Posts Tagged ‘Soundtrack’


1. Portishead – Third

January 1, 2009

Portishead - Third

In a year where many notable works were about making great melodies with simple tools, Portishead are all about the opposite – that is, meticulously crafting complex atmospheres and destroying them brutally. Everything from the start of Portishead’s first album in ten years is an utter knock out, and something unlike listeners have ever heard before in the band’s already groundbreaking pop discography. However, almost nothing on Third is poppy, except the greatest pop song of the year, The Rip. And yet we also have what seems to be the ultimate anti-pop, the dark matter crashing of drum machines on Machine Gun. But we also have a gentle folk ballad, Deep Water. In fact, nothing on Third sounds like anything else on Third. The only indication that the songs were even made on the same planet are the still central vocals of Beth Gibbons, which sound like finely aged wine after a decade of relative inactivity. She still hits home runs every at bat, both vocally and lyrically. The second song Hunter initially sounds like the mystical clairvoyance of a crystal ball, until electric guitar rips the curtains apart and Gibbons smoothly asserts “I stand on the edge of a broken sky, and I will come down, don’t know why.” Her delivery is crucial; it is as uncertain as it is asserted, which makes little to no sense in theory, but in practice Third is one of the finest vocal performances heard in years because Gibbons makes the subject of her vocals, heartfelt explanations of social rejection and confusion which she has honed for years, into something completely tangible and utterly scary. But Portishead is a band of more than one talent, and would be lost without the backing music of Geoff Barrow and Adrian Utley. The dynamic duo craft the band’s most harrowing set of tunes yet, leading off with noir jams that break off suddenly, terrifying organs over cataclysmic waltzes from hell, ever-changing rhythms and jarring atmospherics. The spirit of the album is the dynamics, which will continue to shock, surprise, and haunt until the next Portishead record, and interviews tell us that may not be as far off as one would gather from the bands previous hiatus. However, Third is a house of cards that listeners could be content hearing built up and burned down for decades. It is a horrifyingly heavy album, not in the hardcore Finnish death metal way, but in the classic heavy metal way, or the way in which one feels while extremely sick and when the nauseous world seems to bear down onto the tiniest of breaking points. By the end of the album’s closer, Threads, one might actually believe that the world and everything in it is coming to an end. Of all the hyped reunions of the past few years, Portishead are just about the only to not only match but surpass the hype and their previous work with a monumental album.



Howard Shore – The Lord of The Rings: The Two Towers

November 4, 2007

This orchestral score accompanies Peter Jackson’s second serving of J.R.R. Tolkien’s epic Lord of The Rings trilogy, The Two Towers. To many, including me, The Two Towers was the most interesting book and the most enthralling film, and the music has something to do with how tense and action packed the movie was. This is where hell breaks loose, and the music indicates as much. Most of the songs sway between quiet, mysterious movements and loud, dark, sweeping, full orchestra explosions at the drop of a feather. This keeps the score tense, progressive, and effective.

On one hand, the listener will hear many versions of the main Lord of The Rings themes that they have already been spoon fed hundreds of times before and probably won’t need to hear again. The Taming Of Smeagol, The Riders of Rohan, and The King of The Golden Hall are in this way songs that you may want to skip simply because you can already hum along to them. But even these songs carry the same urgency and sense of destruction that most of the movie communicated. This keeps even the familiar melodies rather fresh. But for the most part, the listener will most likely find the most enjoyment in the songs they don’t already know.

What Howard Shore has done here is craft an aural experience just as distinct as the visual and fictional experiences that it accompanies. There is a tint of Gaelic spirit in most every song, which adds to the overall coherency of the score. There are some songs meant to accompany the tense action scenes, such as The Uruk-Hai and Helm’s Deep, that do their damage very well, and recreate the dismal aura of Sauron’s lackeys.

When Tolkien created his books, he pushed his creative boundaries and created not just a series of books around his characters and events, but also a world. He wrote his own languages with their own phonetics, grammar, and vocabulary, and these languages are utilized here in several songs by accompanying soloists, as well as by booming female choruses. Isabel Bayrakdarian and Sheila Chandra sing exceptionally on Evenstar and Breath of Life respectively. But the real winner is, get ready, Liz Fraser appearing on Isengard Unleashed. Fraser has honed vocal emoting for decades using a language of angelic babel on her own, making her the most appropriate vocalist for this score. Her appearance, no matter how short, is deeply appreciated, and a bittersweet reminder that one of the worlds greatest singers still has her talent completely in tact after years of inactivity. There is some English singing on the closing Gollum’s Song by Emiliana Torrini, which captures the insanity of Gollum very well.

The most memorable themes that the soundtrack has to offer are The Passage of the Marshes, The Black Gate Is Closed, Evenstar, Treebeard, The Leave Taking, Breath of Life, and Isengard Unleashed. But this is a soundtrack worth picking up for it’s entirety. If you enjoyed any of The Lord Of The Rings movies, or have any appreciation for orchestral music whatsoever, you will really get a lot from this soundtrack, and really all of the Lord Of The Rings soundtracks. Don’t lie to yourself. Just because The Lord of The Rings has an army of ridiculous fanatics to back it up does not mean it is not quality literature. This soundtrack does great justice to the second Lord of The Rings film, which does great justice to the original book.