Even with those moments of, let's say, outside inspiration, The score blends diverse elements together crafting a score that melds beautifully with the action of Zack Snyder's film. Much like Clint Mansell's score for The Fountain, Bates' 300 score is realized as something outside the normal orchestra. It welcomes an approach that takes elements from disparate worlds, puts them in a room together, and lets them come to terns with each other, with beautiful results.
This is not a score that you are likely to find yourself humming to anyone who will listen, it isn't that type of score. As you listen to it, you may find yourself taken to The Hot Gates, standing alongside King Leonidas as he and the 300 stand firm as they repel the onslaught of the Persian army. You will find yourself taken in by the disparate sounds, images burned into your head.
There is a lot to like, it is a score filled with high energy by a composer who knows what he is creating for (despite the compromised vision of Goldenthal's influence). The harsh guitar, electic violin, drums, brought together in a manic cacophony of action mirrors the wild action going on on the screen. Add to that the haunting voice of Azam Ali, and you have a score that is not hummable, but will burn itself onto your brain.
Bottomline. This is a wonderful score, perhaps my inexperience in reviewing film scores is coming into play, but I really enjoyed this. Haunting, crushing, and all around different from many of the scores I have listened to, it is one that was created in perfect union with the visual elements, and still work as a stand alone album.
Recommended.
Article comments
1 - Connie Phillips
Congrats! This article has been forwarded to the Advance.net websites and Boston.com (going live soon).