Quite simple - take a composer who has yet entered only as co-producer of renowned Hans Zimmer soundtrack in appearance. As Weiland Klaus Badelt, now another newcomer in the hopefully soon forefront of major film music creator comes with Lorne Balfe ...
Because what he delivers to present soundtrack, blows almost all boundaries for a debut. It sounds not as "Hans Zimmer Lisa Gerrard plus" but precisely as "Lorne Balfe multiplied by Dead Can Dance"!
Basically, up to three (?) Different musical themes are interwoven. Complexity here means really complexity - even if there is such a thing as an outstanding musical basic theme, so this is not - maxed out to the ruthlessness - as with so many other renowned artists. Complexity here means dynamics, tension but also moments of silence. Ranging from a raised anthemic basic theme in "The Magna Carta" to staccato Steicherm, as in "The Battle Begins" or "The Final Battle", backed by pounding drums. Sometimes the different styles are also excellent mixed - Example "Ciminatio". In other pieces, you can see the deployment of troops formally in mind - here he is, inter alia, accented horns a -. For example, in "King John arrives".
However, what makes the soundtrack for me so outstanding are its perfectly balanced use of medieval hymns. Thus the almost hopeless atmosphere is occasionally supported by the voice of a single tenor. More medieval elements are also found in the instrumentalisation again. Example: "God protect us" or the brilliant (!!!) "Corvus Cantus".
And although some pieces to be somewhat shorter, so the whole thing looks not fragmentary. Rarely met a soundtrack to so clearly that it penetrates "a piece" in both the ears and the brain out.
Conclusion: Kopfkino - powerful and mighty!
