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To an extent, you have to forgive Balfe for relentlessly trolling so many different takes on the same genre in The Lego Batman Movie; your head will spin from all the simultaneous directions this score is being pulled. A full orchestral ensemble and choir is joined by enhanced rock band elements, especially percussion, and a synthetic array that includes mutilation of the organic soundscape at times. Parts of this score are so loud, manipulated digitally and pounding on the drum kit with such force, that the music is insufferable. But that's the point. It's a parody. It's no surprise that the bass region is thunderous in this effort; not only is that expected in the superhero genre nowadays, but that sound directly emanated from Zimmer's controversial re-envisioning of the Batman concept anyway. It would be easy for someone to write off this score as a simple wall of sound with token nods to the concept's past along the way, because it might sound that way in many portions. Balfe's orchestrations, however, are sometimes outrageously accomplished, and his ability to take his weighty lines of action and weave them into accessible music, as he did in the overachieving Terminator Genisys, is commendable. Look past, for instance, the rock rhythms of "Chaos in Gotham" and "Battle Royale" to hear some really good orchestrations for brass, strings, and even xylophone. There is so much creativity in the instrumental accompaniment here that it's easy to become overwhelmed; there are three distinct organ tones alone, representing multiple characters. The orchestral percussion fares better than the standalone rock equivalent, the conclusion of "The Babs Signal" using the more symphonic alternative to fantastic ends. The choir is also tasked with a number of performance variants, from the soft cooing of the lighter fantasy technique to the outright chanting of near horror for cataclysmic events on screen. There's also crossover of genres in the music at times, all-out rock sometimes incorporated, though listeners may more likely notice the few outward classical references. For film music enthusiasts, it's the parodied themes of that will matter the most, and Balfe doesn't disappoint. Whereas the previous direct-to-video Lego Batman movie did make direct use of Danny Elfman and John Williams identities from the DC universe, Balfe only rarely makes so direct a reference. The main theme for Batman in this film starts with the first three notes of Elfman's theme before simply shifting the chord slightly for a fourth note, and that's it for Batman. When merged with the string ostinatos, it's recognition of both Elfman's progression and the mindless simplicity of Zimmer's alternative.

While heard throughout the The Lego Batman Movie score, a luxury of its brevity, you get a summary suite of Balfe's main theme for Batman in "Black." The original Neal Hefti theme for Batman makes two explicit, tasteful cameos, one in "No Seat Belts Required" and another fuller rendition in "Battle Royale." The Joker is afforded a myriad of motific identities depending upon who he with in this story, but a general, sinewy progression is revealed in "To Cage the Joker" that had been expressed in more forceful bursts in "Your Greatest Enemy." More importantly, Balfe takes Zimmer's one-note rising pitch for the character and inverts it, retaining enough of the whiny electronic effect for it to function as a strong connection. The best new theme in The Lego Batman Movie by far is the one for Robin, heard on dainty woodwinds and piano in "The Arrival of Robin" before exploding on horns at the outset of "No Seat Belts Required" and in "Battle Royale" before being sent off with sentiment late in "A Long Farewell." Those two middle performances for full ensemble are among the best moments in this score, reminiscent of the heroic brass performances of Home. A nascent theme for Batgirl is hinted throughout but finally comes together nicely for the ensemble in "The Babs Signal." Outside of these themes, a learned ear will encounter several lesser nods to the Batman musical universe, whether it's Elfman's famous original finale early in "Battle Royale," a few token instrumental applications clearly emulating Elliot Goldenthal (especially late in "Batman's in the Zone"), the relentless rhythms of Zimmer's music for Bane, and Elfman's thumping piano at times. A touch of Steven Price's Suicide Squad informs the contemporary insanity of "Joker Crashes the Party." Thankfully absent is Zimmer's flapping wing effect for the lead character. On album, Warner was thoughtful enough to provide both the songs and score on one set, the second CD featuring only the score. There are some nasty edits in the score, however, the beginning of "A Long Farewell" fading in too quickly and "Battle Royale" offering one or two awkward splices. Balfe's theme for Robin is reflected in the end credits song, "I Found You," though it's hopelessly obnoxious, just like the intolerable primary "Who's the (Bat)Man" song which is inspired by the prior film and uses the Hefti theme as an accent. Again, it'll make your head explode, but your kids will love it. Overall, The Lego Batman Movie is an entertainingly wild romp primed to make your joints ache for days, but that was the goal of the production. Balfe continues to prove himself a master builder of really impressive, intelligent music for this genre, and his work here is ironically more engaging in most parts than his friend Hans' comparatively serious take on the same world.  ****   @Amazon.com: CD or Download

Total Time: 94:17