". Whatever one can say about Goldenthal, there is something about his enormous original voice that keeps his music above standard.
And Goldenthal doesn't beat around the bush in what follows next. Crazy energetic fanfares ala Batman continue the show in "Arrows of the Gods", classical inspired violins going deep and dark in "Crossroads", but I love the amazing brassy work at the end. "Swing Rave" totally explodes with the jazz while "Ill-Fated Plot" goes for an atonal, creepy and eerie experience. Sadly "Pickled Heads" will only make sense to those who saw the movie, because for me it is like revisiting "Code 187" of Demolition Man (it is the same obnoxious and weird experience).
The better moments after that are "Titus' Vow" which is a mix between the fanfares of Goldenthal and the Elfman'esque score, the noble score of "Philimelagram" (that will be fleshed out later in another track), the dramatic fanfare in "Aaron's Plea", the dramatic weight in "Coronation" and the frenetic trumpet / percussion feast in "Apian Stomp". The best is saved for last when we listen to "Finale", and it is here that Goldenthal paints a noble, emotional and above all worthy climax. (Hence the reason the producer of 300 wanted this too, in fact I'm surprised he didn't want the tiny Heat moment as well).
Weirder moments are sadly the zany eclectic mix in "Mad Ole Titus" or the totally rambunctious jazz in "Adagio" (which is strange considering I think Adagio to be something else).
Put this all together and Titus is surely one of Goldenthal's most bizarre creations. All his influential ideas are here and I think almost every score he's written pays a little homage in Titus. Sadly and this solely because I'm talking about personal tastes now, I think the main idea has been used too sparsely. I think the brilliant opening and closing track show ample the true strength of Titus' potential. But that couldn't' be done, simply because Taymor didn't want something ordinary, she wanted something extra ordinary. And her husband filled in the blanks as eclectic as he could.
Tracklisting
1. Victorius Titus (2.58) Excellent track
2. Procession & Obsequis (3.00)
3. Revenge Wheel (0.54)
4. Tribute & Suffrage (4.17)
5. Arrow of the Gods (1.33)
6. An Offering (2.04)
7. Crossroads (3.24) Excellent track
8. Vortex (1.34)
9. Swing Rave (1.53)
10. Ill-Fated Plot (2.20)
11. Pickled Heads (5.05)
12. Tamora's Pastorale (1.13)
13. Titus' Vow (3.43)
14. Mad Ole Titus (2.27)
15. Philimelagram (1.46)
16. Pressing Judgement * (3.32)
17. Aaron's Plea (2.01)
18. Coronation (1.54)
19. Apian Stomp (1.32)
20. Adagio (2.25)
21. Finale (8.34) Excellent track
22. Vivere (3.33)
* From the original soundtrack "A Time to Kill"
Total Length: 61.56