Titus

Review by Thomas Glorieux:

Every year there is an example of Elliot Goldenthal. And every year we are surprised by the outcome. Whether Alien 3 or Final Fantasy, Goldenthal seems to be the type where adventure always awaits. Yes, on most occasions that path is rather dark since many of his scores deal around dark passages, dark futures or darker subjects. And the movie Titus of his wife Julie Taymor doesn't change the course for Elliot. But Titus overall still brings something different then Alien 3 or Final Fantasy. It is in fact the transformation from styles that will make you either a fan of the album or not. And appreciating his style is already a step into the right direction. The first time is always the hardest, especially when it opens with a killer score cue such as 'Victorius Titus', a 3 minute tour de force with choral magnificence, I especially heard it as a mix between Needful Things of Doyle and the choral magnitude in The Lord of the Rings movies. A strange mix but the quality alone of this track leaves much to admire. And to know that it simply goes completely different from that point on is truly sad. The reason why I, among others have trouble enjoying this score is because it never sticks with the one style, and some might find that a challenge and a refreshing change, it is the difference of all those styles that makes it a carnival ride with new strange twists in every corner. So an enthusiast from Mr. Goldenthal will probably love it, and even I have discovered that there is much brilliance in the score, but as we say it, when the style doesn't interest you then you've got brilliance that doesn't speak to you. Alas, Titus is that.

I don't beat around the bush but the problem is that Titus simply doesn't interest me as other scores do, even those that I equally have problems with. I rather listen to Alien 3 then Titus. Because Titus offers us a brilliant choral opening in track 1, darker fanfares ala Final Fantasy and most importantly jazz, pure straightforward jazz which at times goes so furiously over the speakers that I don't even listen to it. I have never been a favorite for jazz music and its integration is then also useless for me to enjoy. 'Tribute & Suffrage' brings these great fanfares with this jazz energy that I detest. 'Swing Rave offers even jazz with an electrical guitar through it, and that is simply a bit too unconventional. The big band jazz cue in 'Adagio' is then also a lost cause so far at the end. On occasions, Goldenthal throws in a solo voice that reminds me so much of LOTR and I wouldn't be surprised if it was Ben Del Maestro singing here. He appears in tracks 2 and 6. Also the occasional monks doing what they did in Seven Years in Tibet are heard on occasions, and while effective they make me sick no matter what. The track 'Pickled Heads' is obnoxious, with a techno opening flowing into jazz and electric guitars, ending with what seems to be carnival music and some farting tubas, it all makes sense when you're Elliot Goldenthal apparently. This and so much more is waiting into the middle part of Titus, along with underscore which listens appropriately and the occasional fanfare that appears with gusto. However, this is a score I basically listen through without ever singing or even humming the music. Sadly, this is why I am not interested in hearing it in full.

The begin was stunning and basically the final track is another good track. 'Finale' owes much to Heat since it follows the same string and brass work from that final cue. They both give a great finale even the one in Heat is much more pleasing. The final track is a strange older sounding source cue which again, sounds effective in context but plain forgettable nonetheless. Basically the package you are getting in Titus is Elliot Goldenthal when he receives the biggest freedom a man can have when composing music. To shift from one style into another and still make it effective is not easy, but Goldenthal pulls it off. Yet sadly this doesn't make Titus a score for all. You really have to have an open mind to the Goldenthal voice here. The occasional glimpses back to scores such as Alien 3, Sphere and Interview with the Vampire is all for the fans but I have problems with all those scores, so observing Titus as a picnic listen is like having the pope dancing on some techno. It is likely you will adore the ballsyness of this score, it is likely you will hate whatever follows the music. It is clear that Titus is different from any other Goldenthal score and that a great (conventional) opening and finish can lead you to such a wide variety of tones is basically why many people love Goldenthal. His originality is indeed the biggest angle but I am not the one that likes to hear this in full. It is music that doesn't interest me and be careful when you check out the score for the first time. You could like it or you could hate it, making Titus one score of utter brilliant chaos.

\ЕЕ1/2/

Tracks

Single Disc

1. Victorius Titus (2.58) Excellent Track

2. Procession & Obsequis (3.00)

3. Revenge Wheel (0.54)

4. Tribute & Suffrage (4.17)

5. Arrow Of The Gods (1.33)

6. An Offering (2.04)

7. Crossroads (3.24)

8. Vortex (1.34)

9. Swing Rave (1.53)

10. Ill-Fated Plot (2.20)

11. Pickled Heads (5.05)

12. Tamora's Pastorale (1.13)

13. Titus' Vow (3.43)

14. Mad Ole Titus (2.27)

15. Philimelagram (1.46)

16. Pressing Judgement * (3.32)

17. Aaron's Plea (2.01)

18. Coronation (1.54)

19. Apian Stomp (1.32)

20. Adagio (2.25)

21. Finale (8.34)

22. Vivere (3.33)

* From the original soundtrack "A Time to Kill"

Total Length: 61.56

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

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