Modern soundtrack review (under construction)

Let The Games Begin
Let the swashbuckling adventures of Sinbad the Pirate begin. A light chorus introduces us to the sounds we’ll hear throughout this soundtrack. Strings, brass, and the general orchestra create a lighthearted tone. Intermittent chorus chants fill the backdrop as Sinbad gets ready to conquer yet another ship. The action rises well, and then sweeping brass and strings fill the air. It’s good already, and it’s just the first 2 minutes. Gregson-Williams then presents the main theme to you, and it’s majestic. 5/5

The Book of Peace
A more somber tone starts with an announcing brass section followed by light strings and woodwinds. Lighthearted strings take over with just a hint of a step. 3.5/5

The Sea Monster
Our first battle scene, but it’s not your traditional battle theme. The music makes it clear that the battle is under control the whole time. The full orchestra is in play here with sweeping action, but its consistency is well appreciated. The theme comes in and out of contention during this piece. It could just be another introduction to the theme, and I wouldn’t care. Something doesn’t need to be complex to be good. 4/5

Sinbad Overboard
It’s off-key on purpose. There’s a sense of ominous danger. The chorus then chimes in with a soft chime guiding it along its way. A female vocalist works well with a lighthearted strings ensemble. It’s not so diverse that the music is jarring, but there is a diversity of themes and motifs happening on this one. 3.5/5

Syracuse
Bold and emphatic, “Syracuse” is a homage to a magical city of royalty and history, and this sound embellishes that note. It’s short but very sweet. 5/5

Proteus Proposes
Light strings and woodwinds give off a melancholy sound. It’s pleasant to listen to and it works well. Not a lot to add. 4/5

Eris Steals the Book
Eris’s theme starts out lighthearted and dastardly enough. You get the feeling that there’s some shenanigans afoot. The chorus comes in with sharp biting jabs as well, almost mocking the scene as Eris steals the book. 3.5/5

Lighting Lanterns
Long, wistful horns and brass hint at a world of darkness, and then a more active theme takes over. Not one we’ve heard before, but it’s quite broad and flowing. 4/5

The Stowaway
A lighter piece, plucking strings introduce a concept of whimsical silliness. Gregson-Williams really does a fantastic job creating a childlike atmosphere with the music. It’s not too ADHD, but there is a diversity of sound in this one. It’s almost “Legend of Zelda: Wind Waker” village-ish. 3/5

Setting Sail
With a title like “Setting Sail,” the sense of adventure should immediately be afoot. We get a hint of the main theme, but it immediately is taken over by more fleeting sounds and plucks. It’s off-key and off-tone but doesn’t give me that sense of adventure or flow that makes songs individually nice to listen to. 2.5/5

Sirens
How to describe this one? It’s eclectic and exciting with female vocalists quickly changing pitch and tempo almost without forethought. There’s a sense of danger and dread. There’s a sense of excitement. 4/5

Chipped Paint
Our main theme gives us a quick hello, and but gives way to a slower sound. From there, the sound changes to a very similar plucking theme from “Setting Sail.” Again it’s not bad or offending. But the highlights are the main theme, which it does come back in and out. 3/5

The Giant Fish
Rapid and exciting. We’re in the heat of some battle. It’s pretty good as far as battle songs go, but then it just ends as we move onto “Surfing”. 3.5/5

Surfing
If the previous track was exciting, “Surfing” is glorious, at least at first. Our main theme comes out again in full but then gives way to a slower, quieter bit. Then a whimsical quality comes out, which drags the overall sound down in terms of quality. We hear a bit of Eris’s theme, but not enough to redeem it. 3.5/5

The Roc
Immediately, you can tell something is wrong. Gregson-Williams induces a sense of panicked horns, brass, and strings from the onset. There are cliffs on the music, but then the main theme comes in before quickly getting overtaken by the panic. 2.5/5

Heroics
Does the theme sound get old? Not yet, our composer doesn’t blast you with it nonstop. But he does step it up a notch. A lull in the middle slows down the action, with the horns and strings just hinting at some level of climax. But it never comes here. 3/5

Rescue!
A completely different theme enters the fray, and then gives way into our main theme. Excited strings and horns give us the action that we’ve been waiting for, as well as the completion of the theme’s components that I personally have been looking for. A Spanish sounding flair pops in for the first time to add onto the complexity. 4.5/5

Is It The Shore or the Sea?
Gregson-Williams pulls out an emotional connection with a woodwinds rendition of the main theme, slowed down to create a sense of nostalgia. It’s quite pleasant to listen to. A harp in the background adds to the sheer beauty of this track, as it continues wistfully pulling you into what it’s thinking. 5/5

Tartarus
At 10 minutes long, it is one of the longest tracks that Gregson-Williams has composed. Representing one of the thematic conclusions of the film, it has to encompass a series of emotions. The entire orchestra is in play here, as well as the chorus. A number of themes and motifs embellish this one, we hear everything from Sinbad’s theme to Eris’s theme, to the Sirens’ theme. 4/5

Marina’s Love / Proteus’ Execution
By this point, you’d think I’d be getting sick of the main theme, and yet here we are. An “Across the Stars” swelling sound takes center stage, followed by an almost gothic male choir and screaming strings. It’s short but intense. 4.5/5

Sinbad Returns and Eris Pays Up
As we approach the end, our hero returns and there’s about to be some action to go down. The main theme comes again back into the fray; Gregson-Williams introduces us to the theme a lot in the early stages of the songs. Again, we review these songs in a vacuum;

even if we’ve heard it before, if it’s good, it’s good. An intense rising action comes in 1 minute into the track as death is about to occur. The mood then shifts from somber to worried, with a heavenly tone about 3 minutes in. A sense of accomplishment via rapidly shifting strings, woodwinds, and brass slowly reveal themselves again into the glorious theme of “Syracuse.” He may have just copied-pasted this bit, but that’s okay. It works so well. Our main themes come and go to round this one out. 5/5

Into the Sunset
And we ride into the sunset on our horses or boats, the culmination of a successful adventure. It’s the theme again, but this time there’s no early breaking of it. It just rounds our movie out. 5/5