Home   //   A-L    //   M-Z   //   Composers   //    Awards


"So non Media Ventures like, it has to be good even if it uses other sources in advance"

Review by Thomas Glorieux:

From the time people could spell Media Ventures correctly, composers have arrived from all corners of the world. One of the latest in accomplishing the giant task of getting proper A-list movie making machines has been Klaus Badelt. Formerly known as the man behind Zimmer for a few years, he is the latest in stepping into the role of movie composing and apparently, he hasn't got tricks to pass onto. The Time Machine promised from the begin to be one of those movies worth seeing, worth knowing about and worth spending your money on. Especially the thing about Zimmer's appearance as composer got me hooked on it pretty well. But usually Zimmer steps off and one of his apprentices goes onboard instead, knowing then the substitute is born for movie Hollywood scoring. Klaus Badelt has been seen on various scores co composed by Zimmer (The Pledge and Invincible) and whether it is his voice that sets those scores apart is difficult to tell. However, The Time Machine is all his and things do seem tricky if you compare it with originality. The thing that disappointed me a bit was that several scores kept coming into my head as possible influences for the music I was encountering. Yet, for a composer it is to do what the director wants and all together the end result is pretty impressive to say the least.

As epic scores come and go, so is this one soaring and broad, fixed with themes that make the listen worth it, even if they do ask me frequently 'Where did I hear this from or this sounds familiar but from where"? Klaus Badelt still can't get his sole musical style into the picture but on the other hand he has proven to be quite successful with adapting other styles and more creating themes that make impact when hearing them for the first time. The one that will disappoint or please those who care is the main theme heard in the most tracks. Opening the first track and appearing in The Edge style in 'I don't Belong Here' is all what makes The Time Machine interesting. It is indeed quite similar in tone to the great theme of Goldsmith but if the director says "mimic this good", you will not say no to him when scoring your first full blown feature. It appears frequently during the score in any form and case. The begin offers us with all expectations nice sweet soft music, not quiet but good powerful music which states either the main theme or the love theme, like in 'Emma' or in 'Bleeker Street'. One of the best tracks simply through the perfect mix of themes and clever ideas is 'I don't Belong Here', offering strong statements of the theme and great melody all around it. This frankly was the track that blew me away when first listening to it, merely because I wasn't expecting this grand style in this particular track.

While overall the Media Ventures style isn't sometimes far away, it is still hidden well around a wall of orchestral mass and 'Time Travel' and 'Morlock Attacks' are at times riveting examples of this fact. Further, there are things which make the score unique after a while and these are the choral singing (The Lion King and Dinosaur) in the best track of this sort 'Stone Language', while 'Eloi' states it first and will surely work like dynamite on screen. While 'The Master' isn't my favorite track, it still brings different things on board and the same for '"What If?"' which brings some great action music and choral accompaniment in the mix. The last track has the same style from begin and middle, meaning the piano which crops up, the themes and the African based accompaniment which I really like. The Time Machine is overall a very impressive start for Klaus Badelt and the reason why this score listens so good is simply his doing, of mixing the themes so cleverly in a fitting whole. But the thing that disappoints me a bit is the originality (or not) of this piece of music. The Edge was named before and Pearl Harbor spooks a lot through my heard (piano and choral use of style). Still, this score surely will make the film proud and it is indeed a great listen, especially orchestrally speaking which really makes you feel alive. The Time Machine is an overall enjoyable score with highlights to prove its existence as positive time consuming merchandise. Another career has started for the Media Ventures school of education.


Tracks Single Disc

1. Professor Alexander Hartdegen (3.25)

2. Wish Me Luck (1.21)

3. Emma (2.36)

4. The Time Machine (3.11)

5. Bleeker Street (2.26)

6. I Don't Belong Here (3.48)    Excellent Track

7. Time Travel (4.35)

8. Eloi (2.10)    Excellent Track

9. Good Night (4.03)

10. Stone Language (4.52)    Excellent Track

11. Morlock Attacks (4.23)

12. Where The Ghosts Are (1.37)

13. The Master (7.14)

14. "What If?" (6.15)

15. Godspeed (5.19)    Excellent Track

Total Length: 57.37


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

=== Link to Composer Site: Klaus Badelt ===

Original Soundtrack by Klaus Badelt

Executive Producer: Robert Townson



Recorded at Air Lyndhurst & Abbey Road Studios; London

Also See:

The Edge

Pearl Harbor