The Amazing Spider-Man (James Horner)

My occasional foray into reviewing film scores/soundtracks continues anew with James Horner's score to the new Spiderman movie.

First impressions 

As all film score fans will know, James Horner plagiarises himself. This is sometimes no bad thing as he has created a lot of fantastic scores in the past, and sometimes it's a bad thing where he lifts entire sections from one score and drops them unceremoniously into another (see Aliens and Patriot Games and a lot of others).

There is a fair amount of this in The Amazing Spider-Man, but it is done so well, and mixed with so much exciting new material that I couldn't help but be pulled along for the ride.

First 'Live' listen

First of all, we have the Main Title. Horner lays out his pieces immediately by mixing live orchestra with  synthetic electronic flourishes and undercurrents. He is clearly going for brass-led orchestrations, which of course is entirely appropriate for a super-hero movie. There is a theme here, but it's more of a style motif. In a way, it's similar to Elfman's score for Sam Raimi's version of the character. There are some influences, both stylistically and through instrumentation, of Avatar here and there, a score I am not over-fond of, despite the accolades heaped upon it. So far, based on the substantial first track, I am reminded a little of Ottman's Superman Returns, which is one of my favourite superhero scores, so I'm pretty happy at this point!

Also introduced in the first track is a choir (possibly synth, possibly not) and I'm pleased to hear straight away the old Horner style of overlaid piano, so hopefully there'll be some piano solos in this album.

In the second track, Becoming Spider-Man, the theme is used again, as well as the instrumentation from the Main Title, but this time it is expanded upon with a full-on choir and string statement. After that, we're briefly into Superman/Rocketeer territory with what I hope is a reference to the humour in the film.

So far, this is easily beating most of Horner's recent output, all the way back to before Titanic.

At the end of this second track, more electronics are brought in and give the music a bit of a retro edge... will be interesting to see if this continued. Oh dear, a little plagiarism at the end (see next section).

We're treated to some light-hearted brass and string (and, yay! piano) for track 3...

In track 4, "Hunting for Information", we get some 'messing about' background music, as befits the track title. It has a lot of rich texture, something common to all the tracks so far. Never boring or Media Ventures-like.

Track 5 starts with some ponderous piano. Very mysterious and 'I have found something revealing!' Again, this music is never boring even when it's not going anywhere, and this is definitely a background track. The piano continues and becomes... sadder, I think.

The next track is "Spider Room / Rumble in the Subway" - quite promising as track titles go and the start of the track gives the impression of the lead-in to an action sequence. Lots of low string stings. Ah. Here we go, swirling discordant strings, electronic stings and clicking fingers... Okay, didn't expect that. We're back into electro-retro land, very 70s. Perhaps not an action sequence, then? Probably Spidey slapping down a mugger or something.

Track 7 is called "Secrets" clearly involved the discovery of something sinister or shocking... it's just that sort of music. There seems to be something of an ascending 6-note motif behind a lot of the tracks, which ties things together. A change now... what the heck is that, sounds like an echo chamber... Now we're onto a glockenspiel, which is, again, unexpected. A bit dull... First time for that thought.

Track 8 brings us some guitar for "The Equation". It's quite tranquil and is clearly going to be quite subtle behind whatever is happening on screen. Heh. Just seen Empire magazine's Spider-Man review... Have to read that at some point, I suppose! Back to the score... I swear I just heard Babylon 5's synths in there! Oooh obscure plagiarism alert, barely! That piano solo is a bit... a bit like Silvestri's Contact, not plagiarism really, just gives that impression.

The Ganali Device... an intriguing name for track 9, and probably a plot McGuffin as well. Typical Horner instrumentation, but in a good way.

Track 10 begins in a very sinister fashion. Again, the strings with an electronic pulse. I won't mention the track title as it is a HUGE SPOILER for those fans who thought that this was a very different take on the story. It's tear-jerking stuff, really. Strings against piano is very reminiscent of Contact, but a touch more delicate and interesting. Oh, terrific, my heart just skipped a beat around 4:33 as the percussion drops in, probably to clue us in to Peter's anger at this point. Very exciting action music here, desperation in the air for Spidey, methinks. We even get a little Horner 'despairing brass' lick for good measure.

Track 11 is Metamorphosis. I would guess that this isn't anything to do with Spidey's physical changes. It's sinister to start with then blossoms into a string-led theme with either triangle or glock ripples. A pity this isn't expanded on some more in this track as it seems something has 'gone wrong' in the metamorphosis because we are in terror mode now, with chasing strings and brass wails. Then, after some clashes and percussion, the music returns to a more heroic statement of the 'pretty' bit of the track. Perhaps not Spidey's theme.

Track 12, Rooftop Kiss is from Deep Impact... I mean, that's what it sounds like. Now, most Horner fans liked the Wedding cue from that other movie and will probably agree at this point that this is a very nice modification of that theme. I love piano solos, so this is lovely for me!

Track 13 is full-on action mode with strings, wailing Matrix-style brass, synth and percussion. It's called The Bridge. Why is there always a bridge sequence in Spidey films? Another, great statement of the Spidey hero theme before the action takes over again. The driving electric bass and synth is becoming a strong thematic element, giving a definite retro character to the piece. Solo voice is used in this track, not sure why, but it's very distinctive. Another, creepy child's voice, has come in now. It's very Lord of the Rings, but used differently.

The rest of the tracks will have to wait until I finish work and get time to finish the review!

References and Plagiarism (by track)

1. None that I could detect.
2. Sneakers-like choir. Rocketeer percussion/brass. Rocketeer brass runs towards the end of the track.
3. None.
4. Sneakers.
5. None.
6. Star Trek II, in the way the strings rise and fall, but nothing major.
7. None.
8. Spitfire Grill (told you it was obscure!)
9. A Beautiful Mind.
10. Avatar (barely). Titanic (the brass ripples).
11. None.
12. Deep Impact