“I Need To Know” offers a three-note theme accompanied by a bunch of smooth synth arpeggios. “Let Her Go” and “You’re My Boy” offer a brief respite from the noise, though both are still heavy on synthesised techniques. Really, it’s a cacophony, but surprisingly I can’t help but enjoy the aggression in this cue. “I’m Goblin” offers a manic 7/4 rhythm, which I do like even if it’s fast becoming a cliché (if it isn’t already). “So Much Anger” offers ostinatos for synths and woodwinds, with snippets of the main theme layered on top of them. “You need Me” sounds like “Rush” at best, or like an homage to the 80s at worst. It soon makes way for a reprise of the comedic villain’s theme in “Look at Me” whilst “Special Project” reprises the arpeggios from track 2 and combines them with Zimmer’s typically dense string chords. It’s not too dissimilar to the piano cues from “Man of Steel”. “Ground Rules” offers an introvert variation on the main theme. Cool? Yes, sort of, but it sounds like the composers were going for nothing more than ‘cool’, and I’m (again) missing any real sense of drama or danger. Even film reviewers have commented negatively on the ‘plinky plunky’ style of the villain’s music. All of a sudden, the menace is gone and when it returns it just sounds silly. Oddly, this is closer to Zimmer’s quirky scores like “As Good As It Gets” or “Sherlock Holmes”. This is then combined with an almost comedic ostinato for bassoon and a pseudo-classical line for clarinet. Not so happy now, eh Pharrell? To be fair, it sounds pretty menacing and, more importantly, it sounds cool. I’d like to pass that advice on, if I may.Ī further element of the score is introduced in “My Enemy” which features Pharrell Williams delivering an ominous, whispered rap. Abel Korzeniowski once told me that “ a theme is much more than a melodic improvisation on top of a harmonic progression“. And don’t think that it may come later on, because it won’t not really. There is no depth, no real drama about it. It’s just a simplistic trumpet line against more synthesized arpeggios. It’s not a bad effort and many have praised Zimmer for it, but for me it just doesn’t do much at all. It’s sort-of heroic and it’s not a million miles away from Horner’s theme (or perhaps even something like Aaron Copland’s “Fanfare for the Common Man”). The main theme is first heard in “I’m Spider-Man”, which oddly and totally unnecessarily opens with city noise (traffic, sirens, etcetera). It evokes a vague sense of speed, but nothing in terms of scope. “There He Is” offers various arpeggios (synth and guitar) running alongside each other. Dub-step beats and harsh synthesizer chords possibly doubled with electric guitars (if not here, than certainly elsewhere). Whilst Zimmer provides an orchestral brass-driven main theme for the titular character, it is the opening track “I’m Elektro” that sums up the score most accurately. For better or worse, it sounds as crazy as it reads. The result is a fusion of orchestra, rock and dub-step. To provide the score with a contempary sound, similar to what Peter Parker would be listening to in real life, Zimmer invited Junkie XL, Johny Marr, Andrew Kawczynzki, Mike Einzeiger, Steve Mazzaro and Pharrell Williams to co-compose the music with him. Though, when I say Hans Zimmer, I mean him and about a dozen others. Hans Zimmer takes over scoring duties from James Horner who wrote his most adventurous, eventful and energetic score in ages for “The Amazing Spider-Man”. I haven’t seen the film yet, but something tells me it’ll all be alright on the night. So, the Goblin guy and this Elektro dude come along to cause some trouble in the neighbourhood and Spidey has to save the day. hm, no alter ego? Most boring girlfriend ever!). I said, no spoilers), Jamie Foxx ( Max Dillon/ la-la-la-la-la) and Emma Stone ( Gwen Stacey…. oh sorry, no spoilers), Dane de Haan ( Harry Osborn/Gre…. Marc Webb (who else!) takes his place on the director’s seat once more and points his cameras at Andrew Garfield ( Peter Parker/Spi…. “The Amazing Spider-Man 2” tells the tale of young teen in New York who, entirely by accident, ends up with super powers… spider powers in fact! Anyway, you know the story. With so many fingers in the pie… what will happen to the pie?! This time he is accompanied by the music of Hans Zimmer… and six co-composers… and just as many additional composers… and all their assistants… oh, and the tea-lady. The, allegedly, amazing Spider-Man returns.
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