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| CD Review: The Ring/The Ring Two |
| Posted By: Ian D. Thomas on May 31, 2005 - 10:00 PM |
CD Review: The Ring/The Ring Two
The Ring/The Ring Two ** 1/2
HANS ZIMMER, HENNING LOHNER, MARTIN TILLMAN, ETC
Decca B0004405-02
12 tracks - 63:11
Horror movie audiences confound me. They want new thrills and chills,
but also seem content to watch the same old ones wrapped up in new
packaging. I guess it's the same for horror movie soundtracks.
Hans Zimmer and Company have released a compilation album that covers
both The Ring and its sequel,
The Ring Two. More than a
dozen different people contribute to the music production for this
album, from "Ambient Music Design" credits to the many members of the
"Score Re-Mix Team." Unfortunately, it's unclear who did what, or even
what tracks came from which movie. Despite the vague nature of the
credits, it's obvious that a lot of work went into the making of this
album. Each track has been edited and mixed into a mini-suite, each
incorporating many of the basic elements of the film score.
"The Well" starts out the album with an eleven- and-a-half-minute
introduction to all the major themes. Solo piano (drenched in reverb,
of course) plays the main theme and is soon joined by strings. Harp and
celeste take over and add their voices, but it all seems so familiar.
An aggressive solo cello begins its series of short arpeggios
introducing the next theme and is soon accompanied again by the
strings. Once again the celeste returns and adds a "Tubular
Bells"-style motif to the brew.
"You See the Ring" is one of the shorter tracks on the CD and begins
with another furious cello solo that abruptly drops out. Fierce strings
then pound out a relentless rhythm while percussion adds a ticking
clock effect. They continue to build until the score is swamped out
with what sounds like processed traffic noise and it's all instantly
cut off. It's an unexpected end to a rousing cut.
The final four tracks seem to be the work of the aforementioned "Re-mix
Team." They range from slow tempo electro-grind to the incredibly
cheesy "Seven Days," (a how-to guide for those interested in remix
clichés), which eventually ends with the bass, strings, and
synths all playing the exact same line -- just the kind of writing that
used to get you kicked out of music school!
However, the winner of this last bunch has to be the hysterical
"Television," with its heavy metal take on the themes. Lots of
distorted guitars, banging bass and horribly programmed drums are sure
to bring a smile to your face -- if you aren't wildly swinging your
long hair in circles.
A few good tracks, a few weak ones. Overall, it's much like the horror
movies of today -- the same formula dressed in a different
outfit. -- Ian D. Thomas
MailBag@filmscoremonthly.com
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Today in Film Score History:
April 26 |
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| Alan Parker begins recording his score for Jaws 3D (1983) |
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| Barry Gray died (1984) |
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| Bronislau Kaper died (1983) |
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| Bruce Broughton begins recording his score The Blue and the Gray (1982) |
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| Carmine Coppola died (1991) |
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| Dave Grusin begins recording his score for The Firm (1993) |
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| David Bell records his score for the Star Trek: Deep Space Nine episode “Tracking Into the Wind” (1999) |
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| Francis Lai born (1932) |
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| Giorgio Moroder born (1940) |
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| Jerry Fielding begins recording his score for Gray Lady Down (1977) |
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| John M. Keane born (1965) |
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| Maurice Jarre begins recording his score for Distant Thunder (1988) |
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| Miklos Rozsa begins recording his score for Green Fire (1954) |
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| Paul Sawtell and Bert Shefter record their score for Kronos (1957) |
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| Reinhardt Wagner born (1956) |
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