Modern soundtrack review (under construction)

Foundations of Stone
Our introduction into the “Two Towers” begins with a lone rising brass. Then, a familiar theme comes into vogue, although I cannot recall if it’s the Gollum theme. A rising brass action takes over again. It’s a familiar and quality sound, if a little generic at this point. That being said, we review tracks in a vacuum. As a solo listen, it’s fine and worth the time. 4/5

The Taming of Sméagol
It starts off slowly, with not really much behind it but ramps up quickly into a whirlwind of noise and jarring motion. In the movie, it works well; as a listen, not so much. 2.5/5

The Riders of Rohan
A more anxious piece with the strings and brass working together in full vogue. The anthem continues a consistently high rising action until about a minute in, where it levels off into a softer sound until the Rohan theme comes out in full force. It’s bold and anthemic. When the violin comes into the fray, it improves the sound and the tone and ties everything together. 4.5/5

The Passage of the Marshes
An almost horror-like sound. Pulsating, creepy strings with a brassy punctuated lift. It’s a tense affair. It’s also a boring affair. 2/5

The Uruk-hai
The anthem of the most deadly orcs in Middle Earth. The LoTR theme starts this one off in force, and it’s a good sound. The second half of the song turns to the theme of the Uruk-hai, which is a vastly less enjoyable piece to listen to. That being said, it’s still very technically proficient and a decent listen overall, especially when the brass bits have their solos. 3.5/5

The King of the Golden Hall
A lovely rendition of the main theme teases us to start, with offshoots of the main theme heard in between. The violin/viola solo of the main theme complemented by pieces of the orchestra really tie this one together. Halfway through, the song changes in tone measurably with the familiar sound of strained stress. As the king is freed from his prison, a chorus takes over. 4.5/5

The Black Gate Is Closed
Another strained introduction to a song with rising brass and drums to complement. For what it’s worth, it’s actually a decent listen. It’s not too harsh or abrupt and follows a sense of congruity. The strings play an outsized role in this one. 3.5/5

Evenstar
An angelic voice, Isabel Bayrakdarian, provides the backdrop to Evenstar. It’s so pleasant to listen to and something that works on several levels. It feels like a version of heaven on Earth. It doesn’t have to be complex to be good. 6/5

The White Rider
A thunderous chorus welcomes you to this track. It’s very much opera-like in its construction, and when they give you a little break, a more traditional symphonic sound takes over. The brass really pull you into the fray before the sound of the elves plays a part. It concludes on a high note as well, with the general theme taking a part. 4.5/5

Treebeard
A much more muted sound with a choir backing. It’s a little boring, a good sound for the meeting of the Ents but a boring sound nonetheless. Very much like Treebeard. 1.5/5

The Leave Taking
The sound of the elves again on this one, with the pleasant female choir sending you right to the promised land. The choir is less enthusiastic; it sounds a touch more depressed in this one. After the choir leaves, there’s not a lot of substance. 3.5/5

Helm’s Deep
A battle track, with all of the battle track hallmarks. You get the bruising brass and the choir of death to complement it. The choir does carry traces of hope in its construction, and it’s clear. The orchestra’s tone keeps rising and the tempo feels quick and charged. 2 minutes in, the sound changes again. It’s slower and giving you a respite from the battle tones. Then, on the charge, the violin of Rohan comes back into the fray to give you a solo you won’t forget. It’s sad, and it’s hopeful. A singer takes you away to finish the track out. 4.5/5

The Forbidden Pool
A darker sound in this track. It’s very reminiscent of a horror sound, at least to start. The sound is a little monotonous on this one. The only saving grace on this track is the choir to finish it off. 2.5/5

Breath of Life
An Enya-like sound on this track, and that’s not a bad thing. A very melodic solo piece with a complementary orchestral backing. Shore does a good job creating pauses from Sheila Chandra’s solo, so it’s not just another “May It Be.” The 2nd half of the song is more traditional orchestra through and through with a pleasant rising action as we approach the climax of the piece with the Lord of the Rings main theme in full blast. The way it ramps up is magnificent and leaves you fully satisfied. 5/5

The Hornburg
It starts off with our main theme again, in full fashion, and I really just enjoy listening to this theme. The chorus is again in full force on this one for the first 2 minutes. Again, another generally pleasant track. We see traces of the main theme coming in and out between periods of relative silence. As far as the track goes though, I couldn’t really think it was as good as it could have been. 3/5

Forth Eorlingas
An epic track, and a beautiful one. If you’ve seen the movie, this is when Gandalf returns on the 5th day in tremendous fashion. A female choir starts this one off with a sense of foreboding. The choir gets louder and more dramatic until about a minute in, when the full orchestra returns with full excitement. We get a glimpse again of the main LoTR theme. Then, to round it off, Ben Del Maestro lends his heavenly voice to our riders as they roll down the mountain. It ends as well as it started. Just a brilliant track overall. 6/5

Isengard Unleashed
A rare collaboration between Ben Del Maestro and Elizabeth Fraser. After a solo start, the intensity ramps up both steadily and in almost an instant. The symphony is telling a story of fear and hatred. The brass and drums are in full force again. Our full chorus comes in again about 2 minutes and 30 seconds in with hints of drums in the backdrop surrounded by the orchestra. As it continues on, it continues to ramp and ramp and ramp. You feel the excitement just building with palpable anticipation. As it spills over, it’s iconic in its construction. 4.5/5

Samwise the Brave
A sadder rendition of the songs we have heard so far in this one. Shore does a great job of creating a wistful feeling. The orchestra sounds almost sweet. We can hear a shadow of the Hobbit theme as well as the track progresses. Only the way it ends betrays a perfect score; the ending sounds more like a Looney Tunes cartoon. 4.5/5

Gollum’s Song
Emiliana Torrini provides the backing behind the final track on “The Two Towers.” Her voice can only be described as haunting, and her rendition is absolutely brilliant. It’s the sound that you would expect to hear upon knowing that you are going to face death. 5/5