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Filmtracks Recommends:
Buy it... if you are prepared to hear the appropriate and consistently brutal, unnerving, and harrowing musical atmosphere necessary for the film. Avoid it... if you expect either an easy listening experience or any of James Horner's trademark romanticism, even in the smallest dose. Filmtracks Editorial Review:
While the ensemble may be somewhat unique for Horner in his current era, collectors will recognize nearly all the elements of Apocalypto from his other scores. If you expect to hear a presence of elegant themes, consistent rhythms, or the usual sappy song at the end, then quit reading this review now... for you're not going to get any of it. Horner does conjure a few basic themes for Apocalypto, but make no mistake about it: this is a primal, atmospheric score. The score serves basic emotions of each individual moment with its textures, and makes few connections to other sections of the score outside of its two themes. Those themes, one for the primary character's family, and one for the jungle that protects them, are barely developed (for solo woodwind) and could easily be missed. The family theme is introduced in "Holcane Attack," receives the most prominent performances in "Words Through the Sky - The Eclipse," and returns in the final two cues. The similar theme for the jungle is most prominent during the chasing in the film's latter half, though to use the word prominent is an overstatement. The soft woodwind performances of these themes are easily overshadowed by the wickedly brutal and percussive rhythmic sequences that exist for most of the score. We've heard pieces of these sections in Bopha!, Beyond Borders, and mostly Vibes, though never have they been as intensely rendered. Even in the less threatening "Tapir Hunt" at the outset, the underlying rhythms of these nimble cues vary from moment to moment, sudden strikes of the larger drums are unpredictable, and the woodwinds blast and trail off over the top in usual Horner fashion. While the intensity of these percussive ramblings will impress in the massive vista and gathering shots of "Entering the City with a Future Foretold" and "The Games and Escape," their dissonance could annoy you. The two vocalists offer extensively harsh tones in these cues, and when combined with the very heavy bass region of the synthesizers, it becomes very clear that Apocalypto is a horror score. In "An Elusive Quarry" the vocals become menacing chants over bursts of slashing percussion. The pervasive rhythmic parts of Apocalypto are an interesting listening experience, but not readily enjoyable. Their spirit is so vicious that the only redeeming factor in their performances are the technical constructs of those performances themselves. Sound effects abound, running through bleak washes of atonal electronic noise in "No Longer the Hunted," and these noises often imitate the sounds of the weapons or chants seen and heard in the film. Horner, as usual, does try to offer some more philosophical moments in his score, including the opening and closing meanderings for the forests. He employs once again the forest sounds (chirping birds, mostly) that were heard in The New World. The lack of a more prominent role for Rahat Nusrat Fateh Ali Khan is expected, perhaps; nowhere does his style of vocals engage the kind of role that they played in The Four Feathers, though he does have one largely solo performance over the final "To the Forest..." cue, and while this is the most listenable cue on album, it also finishes with the ominous turn necessary to foreshadow the eventual destruction of the native peoples of the land. The most disappointing cue by far is "Civilisations Brought by Sea," where Horner attempts to use his keyboards to imitate large, noble brass and strings. If indeed the stark contrast between the Mayans and the Europeans were to be displayed, then this one cue (and only the first half of it, for that matter) would have been strikingly dramatic if it had employed a symphony orchestra. The crescendo existing in the first half of that cue is badly represented by the synthesizers, and a symphonic overtaking of the native percussion would not only have been appropriate, but gripping in its implications. It is one outwardly weak track in an otherwise consistently harrowing and disturbing listening experience. You can't help but think that Horner accomplished everything he needed to in his musical representation of the Mayans, but that doesn't make it anywhere near being listenable on album. Like a handful of others in Horner's career, Apocalypto is a score to appreciate but not necessarily enjoy apart from the film. It will impress and unsettle at once.
Score as Heard on Album: ** Overall: **
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