The Fourth Kind

A fairly new addition to Hans Zimmer's Remote Control compositional family - Atli Orvarsson - is nothing special...yet.
He seems to have an affinity for vocals which is almost always a plus to make a movie score have a sense of humanity or at the very least, provide it with an above average quality. In fact, the use of choir and soloists is the only factor bringing any sort of true life to this otherwise typically droaning and groaning score, of which is so usual in horror/sci-fi thrillers of the last decade. Sad to say, we have come to expect this pattern without question and are jaw droppingly surprised when someone breaks this ungodly mold of drudgery that has been set for the last ten years or more.
Unfortunately, Mr. Orvarsson does not take this opportunity to shed any new light on the genre. However, his mildly impressive incorporation of a female choir to bookend the score and an highly under-utilized female soloist making an a occasional appearance makes for a completely average film score in the end, with only slight flickers of illumination to spare.
It really has become discouraging to listen to soundtrack after soundtrack of complacent, mundane sound design and synthesized "orchestrations", electronically produced percussion hits and rhythms, and layers of endless "Zimmer-esque" string loops.
Electronically rendered music and effects all have their place, but it becomes ridiculous to have to expect it from nearly every action/horror/thriller score coming out of Hollywood today.
(Thank God we still have the amazing Christopher Young working in Tinsel Town and the up and coming Douglas Pipes "wowing" us earlier this year with Trick R' Treat).
Here's a challenge I will set forth.
Anyone from Remote Control - if you are reading this - please, please do yourselves and all of us a favor and stop the repetitious madness!!
I know it earns you a paycheck, and we as fans, a sort of entertaining listening experience, but do what is best for the music community and for yourselves and let your love for films and their music blossom your creativity and inspirations and do not lay down your ideas and ingenuity for a paycheck, because when you go "out of the box"and allow yourself to flourish, others will notice and will give you the recognition, opportunities, and paycheck you deserve, as well as loyal fans to support and purchase your music.
That is simply what I believe and have observed over the past few years - take John Powell for example.
I will climb down off my soapbox now and attract your attention to the only tracks worthy of your consideration from this new release, if you choose to give it a try.
"Torn Apart" (which is actually a fairly stunning rendition of a descending motif that permeates the score, by a female soloist - though this track is also sadly overwhelmed by smothering layers of synths) and "Conclusion" (which features the choir and soloist in their final and complete statement of the descending motif with loops upon loops of strings, but it is altogether still mildly enjoyable, despite itself).
All this being said, we may want to look forward to Atli Orvarsson's next musical offering for the 2010 film, Season of the Witch, with some trepidation and healthy skepticism.