Modern soundtrack review (under construction)

Maleficent Suite
A dark opening for a darker film. A jittery start with intermittent strings and not a lot of noise. The first two minutes are really underwhelming for what I know is a generally brilliant score. But, around 2 minutes and 30 seconds in, the tempo increases, and the chorus chimes in. From there, a sweeping and flowing score and theme present themselves. The action begins to rise slowly but certainly, and boy, it starts to get real good here. The biggest problem with the song was its opening. But by the times the horns come in, it’s a completely different animal. The Maleficent Suite is also magnificent. As it fades, a soft piano rhythm takes you to a magical place. 4.5/5

Welcome to the Moors
A quaint, very Disney opening in this track. It’s uplifting and pleasant. The chorus chimes in about 30 seconds in, creating a magical vibe. It’s a very nice song. 4/5

Maleficent Flies
With the chimes and the strings playing a role in the intro, it starts off slowly. Then a minute and 38 seconds in, a female vocalist starts singing a wordless track. It interchanges between fast and slow, or quiet vs pleasant. The choir comes in around 2 minutes and 20 seconds in, and it feels almost like a holiday spirit. The full orchestra comes back in at 3 minutes, and its rising action gives way to a grandiose and full feeling. A sense of accomplishment accompanies this track. 5/5

Battle of the Moors
A slow introduction quickly gives way to a traditional battle sound. Brass and horns dominate the sound in this one. It’s very boomy, with loud punctuated noises giving off a tone reminiscent of John Williams’s sound. A thoroughly average battle track with no real sense of true emotion and even scale. 2.5/5

Three Peasant Women
It sounds… fluttery? Is that a word? Fluttering strings is the best way to describe this one. 2.5/5

Go Away
The intermittent strings continue in the 30 seconds of this piece as the chorus comes in and provides some additional detail. There’s not a lot of auditory pleasure in this piece, though; it seems a little too disjointed to flow properly. 2.5/5

Aurora and the Fawn
There’s a distinctly holiday sound in the opening of this track. It then sweeps into something much greater, at least for a single hint of something greater. The piano comes back in around a minute to slow it down and create a more ominous tone with the rest of the symphony. But there’s a lot of empty noise in this one, and it doesn’t help the overall quality of the piece. 3/5

The Christening
Howard goes right into this one with an almost shrieking orchestra. The stress is palpable. It almost fades entirely to silence. Then, 2 minutes in, the chorus starts to rise again. The action continues to increase for 30 more seconds until the orchestra brings out an almost “Halo”-like sound, complete with drums. The pace continues for an interesting track, but not a great one. 3/5

Prince Phillip
This piece starts with a harp and continues with a sweeping melody played by the strings and other members of the orchestra. Well-laid and well-played. 4/5

The Spindle’s Power
A rapidly paced strings ensemble creates a quick-tempo introduction. It’s a joyful, cheery sound but there are pockets of darkness. Then, at 1:33, everything explodes with volume and pace. It keeps flowing in and out of high noise and speed, and then a lull. The chorus comes in about halfway through, with a broader orchestra suite. A large bang terminates the pace, and we are left with the remnants of a supernova. 3.5/5

You Could Live Here Now
Dark, brooding brass and drums give a clear warning. But then a strings solo brings it all back into a more peaceful, pleasant tone. The harp is a lovely addition as well. An interesting note, the dynamic range on this track isn’t enough. You get some peaking on the volume on the drums early on, and it is noticeable. 3.5/5

Path of Destruction
With a title like that, you better get something rough and tumble. That’s what you get with this track, the orchestra comes in blazing hot with another battle piece. As far as battle pieces go, this is one of the better ones. 3.5/5

Aurora in Faerieland
A soft piano with a gentle strings hum in the background starts this one off. A more gentle sweeping orchestra creates a beautiful sound. I don’t know where Faerieland is, but it sounds almost fantastical. It continues to be an excellent track as it plays through. 5/5

The Wall Defends Itself
Another battle track with blazing instrumentation and frequent punching of noise. It’s not bad, but it’s not good. 2.5/5

The Curse Won’t Reverse
A solid chorus opening to this track, and then a sudden drop. It’s a good track for building tension. 3.5/5

Are You Maleficent?
A more sweeping track immediately introduces itself on this one. Then, a whole bunch of nothing happens, but it happens nicely. It’s not disjarring, it flows beautifully. It’s classic Howard. 4/5

The Army Dances
Another dark track graces our ears, with brooding brass and rising strings. Then, about halfway through, it amps up and creates an almost Waltz-like sound. 3/5

Phillip’s Kiss
A sound that feels like you’re in an ocean surrounded by whales starts this one off, with a hint of liveliness randomly. Then the woodwinds come in and take over the scene. It sounds very nice. Phillip must be a good kisser because you feel good hearing this one. A piano sends you on your way as this one ends. 4.5/5

The Iron Gauntlet
Sweeping strings start this one off again. Then, nothing happens, and then a jolt. 1.5/5

True Love’s Kiss
A sense of flow has graced us again, but this time has rising actions and falling actions as well. The strings really play a strong part here, with the harp occasionally chiming in. Halfway through, the piano takes over the sound to create a very sentimental flow. And when the chorus chimes in, it’s heavenly, but brief. The track’s only flaw is that it leaves you wanting more. 5/5

Maleficent Is Captured
The longest track on the album starts with a battle tone. Hints of punching brass and general orchestral noise fill the air.

Then, suddenly the drums take over. The orchestra trades blows with the drums for screentime. About 3 minutes in, a more exciting theme begins to emerge. The battle tones decrease in intensity, and Howard creates relative silence. The drums come back again with more heat after a period of respite. Then, about 4:45 in, there is a break in the clouds. The ominous tones take a breather. Until… the drums come back, and the tension rises in the air again. It’s actually quite a good sound. But it’s hard to get into a flow here with as many changes that occur. 3.5/5

The Queen of Faerieland
Ah, Howard, how do you conclude this fairy epic? You start with soft pianos and a soft orchestra. The chorus comes into full swing here. It sounds very much like “Edward Scissorhands,” in a good way. It’s a soft and bombastic way to end the album. 5/5