Soundtrack review – Transformers (2007) / Omri Lahav.

 To be honest, I was a bit wary of approaching this score for review – as everyone seem to have very strong opinions about it.

The score itself is everything you'd expect to hear in an action-packed, sci-fi film like Transformers, heroic, epic, and yes – a bit cheesy at times, as the genre compels it to be.
When I first watched it, it was a mind blowing movie, but I too was left a bit unimpressed with the score. It's only when I got the DVD and watched this incredible movie again that I made the connections, and the music grew on me in such a way that I liked it more with each time I heard it.

Overall, I feel this score is more frowned upon then it should be – it's a very good one, and if most people fail to notice that - it's probably due to the fact that most of the correlations in the music are very subtle.

In my honest opinion, Steve Jablonsky wrote some great music for this movie, and also made very good use of motifs throughout it.

As a fan of the classic TV series, my biggest and possibly only complaint is that the original Transformers theme by Ford Kinder and Anne Bryant wasn't heard or quoted even once… If you ask me, the various songs that were used on this score could have made way for a rendition of this classic tune.

Among the most noteworthy cues (for me), are:

The Autobots theme, which is heroic and noble, with a subtle high-tech edge to the sound, enhancing the drama created by the string ostinatos and commanding brass.

The Decepticons theme is very sinister and minimalistic, being little more then an ominous beat, underscoring the scenes in which they are referenced, and growing as they draw near.

The All Spark theme, for me, is the most beautiful piece of music in the score, and is well produced to deliver a sense of otherworldly presence, with the subtle use of electronics. Alternating time signatures between 6/4 and 4/4 also helps create an unfamiliar twist to this otherwise simple melody, and the choice of a Cello to voice it is wonderful – a welcome change of mood from all the brass we hear throughout the score.

Sector 7 theme is another piece of music that stands out in this score. Instead of the electronics, Steve makes use of live percussions playing similar rhythms to the ones in the Decepticons theme – to me this says: "we may not have their technology, but we're still very dangerous".

No Sacrifice, No Victory, is the Witwicky family motto.

To me it felt more like Sam's theme.

Optimus Prime's theme is basically a slight variation of Sam's theme. Unlike the brass and electronics that characterize most of the Autobots' music - it's played beautifully on a flute, and uses percussions.

To me it symbolizes Optimus' relationship with Sam, and his almost human sense of compassion.

I'm opting not to drag this review along the whole of the score, as I feel I have covered the most important parts of it.

To conclude, this is a very well-written and thought-of score; those who dismiss it as Zimmer-type action are, in my opinion – mistaken.

Hope you have enjoyed this review, and as always I can be reached with any feedback at http://OmriLahav.com, or OmriMusic@hotmail.com.

Signing off until next time,

-         Omri Lahav.

P.S. I know I haven't discussed Hans Zimmer much, and yes, there are similarities – as Steve was mentored by Hans.

As a composer myself, I find that I am influenced by my mentors as well, and I see nothing fundamentally wrong with it.

That aside, I don't believe this score is anything like a typical Zimmer score, the nuances of composition and arrangement are far from it.

Soundtrack Review – King Arthur (2004) / Omri Lahav.

  I shall begin with an apology, as I know both Hans Zimmer's fans and haters are sensitive, and tenacious in their opinions.
I am reviewing this score as a musician, as a listener and most importantly - as an enthusiastic moviegoer.

My thoughts about this score are mixed, while mostly I enjoy Zimmer's sense of music and motifs, this feels to me like a last-minute score.

There are a few lovely pieces of music in it, but it is otherwise quite unimaginative, and does not stand out.

My main issue with it is that it's too obvious - throughout the movie, battle scenes are scored with plain battle music, romantic scenes are scored with plain (and mostly cliché) romantic music, etc…

So the score isn't telling you anything besides what you're already seeing, and I feel that it's defeating itself, and it's purpose of enhancing, glinting and insinuating beyond the visual aspect.

Also, in terms of volume – it has very little music put in it, the same few themes are re-arranged and applied to almost any scene, and that could work very well with the right orchestration – but the score is mostly orchestrated in the most straight-forward, generic way imaginable, and you're unlikely to be surprised after the first 30 minutes of the movie.

You'll mostly hear those familiar string ostinatos, heavy orchestral percussion and powerhouse brass writing.

A few very good choices, however, are the singer Moya Brennan, who's ethereal voice carries you far away, the use of a live Duduk, which is not uncommon in a Zimmer score – and adds a new depth to the music, and the extensive use of choir, which is my favorite element in this score.

Among the themes I liked best are:

Woad to Ruin, while being the perfect example of the obvious orchestration I mentioned earlier – is a beautiful piece of music, and makes good use of my favorite motif in the movie – Tell me Now.

The Victory theme is another motif that I like, and the choir really elevates the otherwise mundane orchestration to new heights.

All of Them makes it into this list thanks to a chilling performance by the lovely Moya Brennan, and the captivating sound of the Duduk.

For Hold the Ice, I can pretty much say the same thing.