Megamind Composed by Hans Zimmer/ Lorne Balfe
Lakeshore Records (2010)
Rating:
8/10
Soundclips below from AmazonMP3
“To assume that a score that deceives expectations and opts for a scheme
different to that of the regular hero vs. villain tale is a failure would
be wrong. MEGAMIND may occasionally induce a desire to hear such
conventions in full force, but Zimmer and Balfe have weaved a score that
is engaging and consistently refreshing to listeners, and is a credit to
the film it accompanies.”
Two-Man Group
Review by Richard Buxton
In creating Remote Control Productions
(formerly known as Media Ventures), HANS ZIMMER intended to give
relatively unknown, but clearly talented composers, a shot at their dreams
of composing for Hollywood blockbusters. Looking back on his legacy in
film music, not even his greatest detractors could deny that he has
succeeded. Having mentored successful composers such as Harry Gregson-Williams,
John Powell and now LORNE BALFE he has given composers who may otherwise
have gone unnoticed, a fighting chance
Zimmer previously collaborated with Balfe for the juggernaut that is Call
of Duty: Modern Warfare 2 and with MEGAMIND returns to a film genre not
unfamiliar to him in the slightest. On hearing that Zimmer is at the helm
for another animation, one is reminded of his previous efforts in the
likes of MADAGASCAR, THE SIMPSONS MOVIE and THE PRINCE OF EGYPT, the
latter being one of the highlights of Zimmer’s career. As is always the
case with Zimmer collaborations, identifying just who has composed each
track can prove a difficult task, but it can be said with confidence that
the ever-maturing Balfe will have had a significant role to play in the
score for MEGAMIND.
What separates MEGAMIND from the usual superhero tale is the protagonist
and the situation he finds himself in. The title character and
simultaneously the villain, MEGAMIND (Will Ferrell) finds himself in the
unusual position of having killed his archenemy Metro Man. Such a fresh
look at the tale of superhero vs. villain does just enough to suggest
MEGAMIND can offer something fresh while still entertaining audiences.
With the unexpected events unfolding onscreen, one would assume that
Zimmer and Balfe would have been raring to establish a score of similarly
invigorating themes, and they have done, to a certain extent.
Beginning with the obligatory theme, the duo go some way to defy the
conventions heard in previous superhero films, including those set out by
Giacchino’s work for THE INCREDIBLES, and simultaneously they display the
same enthusiasm you would expect from any Dreamworks animation. The
majority of “Giant Blue Head” consists of an upbeat atmosphere, opening
with the chimes of a music box before flourishing into a rising and
descending three note driven theme. The piece then subdues into strings
and woodwinds. What is striking about the opening piece is in the way it
differs from the precedent set in films that precede it. Listeners would
normally expect the opening credits to be accentuated by the accelerating
and evolving hero’s theme, yet here they are greeted with something
entirely different.
This upbeat, saccharin coated tone continues with “Tightenville”, the
theme of the newly created superhero “Tighten”. As with the title
character’s theme, “Tightenville” continues to ignore the staple of the
superhero genre. Differing from the opening track, “Tightenville”
establishes the overarching thematic progression and maintains it
throughout, and perhaps also makes for a more pleasant listening
experience. Any cravings for a more bombastic tone are satisfied in by the
track “Stars and Tights”. The suspenseful build-up quickly erupts into an
ascending theme of heroism and adventure.
A large portion of MEGAMIND serves as an indicator in of the different
route Zimmer now seems to be taking in his career. MEGAMIND certainly
shows the diversity he and LORNE BALFE are evidently capable of and in
“Ollo” this is clear. The range of personality in this three-minute piece
is impressive, beginning at walking pace before the strings interject and
the piece erupts momentarily. The urgent strumming of the guitar drives
the second half of the piece, before invigorating strings and brass round
out one of the highlights of the score.
“Drama Queen” starts off in a manner more at home with the soundings of
Zimmer and his understudies before gliding into a sweeping strings
arrangement. The opening string patterns return in the track “Drama Queen”
and again in “Black Mamba”, the latter piece utilising a menacing bass
progression accompanied by the ominous choral repeatings of the words
“Black Mamba”.
The orchestra finally lets loose in “Game Over” as a cacophony of strings
and brass unleashes the theme heard previously in “Ollo”. “Game Over”
again shows the impressive range of themes and tonality that the composers
have concocted. The piece sustains a menacing character throughout,
largely attributed to the strong dynamic of the strings and brass.
The MEGAMIND score concludes with the gradually evolving and subtly heroic
“I’m The Bad Guy” before one final flurry in the brash closing moments of
“Evil Lair”.
Staggered throughout the soundtrack are four licensed tracks, the
presumably purposefully clichéd “Bad to the Bone”, “A Little Less
Conversation”, "Alone Again Naturally” and “Lovin’ You”. It is often the
case that licensed tracks can become a nuisance for score collectors, and
while more score tracks would have been preferable, these tracks clearly
have their place in the film and are not as out of place as one might
expect.
To assume that a score that deceives expectations and opts for a scheme
different to that of the regular hero vs. villain tale is a failure would
be wrong. MEGAMIND may occasionally induce a desire to hear such
conventions in full force, but Zimmer and Balfe have weaved a score that
is engaging and consistently refreshing to listeners, and is a credit to
the film it accompanies.
