October 6, 2011

  • Review: Transformers Trilogy Compilation (Jablonsky)

    Michael Bay’s update of the animated 1980s merchandising miracle of The Transformers has made it through three blockbuster-sized budgets culminating in the recent Dark of the Moon.  When composer Steve Jablonsky was tapped as the person to bring the musical backdrop to the first film in 2007 it seemed rather unusual.  Up until then, Jablonsky had been honing his craft in awful horror remakes with some occasional flashes of potential in Steamboy (2004) and The Island (2005).  The latter should have been the sort of blockbuster film that raises your compositional pedigree but that did not happen.  Transformers changed that for the composer who has since gone on to explore composing rather successfully in the video game world with his amazing scores for Gears of War 2 and 3.  The music for the Transformer’s films makes for a great counterpart to those successful works.  The thematic material is fairly strong throughout these scores and Silva has chosen some of the prime examples in its collection here consisting of six selections from the first two films in the trilogy and four from the latest film. 

     

    The opening “Autobots” has a definitely Zimmer-esque feel to its style (as does most of the score) and Jablonsky’s themes bear a similar resemblance.  His use of electronics is a bit more advanced within the studio–created sounds that are on display here.  The one striking almost Celtic-like theme in Transformers gets a couple of variations in instrumental presentation in “The All Spark” and “Optimus” where it shifts from string to wind sounds.  The arching melodic idea is quite compelling.  After playing it a bit safe in the first film, the musical selections from Revenge of the Fallen show the shift into more experimental textures and electric guitar ideas.  These serve as a counterpoint to the more “traditional” scoring approach.  “Infinite White” is an interesting musical choice that blends the wailing vocal with a Horner-like synth chorus at times in a cue reminiscent of Gladiator.  The strong dramatic theme from the first film winds its way through the selections from the second score as well with the busy churning strings moving underneath as the music swells epically.  For the final score, Dark of the Moon, the music mostly returns to the sound of the opening film, though with electronics integrated more into the texture than the previous selections heard here.  The strong thematic ideas continue to provide a general continuity that make the presentation work very well.

     

    London Music Works is a sort of catch-all group for non-traditional film music at Silva.  It is used for purely electronic and sample recordings, as well as those that use a mix of smaller ensemble and electronics.  It is the sort of adaptability that allows them to shift to pop/rock styles (as happens more in Revenge of the Fallen) as well as semi-orchestral ones easily.  The results are often quite good as they are here.  Two of the tracks (“Arrival to Earth” and “Prime/I Rise You Fall”) feature the house orchestra from Prague.  The music’s general excitement and melodic interest throughout is what makes the score interesting and Silva’s selections provide a rather good introduction to the music from these films in high quality performances.  For fans of the scores, this will bring together some favorite moments in one convenient package.  It is quite interesting to note that this is the youngest/newest composer of the recent crop of talent to receive his own compilation on Silva before the likes of Tyler or Giacchino which perhaps shows the label’s interest in Zimmer and his protégés.