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9 of 9 people found the following review helpful:
4.0 out of 5 stars
Discombobulate, January 12, 2010
Have not loved a Zimmer score this much since "Da Vinci Code".
Just when you think you have Zimmer figured out and expect him to churn out his usual style of music he knocks you out with this fun and very strange score that features an amazing mix of synths and an unusual orchestra. According this interview I read they had the piano I think right side up or something like that on one of the cues. And I could have sworn I heard an alto flute on one of the tracks. Woodwinds in a Zimmer score? Whats the world coming to.
The album starts with the engaging and highly entertaining "Discombobulate" which is just blast to listen to. When the track started I was ready to yawn but then the trombones kicked in and the fun started. The track sets up what I imagine is the movie's theme, which is done with a banjo if I'm hearing right then joined by the rest of the very odd orchestra. Zimmer even throws in a solo violin towards the end and what I could have sworn was an accordion. This track alone is worth the purchase of the album, so much fun and craziness. And all this time I thought Zimmer was humorless.
The humor doesn't stop with the first track, the 3rd track "I Never Woke Up in Handcuffs Before" is a crazy, crazy piece of music that sounds like something you'd hear an Indian bar. Zimmer pretty much has the unorthodox orchestra attempting to play the main theme and doing a very poor job of it. Sounds like a middle school band rehearsing for the main theme, which just makes it hilarious. Not sure if this was an aleatoric performance or actually written, but it's funny as all hell. Once again shocked that Zimmer has a sense of humor.
But it's not all fun and games as there are some tender moments here and there which also works fine without feeling out of place. It's Zimmer allright, but just toned down without being too sweet or sounding like some cliché laced complicated romantic comedy music. A great example of this is the strange and beautiful "Not In Blood, But in Bond". It starts very odd but halfway through the strings kick in and it just gets very endearing but still maintaining that heavy handed Zimmer sound. "Ah Putrefaction" is another sweet moment on the album.
Fans of Zimmers action writing can rejoice, and those tired of his string ostinatos can also rejoice? His action writing here is some of his best in a while. It's not so far removed that you don't think it's Zimmer, but also not the same crap that he and his boys churn out all the time. It has the heavy strings, the synths doing the part, the light drum loops and so forth but Zimmer combines them very effectively and makes some pretty interesting action music.
The lengthy and enjoyable "Psychological Recovery.....6 Months" contains the most action on the whole album. It's a long one but quite enjoyable and perfect for when you're stuck in traffic or waiting for your pharmacy to refill your anti depressants. One little touch that Zimmer employs here that I loved was this snyth piano sounding instrument, which I heard was a dulcimer? Other than LOTR I never even heard anyone else use it so it was refreshing to hear Zimmer use it along with the crazy array of sounds he got out of the orchestra which worked really well in the action material.
The album ends with another highlight, which is "Catatonie". My personal favorite part starts at 3:17 till the end. It's a great ender to a great album that really caught me off guard. Was expecting Zimmer to be Zimmer, and instead he surprised.
In an age when high profile composers are content to not do anything original it's nice to see that some still love the art enough to give it fresh material.
Recommended.
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6 of 6 people found the following review helpful:
5.0 out of 5 stars
Oscar Worthy, January 22, 2010
Incredible score - modern and period at the same time. Hats off to Zimmer for exquisite integration of violin and string section - of course one would think it would be an obvious thing to do with a Holmes score, but I was pleasantly surprised by the way he stretched the abilities of the string section - scraping the bow, synth high pitch 'rips', etc... the Holmes motif is a great addition to the score literature, passing the theme from glockenspiel to sythensizer / harmonium to banjo for the win. Instead of just a sitting on a simple tune for the opening or closing credits Zimmer and Ritchie utilize the score and motifs as a musical experession of Holmes' mental processes - brilliant in the film and still effective on the album.
The 'love' #be it for Adler or Watson# theme is effective and also holds potential to be carried over into sequels.
Agree with previous posts that the High Kings are sorely missed. Do yourself a favor a purchase the tune "Rocky Road to Dublin" and add it to your library as part of this soundtrack. While you are there, go ahead and get 'Maries Wedding' - another great High Kings track.
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8 of 9 people found the following review helpful:
4.0 out of 5 stars
Good, but missing some of the music., January 18, 2010
The soundtrack for this movie was spectacular and this is a good CD, but it's missing some of the music that was in the film. Mostly noticeably absent was the the great Irish music vocal, "The Rocky Road to Dublin," by The High Kings. This song made the Holmes fight scene even more dramatic, and it also made the credits at the end more enjoyable. I was disappointed to find that it wasn't included in the soundtrack CD.
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is one of Hans Zimmer's 83 releases. Browse Hans Zimmer's Discography 
