Film music enthusiasts should be relieved, at the very
least, and perhaps even impressed by the music for
Guardians of the
Galaxy from Bates, whose typical scores of this generation involve
stewing in synthetic muck. He manages to bridge the gap between the
derivative Djawadi and Jackman end and the Silvestri and Tyler
aspirations pretty well, and your opinion of the work as a whole will
depend on how much the influences of the former detract from what Bates
was trying to accomplish to elevate the work towards the latter. On the
upside, you have an orchestral and choral ensemble that is used
vigorously and with competence. A very Silvestri-like primary theme hits
the screen with glory in "The Kyln Escape" as the Guardians are
solidified as a group, and the theme is supplied frequently thereafter.
That cue and several others are entertaining in a generic but surely
adequate superhero fashion, the highlights of the work maintaining your
interest with ease. While Bates certainly showed he could handle an
orchestra with
300, regardless of its issues, few listeners
probably expected him to whip up such solid symphonic force for this
occasion. The trailing trumpet phrases on the main theme's best
performances are the kind of technique not expected here. Some will
credit Bates' crew (and especially Timothy Williams) for this work, and
perhaps there's some truth to those attributions, but the end result
works better than expected, and Bates deserves kudos for that. There are
plenty of downsides to the score, however, and they pull
Guardians of
the Galaxy back to the middle of the pack amongst other Marvel
Universe film scores. The aforementioned orchestra is, true to Zimmer
tradition, missing woodwinds, forcing mid-range brass into that role
with negative results. The incessant chopping of strings without much
performance inflection wastes that section during action sequences; the
same effect could have been achieved with a couple of players overdubbed
endlessly. The choir's usage is a bit boring and stereotypical; no
unconventional vocal applications are attempted. Synthetic elements are
plenty in the score, especially in the material for the villains, and
while this contribution is typically in background sound design, it
becomes a problem when pitch-altering elements come into play. The
technique of using a powerful descending bass tone to suggesting a
"sinking feeling" is obnoxiously overplayed in this work; whereas that
idea was interesting ten years ago, it is nothing more than an
irritation now. The frequency of its execution in
Guardians of the
Galaxy, sometimes in short succession within the same cue ("The Pod
Chase") merits a deduction of the overall rating alone.
One of the most defining aspects of the score for
Guardians of the Galaxy is its anonymity at times. The lack of a
truly solid theme for Ronan, the villain, causes associated cues to boil
along without much interesting musical cohesion. There is no clear
secondary theme to compete with the primary identity, causing the
highlights of the score to be those moments when that core returns with
a full statement. A theme for the "Nova Corps" is developed in anthemic
glory, complete with electric guitar, in "The Ballad of the Nova Corps
(Instrumental)" but does not return in a satisfying form thereafter,
depriving the score of a great interplay between that group and the
misfits allied with it. For some listeners, these singular cues will be
enough. But for others, the lack of a truly enunciated narrative
structure will yield some dissatisfaction. The relatively quiet moments
in the score, such as "Sacrifice" and "To the Stars," despite containing
choral cooing or subtle phrasing from the main theme, are not emotively
effective and lack gravity. Likewise, a fair amount of the action
sequences, when not incorporating the main theme, sound like leftovers
from a Steve Jablonsky
Transformers romp. There remains one other
issue about
Guardians of the Galaxy's music that is ripe for
discussion, and that is the interaction between the score and the songs
in the film. The humor of the movie is no doubt one of its central
attractions, and the songs are key to that allure. But Bates' attempts
to address the humor (or cheeky wonder) are somewhat inept. From the
retro synthetics of "Groot Spores" to the slight jauntiness of string
rhythms in "A Nova Upgrade," Bates sometimes tries a lighter route, and
it just doesn't work. Likewise, there's absolutely nothing in this score
connecting it to the 1970's era songs; even some occasional lapses into
that era's rock or funk in the score's background demeanor would have
been a nice touch. But it's clear that Bates, and more likely the
filmmakers, sought a total disconnect between the songs and score,
creating almost a parody-like atmosphere when the score is pounding away
at its heroics. In the end, though, at least the score is well mixed and
the supply of a Silvestri mock-up of a hero's theme is welcomed (though
by "Black Tears," you'll be oddly reminded of Danny Elfman's
Black
Beauty). The best presentation of the music from
Guardians of the
Galaxy comes on the "Deluxe" product that combines the songs and
score in separate presentations. In the score portion, a spattering of
the top cues keep you interested in the first half until the final half
dozen cues solidify the experience before a somewhat tepid send-off.
It's not a great score, but it's solid enough to merit continued
interest should Bates return to guide it for the inevitable sequel.
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