In Dreams

Review by Thomas Glorieux:

Elliot Goldenthal is one of the most talented composers of his generation, yet everyone almost despises his horror scores, namely Alien 3, Sphere or Interview with the Vampire, yet people seem to buy them. Strange yes, foolish no. Because his different perspective on the movie's view is stimulatingly new yet difficult to listen to. His powerful brooding score haunts every corner of the music's side yet they seem too atonal to enjoy. It is the same aspect we find in In Dreams. So hard as listening material, so dark as score but so carefully interesting and so difficult yet stimulating. It may be interesting but some moments will drive you up the wall, like the film requires it, like Elliot Goldenthal delivers it, every time. Violins in the first track 'Agitato Dolorosa', mixed with an electric guitar in the fourth 'Appellatron'. The difficult moments of Goldenthal's score but so effective and atonal that they make an impression on you. But easy listening it will never be. The main theme, usually the salvation of the horror scores is not discovered because I couldn't find a repeating theme or a moment that marks that main theme.

So, what is there to hear that fulfils the aspect of listening to it? Well, apart from the interesting approach we find the shrieking violins of Alien 3 heard for instance in 'Scytheoplicity', or a jazz instrument gone wild in 'Rubber Room Stomp', or the mood that resembles Sphere. But again, listening to it makes you wonder why you bought it in the first place, sometimes. Because what this score delivers as mood setter is superb, where Sphere simply was awful, where Alien 3 needed the themes to survive, there is that dominating mood of In Dreams. Or the strong building key mark of Goldenthal in one of the better tracks like 'Rebecca's Abduction' or 'Elegy Ostinato'. I tell you this, those that loath electric guitars, played at the most excruciatingly way of all and combined with the most difficult music of Goldenthal, as witnessed in Alien 3, Sphere and presumably in others also will find In Dreams a waste of money. And even if this will be a score that I only listen to for several times in all my life, this atonal yet captivating score can somewhat interest me. So why is this so captivating? Why does Close Encounters of the Third Kind receive the highest quotation, if it exists of some creepy cues, why is Poltergeist such a classic even if it scares the hell out of you? Simply for it's outstanding effect or interesting captivation towards you. Again, In Dreams is meant for the Goldenthal fans out there but as effect in the movie as on disc, it remains a mystery to give it *1/2. Goldenthal, how do you do it to create such a dark, brooding atonal yet inspiring horror score? Elliot Goldenthal is one of the most talented composers of his generation, yet ...

\ľ1/2/

Tracks

Single Disc

1. Agitato Dolorosa (4.59)

2. Claire's Nocturne (2.38)

3. The Pull Of Red (2.07)

4. Appellatron (3.32)

5. Wraith Loops (3.27)

6. Rubber Room Stomp (2.00)

7. Pulled By Red (1.11)

8. Scytheoplicity (3.26)

9. Rebecca's Abduction (4.30)

10. Premonition Lento (1.42)

11. While We Sleep (2.37)

12. Andante (3.38)

13. Elegy Ostinato (4.09)

14. Dream Baby: Elizabeth Fraser * (4.30)

* Lyrics by Neil Jordan, Music by Elliot Goldenthal

Total Length: 44.35

The use of artwork or photos is posted for non profitable reasons

=== Link to Composer Site: Elliot Goldenthal ===