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Filmtracks Editorial Review:
To say that Badelt succeeded in creating a symphonic score for this film is an understatement. It is an adventurous, melodic, and highly varied score, with all the makings of an exciting action hit. The size and scope of the score, when considering his use of the symphony, his trademark electronics, and a futuristically ethnic chorus, is impressive to say the least. Perhaps even more interesting is hearing how Badelt explodes in his first major solo score by clearly stating all of the obvious influences in his career thus far. It's not all that uncommon for a newcomer to the composing scene to pay tribute to those influences in an obvious fashion in his or her first score. For Badelt and The Time Machine, the best cues during which to hear these fabulous tributes to other contemporary composers are represented by tracks 4 - 6 on the album. The fourth track introduces the methodically falling title theme for the machine in a fashion that will ring a bell for any fan of James Horner's early works. The following track features heavy bass string accompaniment of a violin theme that is in tune with the more modern Horner preference, as well as the kind of sweeping and board scope that which John Barry employed in the 1980's. The sixth track, with its bold brass and tingling percussion, is a tribute in full to the best of Jerry Goldsmith during the mid 1990's. The similarities in style are unmistakable, and will tickle any veteran film music fan who enjoys the album. While some fans may consider these similarities disturbing despite their symphonic mastery, Badelt does offer other more unique cues throughout the score that function to make it a distinctly original piece. While the first half of the album features a more traditional line of orchestral cues, often with choral accompaniment, the second half of the score turns to the more exotic and sinister aspects of the story. Beginning with the eighth track on the album, the score turns to its second half. As the primary character, Alexander Hartdegen, travels 800,000 years into the future, he discovers a world of darkly exotic tribalism. He chose to score this reality with a melodic combination of flutes, voices, and drums. When also considering the electronic accompaniment for these parts, the more flourishing statements of theme are reminiscent of The Lion King in its relation to tribal African sounds. Despite the less traditional sounds heard during these cues, Badelt maintains a critical melodic touch thoughout each of their performances. The action cues that follow, especially during the Morlock attacks, resort to some less symphonic and more harsh electronic samplings. In some moments, the score sounds like Gladiator in the distant future, but even during the dark confrontation at the film's climax, Badelt's sense of harmony never waivers. It is that last point that causes The Time Machine, as a score and album, to present itself in a cohesively enjoyable whole. While some of the more electronic action cues in the latter half of the film are less impressive than the fully symphonic ones at the beginning, even the least interesting aspects of this score are comparable to the average electronic work heard in Hans Zimmer's efforts. The African-influenced elements are not completely integrated with the Goldsmithian brass themes (until perhaps the final track of the album), but by themselves, they offer some spectacular moments. For fans of Hans Zimmer's work, the latter half of this score is going to be a welcome surprise for you. For the older, more symphonically minded fans of Goldsmith and Horner, the first seven tracks of the album will strike all the right notes for you as well. The are singular cues in The Time Machine that are without a doubt the most impressive work by any composer thus far in 2002, making it a solid purchase on album for anyone who is even remotely interested in action/adventure music. For Klaus Badelt, it confirms that his talents are not limited to a secondary role in Hans Zimmer's studio, and it will surely be the desire of many fans to hear more of his solo scoring abilities in years to come. ****
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