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Most Helpful Customer Reviews
Format:Audio CD|Amazon Verified Purchase
Henry Jackman is a rising star at Hans Zimmer's Remote Control Studios. His recent scores for X-MEN:First Class OST, Gulliver's Travels and the recent Puss in Boots have demonstrated that he is a fine composer across a range of different genres. I am a fan of his style of orchestral writin. The score for Man On A Ledge is diversion from these previous sounds, trading in the orchestra (apart from the string section) for large range of electronics. I am a fan of electronic elements to a degree, but I do prefer a more orchestral sound given the choice.
Some highlights were the start of Fly-By (Track 5) which has a nice synthy piano sound over a bed of strings. Other that were more action based that I liked were the final two cues "Good Cop Bad Cop" and "Stand-Off On The Roof".
The album is very short. Running in at just short of 37 minutes, I am hard pressed to think of a shorter release than this. That said, I wasn't gutted about the fact that it was short. The album has a well defined sound and it doesn't deviate wildly from it. In terms of the sound production/quality, as you would expect from Remote Control, the album does sound fantastic.
Overall, this score shows a different side to Jackman that has not been heard before. Whether or not you like it will very much depend on your tolerance for a score that is dominated by electronics. For fans of his orchestral work, this release may divert too much from the sound you like. The main problem I had with the score was that it sounded very derivative. The electronics were good enough, but there's only a certain amount of synth percussion and warped sounds that I can tolerate. In addition, the string section sounded fine, but again, the techniques used were highly derivative and sounded like many other scores that are trying to emulate Zimmer's technique of choppy staccato strings. Jackman has shown he is competent at using electronics within this score and I hope he can use that on future projects with a full orchestra to show the best he has to offer (as he did for X-Men First Class). As for Man On A Ledge, it may work well within the film, but unless you like your scores to be largely electronic I would be cautious about making an impulse buy until you have had the chance to listen to some track samples first. That said, I do like Jackman as a composer, and for those of you who are unfamiliar with his other work, I would encourage you to seek it out.
Some highlights were the start of Fly-By (Track 5) which has a nice synthy piano sound over a bed of strings. Other that were more action based that I liked were the final two cues "Good Cop Bad Cop" and "Stand-Off On The Roof".
The album is very short. Running in at just short of 37 minutes, I am hard pressed to think of a shorter release than this. That said, I wasn't gutted about the fact that it was short. The album has a well defined sound and it doesn't deviate wildly from it. In terms of the sound production/quality, as you would expect from Remote Control, the album does sound fantastic.
Overall, this score shows a different side to Jackman that has not been heard before. Whether or not you like it will very much depend on your tolerance for a score that is dominated by electronics. For fans of his orchestral work, this release may divert too much from the sound you like. The main problem I had with the score was that it sounded very derivative. The electronics were good enough, but there's only a certain amount of synth percussion and warped sounds that I can tolerate. In addition, the string section sounded fine, but again, the techniques used were highly derivative and sounded like many other scores that are trying to emulate Zimmer's technique of choppy staccato strings. Jackman has shown he is competent at using electronics within this score and I hope he can use that on future projects with a full orchestra to show the best he has to offer (as he did for X-Men First Class). As for Man On A Ledge, it may work well within the film, but unless you like your scores to be largely electronic I would be cautious about making an impulse buy until you have had the chance to listen to some track samples first. That said, I do like Jackman as a composer, and for those of you who are unfamiliar with his other work, I would encourage you to seek it out.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
1 review
Great Soundscape & Energy But No Real Substance From The Fun Henry Jackman
1 Mar 2012
Format:Audio CD|Amazon Verified Purchase
Henry Jackman is propelling into the spotlight these days, and if you are still unfamiliar with him then you must not get out much. His scores to Kick-Ass, X-Men: First Class and Puss In Boots have made headlines. For Man On A Ledge Henry explores a lot with electronics and different sonic textures. The end result is a pretty cool and nifty score that makes a fun listen. The further the score goes the more adrenaline is injected into it and that makes for some exciting tracks that never get too carried away.
The score starts off soft and evolves into a propulsive electronic mashup. There's nothing too complex going on, but Jackman layers just enough to make it interesting and not get too crazy. The soundscape is comparable to a Harry Gregson-Williams/Tony Scott score. It's pure fun with no strings attached. There isn't really any emotional underside to the music and that may make the experience feel a bit detached. While motifs are present there isn't any graspable theme to anchor down the score. However, the score does have a very precise sonic identity and when the strings come in it becomes a very exhilarating experience. Just don't try to break the score down too much since there isn't much there to start with.
A great soundscape that keeps a flowing energy makes the score a great listen. The lack of any substantial emotion or grounding theme makes the listening experience a tad detached. I enjoyed every moment of this journey and Henry Jackman executed the score with great precision. Pick up the score for sure, but don't expect any real substance.
The score starts off soft and evolves into a propulsive electronic mashup. There's nothing too complex going on, but Jackman layers just enough to make it interesting and not get too crazy. The soundscape is comparable to a Harry Gregson-Williams/Tony Scott score. It's pure fun with no strings attached. There isn't really any emotional underside to the music and that may make the experience feel a bit detached. While motifs are present there isn't any graspable theme to anchor down the score. However, the score does have a very precise sonic identity and when the strings come in it becomes a very exhilarating experience. Just don't try to break the score down too much since there isn't much there to start with.
A great soundscape that keeps a flowing energy makes the score a great listen. The lack of any substantial emotion or grounding theme makes the listening experience a tad detached. I enjoyed every moment of this journey and Henry Jackman executed the score with great precision. Pick up the score for sure, but don't expect any real substance.
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