With his music to "Pet Sematary" Goldenthal proved his craftsmanship and his talent for unconventional structures. His score for "Alien III" now goes beyond this practice piece and presented in a symphonic dimensions held, disturbing sound paintings. The work rises powerfully over the retracted, in Hollywood has become usual Gepansche conventional sounds. With his handling of modernity Goldenthal is his colleague Chris Young not dissimilar. In addition to blatant vanguard occur romantic, tonal embossed aspects but with the radical parts form a whole as opposed to Young. He wets it out even to design a truly fearful image. Example of this is the opening "Agnus Dei". About a floating sound surface, supported by electronic percussion blended textures, proclaimed a lone voice in the traditional Requiem text and function occupied by Redeemer goes to a robust, mainly supported by the sheet, even tonal set. The treatment of this item in sinister pitches justified the unconventional, irritating based on the music. The familiar aspects are infiltrated acoustically and content of new ones. In this way creates a flowing unit that can doubt the handset to the safety, it strongly familiar harmonies. In addition to the "Agnus Dei" are as outstanding examples "Candles in the Wind" and the phrase consequences "Lento" and call for "Adagio" (names, however, that you refer to the urge of the composer after more absolute musical forms). An orientation of modernity is certainly moor in this stylistic feature of Goldenthal in the works John Corigliano, whose film musical trip "Altered States" in its hardness and consistency, however, remains unsurpassed. The mindset, playing with familiar themes and their transformation into frightening dimensions is probably pre-formulated in the Modern examples in Schnittke. The extent to which Goldenthal has oriented here, must remain open for the time being (the "Agnus Dei" puts this assumption, however, close). In addition to the dark Klangfluß dominate crude, rhythmic textures. These are abrupt and irregular, often supported by the timpani. They find reinforcement in the howling sheet and electronically generated sounds or alienated. A first-rate position takes here the play "Death Dance". Goldenthal's Totentanz is supported by rapid, synthetic sounds, which are taken from the plate and are supported by the timpani with barbaric game. The treatment of the rhythm to check out the listening habits into question and support the already existing image. The elements described here, remember moreover strongly atonal, non-academic working musicians and groups (I refer mainly out SPK). Especially strong this occurs out in "Wreckage" and "Rape". The other underground inserted, confusing synthetically produced elements occur here in a pure form. Elliot Goldenthal is with "Alien III" a cross-border, artistic complete work succeeded in the instils certainly more fear, as it could be the arg worn horror movie.
