Kong's World
Well known to many by now, composer James Newton Howard received this scoring assignment from Peter Jackson at the eleventh hour. In a move that generated as much "What? HUH?" excitement as the news of Kong actually coming down our own street, we all wondered if a new lengthy score written on short order could be promising. Quite naturally, we'll always wonder about the notes of a Howard Shore score now turned mysterious; we might even ponder how a James Newton Howard score written over ten months instead of ten weeks would play out. But do we have to? Quite simply, nah. Listening to only the first four tracks of the King Kong soundtrack (Decca) introduces more themes and musical worlds than we could have expected: from the brooding notes for Kong (powerfully nodding to Max Steiner's original leitmotif) to warm harmonies, quick tempos and playful melodies. There's no sign of still-wet musical paint on this canvas, nor is it a trick on the ear as a giclée reproduction is to the eyes. What we have is an enthralling score ranking up there with the best of the composer's musical output. Themes are refined as the story musically unfolds, and sure enough, climaxes are reached again and again as the tone moves from mysterious to monstrous. By the time we're into the second half of the album, we're freakin' out. No solace can be found for minutes at a time as the orchestral score pounds away a hundred notes at a time, at a hundred miles an hour. There's beauty in these beastly clashings, though. Quiet moments, like in "Central Park," both soothe and sadden our battered ears. The big ape then takes his big climb in the big apple, and with the help of Howard's emotionally monumental score, pushes higher and higher towards his pact with destiny. Quite literally, a knockout score!
PK (1/4/2006)see all reviews, or add a review
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