Modern soundtrack review (under construction)

Priest Soundtrack Review:

1. Priest
The title track starts off immediately with shades of Hans Zimmer’s and James Newton Howard’s Batman Begins. It’s a pulsating set of strings and the broader symphony. A chorus plays a part as well, which makes sense given that it’s likely somewhat related to the church. The theme is really quite nice and an easy listen. It’s not a standout, but it’s a great introduction into the world. There’s an organ, although it sounds a little electric. I’m not sure if that’s the case or not. 4.5/5

2. Eclipsed Heart
The orchestra has a sweeping sound to start this one off. It’s a more measured sound at its beginning, trying to set the mood. I’m not sure what instrument starts with a solo around 50 seconds in (my music knowledge isn’t that deep) but it helps set somber tone. Then out of nowhere, the track swells up in both intensity and dimension. Only the ending keeps away as being a really great track, as it ends on a little odd note. 4/5

3. I Have Sinned
This track starts off as strongly as any track does. I can’t really tell if there’s a chorus here; there’s not enough separation from the voices and the noises to be positive, but it does indeed sound like a choir is assisting. The pace is feverish; someone is getting exorcised, I’m sure. Drums come about a minute and 30 seconds in; I’ve just started the track and I feel like I’ve heard 4 different sounds. Do not mistake veracity for poor quality, though. It’s a battle track through and through, and I just have a higher bar for listening to battle tracks in my leisure. 3/5

4. Blood Framed Hell
A set of horns and brass starts with a more muted opening. There’s a smattering of choirs as well, but this track is mostly a bruiser. Random-ish drums come out of nowhere to interrupt the relative calm. It’s not a very pleasant listen, except for the female soloist singer as it fades away. But her voice and the strings surrounding her cannot save this piece. 2.5/5

5. Sacrosanct Delirium
A much more traditional epic opera piece. A chorus framed around the music creates a strained atmosphere. Young then pulls us into a sense of relaxed caution; it sounds positively like a horror flick. It continues into a more lulled but flowing orchestra sound. But, as we approach minute 4, there’s a hint of the main theme of Priest, which is just fantastic. Young creates an incredibly diverse set of sounds here. 5 minutes in, there’s a brand new theme that is arguably very stressed, but then a different sound fits in. But as far as an easy listen goes, this one does not meet the bill. It’s too diverse, it’s too frantic, you really can’t get into a flow state here. But again, I’m biased against battle and boomy tracks. 2.5/5

6. Never One for Love
A much softer piano version of the main theme hints this one off. It’s a softer tone and a pleasant listen until about a minute in where the mood shifts. A female soloist accents the occasional deep bassy drumbeat. 3/5

7. Faith, Work, Security
A brassy but slow intro. The strings come into the fray about a minute in and it sounds a lot like Steve Jablonsky’s Transformers. But then, out of nowhere, the track lifts up substantially into something quite nice. The chorus lifts again and it finishes the track off on a literal high note. 5/5

8. The Vampire Train
The vampire train is fast and it’s dangerous. That’s what we can get out of the introduction to this action track. We then see snippets of the main theme, but in a more elevated pitch for additional danger. It’s a very diverse track again; Young has created a song with many sounds again. 2 minutes in, and the tone changes again with a frantic pitch but the same rushing drumline, until the strings take over around 2 minutes and 45 seconds in and alter the tone. Ultimately, the song is too varied to be that good of a listen, which I hate saying, but if you listen to it you’ll understand the rating. 3/5

9. Fanfare for a Resurrected Priestess
Our female soloist returns in this piece with an Avatar-like voice. Combined with the strings, it’s an uplifting and gorgeous track. 5/5

10. Cathedral City Blue
An… odd tone? It sounds positively holy, sure, but does it sound good? A minute in, and the answer is no, but the track is young with 5 minutes left. There are signs of life around 2 minutes in with rapidly pulsating strings. But then, out of nowhere, the main theme comes in glorious fashion, and that’s why we’re all sitting down for this show. But it’s a tease. But, the good doesn’t make up for the dull. The theme comes back in for one final hurrah at the end. 3.5/5

11. Detuned Towne
A more lively atmosphere with a full choir in tilt complemented by the drums. It’s an action piece through and through. The middle section detracts from the overall quality of the experience. Meanwhile, the finale is more of the same. 3/5

12. A World Without End
I imagine these are the title tracks, where the composer can really shine and flex their creativity. “A World Without End” is a great piece, make no mistake about it. It contains everything that’s great about the theme of the soundtrack and builds it into a better piece. It’s worthy of the HOF. 6/5