Modern soundtrack review (under construction)

The Prophecy
A broad chorus and sweeping orchestration lead us into Peter Jackson’s epic trilogy. Prior to this work, Howard Shore was best known for horror films, so he was a surprise pick for the LoTR soundtrack. The prophecy starts off right. It sets the mood immediately, with an angry choir backed by the full orchestra. The strings play this one mostly out, and you are right in Middle Earth. 4.5/5

Concerning Hobbits
Iconic and lighthearted, you feel right at home in the Shire. The flute really welcomes you to an almost nautical feeling. Then, a violin solo introduces you right at home to a rustic time before the full orchestra takes you away. 5/5

The Shadow of the Past
An ominous sound. It’s the sound of bad history. Midway through, a rising tension adds to the complexity here. A chorus creates a warning of things to come. It’s the theme of Mordor. As an individual listen, it’s fine, but it’s not great. 3/5

The Treason of Isengard
An angelic choir starts this piece off. 35 seconds later, the strings and broader orchestra enter the mix with a sense of purpose. It fades into a brass version of the LoTR theme, but it’s very quiet and muted. Not a bad thing, just an observation. But the theme turns into something larger with the full orchestra, the drums, everything. A chorus, similar to “Duel of the Fates,” fills the outro. 3.5/5

The Black Rider
Our hobbit’s theme makes a brief introduction here, a wistful one if anything. It turns dark around a minute in, and it’s the sound of death. Slow, pacing brass and a “Jaws”-like build-up. The chorus is in effect as well. 3/5

At the Sign of the Prancing Pony
There’s not a lot going on in this track in the first half. It ramps up in the 2nd half, and the tension increases with sweeping strings. The chorus comes into the fold as death approaches. It’s just not a very pleasant listen. 2.5/5

A Knife in the Dark
With a title like “A Knife in the Dark,” you know there’s some death afoot. The chorus continues right where the previous track ended. It’s doing a lot better job at building a rising action. But, at the end, the orchestra almost fades entirely, leaving us with the elven themes, until the orchestra comes back with a literal bang of the drums. 3.5/5

Flight to the Ford
A much calmer orchestration here than the previous two songs. But, as the heroes need to flee, a stronger tone takes hold and the danger quickly rises. The orchestra, in perfect harmony, ascends and continues to rise. The chorus comes back into the fold, and the sense of danger just escalates. Then, an almost disjointed brass sound takes over. Finally, a gentle outro takes us away to the river. 3.5/5

Many Meetings
Howard Shore does a great job with a chorus-based sound. It sounds positively heavenly. The strings and woodwinds come in next to set up the location. It’s a pleasant, soft sound that evokes the spirit of LoTR. 5/5

The Council of Elrond
Enya teams up with Shore on this one. Enya provides her typical northern sound here, and that is not a bad thing at all. It works so well to create a heavenly atmosphere. The orchestration is completely secondary to Enya’s tone. Enya’s song abruptly ends, but then the orchestration brings back the main theme as well as the hobbit’s theme. 5/5

The Ring Goes South
This is where the lighthearted tones make their final stand, before the true weight of the journey reveals itself. This track is peaceful and optimistic before bringing the main LoTR theme back in. The theme is so magnificent it just carries itself. 4.5/5

A Journey in the Dark
Darkness immediately is apparent in this piece. Lower and lower is the way this one is constructed. The 2nd part of this song shifts into a mournful tone, and one of loss. It’s a sense of loss, but hopeful comeback as well. As the track fades, a ramping action really shows its ear. There’s a lot going on in this track. 3.5/5

The Bridge of Khazad-dûm
An action-packed track. All facets of the orchestra play along at high volumes with a drum backing. The action continues to rise, and well. As we hit 1 minute and 10 seconds, we see a shift in its construction. It becomes more rapid, something is chasing us and we need to run. A male choir continues to fight with the build of the tension, until our main theme comes in again around 3 minutes and 45 seconds in. When we see the passing of the Wizard, a mournful theme appears with the Elven sound. 3.5/5

Lothlórien
It starts with the version of heaven that we get in Middle Earth. A soft female choir with a slow tempo bridges you into “Lothlórien.” Ominous tones take over shortly, with the chorus taking another step here. There really isn’t much substance yet in the 1st half. Elizabeth Fraser kicks in with a solo that continues with the general theme of the song. It works in the movie, but not really as a stand-alone. 3/5

The Great River
A similar yet different sound is how we can best describe this one. A rising chorus with almost a shadow of an orchestra. A minute in, another change in tone. This one is dynamic. An increase in the pace and volume met with horns and brass. I struggle with rating this one, but ultimately it’s not the best listen. 3.5/5

Amon Hen
The same soft heavenly chorus that appears on the last two songs appears here again. It then gives way to a rising action full orchestra sound filled with tension. And the action keeps rising. It’s a really well-paced rise to the action. I like it quite a bit. Shore resets the pitch a few times as it rises. Then, the sound of Mordor comes through as it’s clear that there’s some danger on the horizon. With the death of one of the main characters comes a somber end as well. I liked it as it was rising, and I liked it as it was falling. 4/5

The Breaking of the Fellowship
Shore saves the best two songs for last. An epic yet sad way to end things. I won’t spoil anything from the movie, or least won’t try to, but this track is the epitome of how to end things on a sad but uplifting note. The flute plays a wonderful part as well here. When the drums kick in at 3 minutes and 55 seconds, there’s a true sense of purpose. I absolutely love this piece. It’s the best track on the album by far and raises the quality of the album as a whole. Edward Ross, a boy singer from the London Oratory School Schola, finishes this one out. 7/5

May It Be
Enya’s best-known track (or arguably top 2). Enough said. 7/5