S.W.A.T.

Review by Thomas Glorieux:

Elliot Goldenthal is no ordinary guy, but what's with him to compose an action score for a film like S.W.A.T.? Is it him or was it the director that laid the opportunity in his hands to compose such a film since we all know the style and tone of Goldenthal, don't we. Or don't we? Final Fantasy: The Spirits Within was a bulls eye from 1 to 10 and why wouldn't it be any different with S.W.A.T.? Basically, the soundtrack becomes the typical Goldenthal score like he has composed all his life but with the difference that he mixes it all together. I really didn't like the mix of horror music, jazz, techno and choral support in Titus that much but the combination here of Sphere and Alien 3 like horror music, In Dreams like electric guitar twangs and Final Fantasy like ideas is nonetheless what S.W.A.T. ticks like. A ballsy mix but a working one and one that satisfy my needs more then I ever dreamed of. Perhaps 5 years ago I would have hated this score but now, I kinda like it a lot, since it is basically Goldenthal doing what he has done before all his life, meaning surprise us each and every time with his ideas of composing. In a way this has to suit the movie yes and no but from a music fan's point of view, it has to and the idea of hearing this hard to nails action music behind walls of gunshots and explosions is probably the dream come true. S.W.A.T. of Elliot Goldenthal is what many people dreamed off, a typical Goldenthal score, a atypical action score and a hell of a furious sound all the same.

This score's opener, a ten minute fury like 'Bullet Frenzy' is basically what this score needs to get the blood pumping, its all here. From electric guitars to strings and brass to percussion, this is orchestral frenzy and action music on drugs, its amazing Goldenthal has got the skills to make it all sound so good and bad all the same. A fanfare after 9 minutes behind wailing guitars and strings is all what Goldenthal fanatics wanted in the first place, right? There are of course several tracks which listen somewhat softer then the others, 'Don't Shoot me Baby', 'Three Chords in Two Minutes' and 'The Fascist Shuffle' are strange combinations of beats and softer electric guitar in a lounge kind of feel, but they work nonetheless. But it are the action moments that make the effect more in the end, 'My Big Black Assault Weapon' is wonderful with amazing horns producing unseen action ideas and what about 'Run Four your Life', Goldenthal bringing techniques I haven't heard before in any action score. Sure, it are his trademarks but to present them in an action score is what makes S.W.A.T. such a diverse and kick-ass score, the last track by the way starts with a heartbeat before Sphere and Final Fantasy like brass start to pump up steam. 'AK-47 Scherzo' is more of that, with pounding percussion and going to Sphere like endings, perhaps 5 years ago a pain in the ass track but now somewhat audible all the same. Talking about changing my belief, Mr. Goldenthal!

Of course, speaking of themes, there is only one, 'S.W.A.T. 911' presents it first with a version of Danny Saber, being cool and good and Goldenthal does it also most prominently in 'S.W.A.T. Sticker', sounding so cool with its strong brass. But at times I hear Goldenthal putting it in any track, just so hidden that you basically don't hear it. In the end, the climatic fury of 'Crash Landing' makes it the hardest and least audible track of all, but the way Goldenthal uses brass clusters to growing dissonance to ultimately a dazzling mix of whirling strings of Alien 3 and electric guitar is all too wonderful to simply forget it. Its amazing that Goldenthal can deliver this and that the director likes it all the same. The man surely wanted Goldenthal on this project. The two final songs bring somewhat the same frenzy, with first techno vocals over a strong beat and secondly the main theme in a working song version. Together, S.W.A.T. is sensational to listen to from a certain point of view. At times I wanna give this score more quotation because its probably the hardest kick ass action score coming out in years time. Media Ventures' like action scores have their own quality but Goldenthal does it so raw and relentless that its basically too much for you to handle, too much for you to like. As said, perhaps five years ago this might have been a nightmare for many, including me but now, you are getting used to the drugs of Elliot Goldenthal. And this is exactly what S.W.A.T. is or feels like. An action score on drugs with Goldenthal dealing the goods. But again, deliver me these babies every time since its perfect to take you out of the world for 40 minutes, and back after it fully charged and ready to bang, boom, swat.

\ЕЕЕ1/2/

Tracks

Single Disc

1. Bullet Frenzy (10.16)

2. Don't Shoot Me Baby (3.25)

3. My Big Black Assault Weapon (1.38) Excellent Track

4. AK-47 Scherzo (3.42)

5. Three Chords In Two Minutes (1.53)

6. Run Four Your Life (3.05) Excellent Track

7. The Fascist Shuffle (1.28)

8. S.W.A.T. 911 * (3.10)

9. Crash Landing (4.40)

10. That Cop Stole My Car (2.03)

11. S.W.A.T. Sticker (0.52) Excellent Track

12. Bullet Frenzy II (1.37)

13. Time Is Running Out: Apollo Four Forty (4.58)

14. Samuel Jackson: Hot Action Cop (4.03)

* Written by Barry DeVorzon, arranged and performed by Danny Saber

Total Length: 47.05

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

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