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Original Review, by Christian Clemmensen
If the long-time Elfman fans are disappointed by Sleepy Hollow, then it's most likely because they forgot about the nature of the film itself. Although the same fantasy element exists --which is something every Tim Burton film flourishes on-- Sleepy Hollow is, unlike the others, a pure horror film. Edward Scissorhands and Sommersby were both tragedies as well, but they weren't excessively violent and brutal. So for Sleepy Hollow, it's important to expect a mature form of Nightbreed instead... The orchestra's performance is much stronger than the typical everyday Los Angeles recording, with two full London choirs involved. Therefore, it could be said that Sleepy Hollow takes the raw and undeveloped kinds of ideas that were heard in Nightbreed and applies a much more substantial group of players --and a whole new level of stylistic intensity-- to obtain this "modern horror" standard. For the sheer mass of the music --in both volume and intensity-- the music for Sleepy Hollow exceeds my expectations. Remarkable in its technical strengths, I found it to lack one key element that Elfman has inserted into many of his previous scores: an identifiable personality. From Batman to A Simple Plan, from the most grandiose to the most minimalistic, Elfman scores have often encompassed a spirit in their own. Sleepy Hollow, though thematically adequate and energetically verbose, has lost some of the "wonderment" factor. There were hints of such a personality lurking in the sixth and seven tracks, and perhaps I should be so bold as to claim that the first ten tracks began to build at a personality. Much of the bewildering excitement that began to grow in the first half of the album was due to Elfman's mixing of both the adult and childrens' choirs together, with such haunting vocal solos as those in track eight. Even the harsh and jumpy violin/viola solos marked a sign of spirit for the score. But the second half of the album seems to stall and become stuck in the rut of flashy, consecutive horror cues. The light finale and, to an extent, the pounding end credits, try to reclaim the spirit that briefly surfaced in the first half... In the end, I'd have to say that Sleepy Hollow isn't a score worth cutting someone's head off in order to obtain, but it is certainly a very interesting listening experience. Fans of Elfman's more sinister orchestral ideas, such as Batman Returns, will find the album to be a delightful romp. An exercise in harsh, pulsating brass and floating, whiny strings, the orchestra, when combined with the constant choral mixes, offers plenty to enjoy. One fascinating element of Sleepy Hollow is Elfman's use of rhythms for extended sequences. Lost in the mix, sadly, is a lovely string and choral theme that blesses the main titles, appears haphazardly throughout the first half of the score, but shines very briefly in the second half. Overall, even though Sleepy Hollow is not the monumental return to raw Batman form for Elfman, it offers a violent contrast to the recent minimalist scores by the composer over the past few years. With a touch of Bernard Herrmann at every other turn, and a full, rich texture in sound quality, Sleepy Hollow features quality horror music. The swirling strings and menacing organ create a good atmosphere for a dark and stormy night, though on the album, Elfman's music stops one step short of creating a strong personality of its own. The album release by Hollywood Records is very generous; with over an hour of unadulterated score, there will likely be little discussion about "what was left off" in the end. In sum, Elfman's score, though not spectacularly powerful, is both functional and enjoyable within its own genre. For fans of his scores, this is your sure bet for the year. **** Review #2, by John Dunham
Sleepy Hollow: (Danny Elfman) When I first heard Danny Elfman was composing the score for this film, I thought the material would be the perfect opportunity for him to excel at what he does best. Nor was I disappointed. Sleepy Hollow is truly Elfman's best work in years. Harkening back to scores such as Batman, Sommersby, and Dolores Claiborne, it manages to mix Elfman's older, gothic, style with more modern horror elements, and, of course, massive chorus. The result is a score that works beautifully, both in the film and on CD. The Introduction and Main Titles contain the main theme and the horseman motif. But while Elfman uses them often, "Sleepy Hollow" does not rely on themes to make an impression. Instead, Elfman uses the choir, violins, and organ to give the score a malevolent, yet marveling quality. This is best showcased in track 8, "Into the woods/The witch." The track is creepy, yet whimsical, offering hints of innocence while maintaining the atmosphere of impending danger. Tracks 3, 6, 7, and 9 do this to a lesser extent with choral performances of the main theme to underscore Ichabod's childhood remembrances. While Christian Clemmensen felt that the wonder of this score abated after the first half, I believe the bombastic finale is entirely appropriate, and the ethereal qualities can still be heard in tracks 11, 14, and, to a degree, 15, 18, and 19. The action music itself is not as compelling as the rest of the score, but is still quite enjoyable. While "The Church Battle," "The Chase," and "The Final Confrontation" are nice, I think the best action music of the score occurs in "The Church Battle," and "The Tree Of Death." In these tracks, it is mixed in moderation with more quiet, tense music, and I find that gives it more appeal. Also, I particularly like the way the strings at the beginning of "The Church Battle" resemble a horse whinnying, if only for a few seconds. One action track I wish had been included, however, is "The Duel." Those of you who've seen the movie know the scene I'm referring to; Ichabod, one of the villagers, and the horseman are involved in a spectacular three-way battle. Overall, this is a great score. If you're a fan of Elfman's gothic works, pick it up immediately. If not, you still should give it a listen. *****
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