Attack the Block... PLEASE!!!

Finally, an electronic score that is both, original in its scope and refreshing to boot...

Today sees the digital U.S. release of Attack the Block (Amazon.com). A soundtrack/score that is a combination of Steven Price's score work mixed with Basement Jaxx's (Felix Burton & Simon Ratcliffe) electronic work.

The film won't be released until Friday, but already, this is turning into one of my favorite scores for this year.

Obviously, it doesn't follow the mainstream (haha) orchestral score sound, but is in the score genre that seems to be burgeoning in the industry.

Recently, there have been quite a few popular films with similar type scores, Tron: Legacy (Daft Punk), The Social Network (Trent Reznor & Atticus Ross), Hanna (The Chemical Brothers), etc...

To me, this score is the one that features elements from both traditional orchestra and the techno sound worlds, but blends them better than the others that came before. There are times that it seems the orchestra has been sampled that even lends itself to the techno sound and making the blend seem more authentic.

Immediately with the opening track "The Block" you can't help but bob the head to the fat beat that's laid out. All the elements that are contained in the cue make for a very interesting conglomeration, not least of which is something I've already mentioned... the sampled (or at least that's the way it sounds) orchestra.

One of the things that I love about this score is the amount of different instruments that the composers have at their fingertips, and actually use. In the track "Round Two Bruv" it begins right away with some awesome sounding synth stuff including a Theramin emulation. But the piece goes through transformations and eventually, the main melody is played by the orchestra with bits of the electronic thrown in.

The album does a great job of mixing the different elements while keeping it fresh and listenable. But it wasn't until "Rooftops" that my blood really got pumping. The thumping and arpeggiator race along in what I imagine is a rooftop race across some random part of South London.

This soundtrack is very exciting, and doesn't disappoint. From the bit crushing to the full orchestral barrage, it has a little something for everyone. And the vintage electronic sounds combined with kitsch sic-fi music cliches, I LOVE listening to this (and have many times already).

To round out the album, Basement Jaxx has included a song by them that I imagine will bring the house down at the film's conclusion in "The Ends". From what I've read elsewhere Basement Jaxx's style is house... or dub step... or some other sub-genre of techno that I am not quite familiar with. Either way this track really makes my head bob! So please, if you like electronics and orchestral fare in your ears, don't hesitate to pick this up!

I can't wait until one of my friends asks me to score one of their projects in this style!

And now I leave you at the Ends...

Review for Curtain Call Score

My friend Brad, has written a review for Curtain Call, which just had its release on iTunes.

So check out the review, and then go and get the album!

Pirates On Stranger Tides: The Score

iTunes
Amazon
Today sees the release of Hans Zimmer's Pirates of the Caribbean: On Stranger Tides Score. The fourth installment of Disney's series, and the third album attributed to Zimmer. Technically, it's his fourth as he wrote and contributed on the first movie's score, but due to contractual obligations wasn't allowed to put his name on the project, instead giving credit to Klaus Badelt.
From what I've read, the scripts for Pirates 5 and 6 have already been written to complete this newest trilogy.
When I first saw the trailer for 4, I really wasn't super impressed. I mean, yeah it had Penelope Cruz, and Ian McShane, but it was hard to not feel like the series was played out. The score for the 3rd movie was so epic and had so many themes, how could you keep putting fireworks on top of explosions.
After hearing the score for 4, my worry was unfounded.
Instead of chasing the epicness of it all, Zimmer decided to pull back and create a more subdued vibe. Truly, with the addition of guitarists Rodrigo y Gabriela, the score, at times, takes on some very intimate tones.
The soundtrack has quite a few tracks, but only 11 of those are score, the rest filling out the album are remixes. However, the 45 minutes of score we do get is chock full of awesome.
The album starts with a track called "Guilty of Being Innocent of Being Jack Sparrow." A very light opening with Jack's theme coming in solo string, and repeated in the violins. Soon the percussion and brass show up to elevate the intensity, but they don't push it to 11, they keep it nice and relatively calm.

The next track, "Angelica", begins with a very crunchy cello playing a tango rhythm. Soon joined by our Spanish guitarists Rodrigo y Gabriela, the tango becomes more complicated and filled out. Portions of the orchestra accompany the guitars and solo cello to complete the track. This cue works very well for how Penelope's character will be portrayed in the film, and the addition of the guitarists creates a nearly unassailable authenticity. The instrumentation that Zimmer uses, and the genre (tango) really remind me a little of Zimmer's score for Sherlock Holmes, except, without the flair.
The first track to truly feature Rodrigo y Gabriela is "The Pirate That Should Not Be."

Yeah. These guitarists are amazing! And I love that they are on this score. When they start rocking out on their classical axes, I can't help but be reminded a little of Apocalyptica, the group of four cellos that play covers of heavy metal songs.
The track immediately following is called "Mermaids." Immediately, high, ethereal voices are present, with some interesting orchestral colours. Not sure what the female voices represent though... kidding. But seriously, the quality of the choir and the space they are in sounds amazing. I would venture to guess that this is the track that Eric Whitacre worked on for the score, as reported in his blog back in January. There are some great vocal things happening with voices fading in and out with (almost) creepy feelings... siren-esque. Probably one of my favorite representations of the mermaids alluring voices.
On the score, Rodrigo y Gabriela have three tracks that feature them almost exclusively, "The Pirate That Should Not Be", "South of Heaven's Chanting Mermaids", and "Angry and Dead Again". I have a very difficult time deciding which one is my favorite because they are really great. They did a great job of working in the old pirates and Jack Sparrow themes within their pieces. I'm going to be very interested to see how these pieces are worked into the film itself.

Another new theme for the score comes in the form of "Blackbeard", Ian McShane's character. The theme is very plodding, but it includes a little bit of distorted electric guitar. The way Zimmer wrote and had it orchestrated fits in really well with the Pirates idiom. At times the theme even almost sounds like a variation of the pirate themes that came before. I daresay that this track is potentially the biggest, breadth-wise, of any other on the score. Full orchestra and choir combine to make it quite huge, and the descending theme moving higher and higher doesn't hurt very much either.
I definitely love this score. I may be biased here, but the fact that Rodrigo y Gabriela are major contributions to this score, not to mention the little bit of Whitacre that I can hear, this score has quickly become my favorite Pirates score. If Pirates 5 ever does get made, I'll be very interested to see where Zimmer takes it next.