SOUNDTRACKS
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Soundtracks are a lot more than movie music...
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each week
I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally getting
a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long experience as a
listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for the Chicago
Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it clear that I'll
focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a little heard
soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
...or so I'm ready to argue as a 30 year devotee of this sorely under appreciated genre. So, in an effort to do my part, each week
I'll be making recommendations of soundtracks current and vintage, make a fuss over long awaited soundtrack scores finally getting
a well deserved release, and in general, make some noise about this often overlooked category. Beyond my long experience as a
listener and as a pianist and songwriter, both of which I've put to use in writing a quarterly soundtrack column for the Chicago
Tribune, I can only offer my recommendations. You'll discern my taste soon enough and upfront I'd like to make it clear that I'll
focus most heavily on SCORE soundtracks. In the end, all criticism is subjective but if I can point a listener toward a little heard
soundtrack or strongly advise you to either ORDER IMMEDIATELY or SKIP ALTOGETHER, all the better.
Only time for a quick recommendation this week but it's a very strong one:
I've been listening to Craig Armstrong's score for World Trade Center, the new Oliver
Stone directed picture about the 9/11 tragedy for weeks now. It's surely one of the saddest,
most beautiful soundtracks I've had the pleasure to wallow in. Armstrong's sure sense of
melody, which begins with the elegiac theme (complete with somber, solo cello) sets the
tone for this quietly emotive score. 17 tracks later we arrive at the last one which Armstrong
himself plays on solo piano, the (surprise) sad, reflective "Ethereal Piano Coda." Inbetween
these are an array of other elegies (including one with the expected choir -- though it's not a
cue that forces itself on the listener). The movie is intensely sad, as expected, and the
music reflects that. Beautiful and sad. "Marine Arrives at Ground Zero," "Alison at the
Stoplight" and the aforementioned opening and ending cues are strong standouts.
This is one of the year's most haunting releases. It's not a lush work, it's not music that
wallows and if Armstrong's melodies are not immediately memorable or flashy, that's to his
credit.
You may resist seeing the movie -- for obvious reasons -- but the music is as soothing in its
way as it is reflective and sad and easily exists outside of the film. This is a wonderful
listening experience. On Sony Records.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the ARCHIVES
Next Week: The Illusionist
I've been listening to Craig Armstrong's score for World Trade Center, the new Oliver
Stone directed picture about the 9/11 tragedy for weeks now. It's surely one of the saddest,
most beautiful soundtracks I've had the pleasure to wallow in. Armstrong's sure sense of
melody, which begins with the elegiac theme (complete with somber, solo cello) sets the
tone for this quietly emotive score. 17 tracks later we arrive at the last one which Armstrong
himself plays on solo piano, the (surprise) sad, reflective "Ethereal Piano Coda." Inbetween
these are an array of other elegies (including one with the expected choir -- though it's not a
cue that forces itself on the listener). The movie is intensely sad, as expected, and the
music reflects that. Beautiful and sad. "Marine Arrives at Ground Zero," "Alison at the
Stoplight" and the aforementioned opening and ending cues are strong standouts.
This is one of the year's most haunting releases. It's not a lush work, it's not music that
wallows and if Armstrong's melodies are not immediately memorable or flashy, that's to his
credit.
You may resist seeing the movie -- for obvious reasons -- but the music is as soothing in its
way as it is reflective and sad and easily exists outside of the film. This is a wonderful
listening experience. On Sony Records.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Don't forget to check out previous soundtrack recommendations by visiting the ARCHIVES
Next Week: The Illusionist
British film composer Craig
Armstrong has written one of the
year's most beautiful scores with
World Trade Center.
Armstrong has written one of the
year's most beautiful scores with
World Trade Center.
