Star Trek Into Darkness (Michael Giacchino) [LP]

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Star Trek Into Darkness (Michael Giacchino) [LP]

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This summer, pioneering director J.J. Abrams will deliver an explosive action thriller that takes star Trek Into Darkness. When the crew of the Enterprise is called back home, they find an unstoppable force of terror from within their own organization has detonated the fleet and everything it stands for, leaving our world in a state of crisis. With a personal score to settle, Captain Kirk leads a manhunt to a war-zone world to capture a one man weapon of mass destruction. As our heroes are propelled into an epic chess game of life and death, love will be challenged, friendships will be torn apart, and sacrifices must be made for the only family Kirk has left: his crew. Composer Michael Giacchino- an Academy Award winner for his score for Up- reunites with di rector J.J. Abrams to steer the Enterprise through its darkest territory yet. Paramount will open STAR TREK: INTO DARKNESS on over 3500 screens on May 17. Music Composed by Michael Giacchino (Mission: Impossible- Ghost Protocol, Star Trek, The lncredibles)

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Customer Reviews

A Terrific Follow-Up From Michael GiacchinoI remember sitting down with my Playstation in 1999 and playing a video game called Medal Of Honor. Beyond the gameplay, WWII setting and long nights with friends playing till 1am there was the music. That's how I was introduced to Michael Giacchino. Ever since then I have listened, watched him grow as a composer, watch him accept his Oscar and he continues to move and thrill me with his work. Nothing has changed since 1999. Giacchino is still one of the most thrilling and talented auteurs working in the music industry, and his music continues to do wonders. Star Trek: Into Darkness sees Michael re-teaming with J.J. Abrams for their 4th picture together. Don't forget they also worked on two shows as well (Alias and LOST). The first Star Trek was a big, loud and thunderously exhilarating score. It also had heart and emotion. Giacchino made Star Trek his own as his themes and motifs took shape yet he still paid tribute to the past with Alexander Courage & Gene Roodenberry's original TV theme. The score was pure Giacchino, and it made the film an absolutely entertaining blast. Now Giacchino returns to the Star Trek universe with Star Trek: Into Darkness. This time the score is even stronger as it relies less on the bold themes and more on structure. It has heart and it's a riveting listen.Star Trek has in incredible musical history from the TV series to the films. With composers like Courage, Horner, Goldsmith and many more adding their voice it makes it easier for a new composer to make it their own. As Giacchino brings us back into the world we immediately dive right into the plot. Cumberbatch plays Khan in the film and Giacchino gives him a brilliantly simple theme that is just perfect. The theme blends into the score very well and it's not overpowering in a way that calls attention to itself. It allows the character to define itself instead of the music defining it. This isn't "The Imperial March" or the Joker's theme here, which is great. The score relies less on the main theme this time around allowing it to feel like a legitimate extension of the first one yet still reminding us this is Star Trek. "The Kronos Wartet" (hilarious track title) is a fantastic track that brings in a chorus and really creates a deep and heavy sound while still being propulsive. Just listening to the flow of the music is stunning. The music goes where it naturally should but Giacchino always adds the ups and downs to make it constantly engaging. Everything wraps up nicely in a similar fashion to how the first film's score wrapped up.Star Trek: Into Darkness is a fantastic orchestral romp through space. The music is deeper and more rounded this time. It gives a sense of weight to the film's plot and adds the epic scope that J.J. Abrams was going for. The score is always energetic with an organic emotional current running through it all. Unfortunately the album only runs for about 44-minutes, which is a shame. This is exactly what happened last time, but we got a limited edition 2-disc set for Star Trek 1. So I'm hoping the same will happen. I could get into a long rant about how recording in The United States always leads to disappointingly short albums (higher prices, fees and royalties for orchestras), but will not. I'm sure it makes sense financially to release a 44-minute album and then a limited issue expanded release, but it shouldn't be that way. Anyway, here's hoping this sells well and we get an expanded release in the future. For now we can enjoy Michael's terrific work in this compressed version, which is still superb.4Into BrillianceFollowing the absolutely amazing shock to the system that was Michael Giacchino's 2009 score for the rebooted STAR TREK, expectations were astronomical for his follow up score INTO DARKNESS. In my opinion Giacchino succeeds in matching if not quite topping that work with his second adventure in a world where only some of cinema's greatest genre composers have gone before (need I even mention Goldsmith and Horner). The opening tracks set the pace, much like the movie itself, with rousing use of Giacchino's splendid Enterprise / Kirk cue (that I can't hear without getting goosebumps). Then we settle in the beautifully contrasting 'London Calling' that leads to the sympathetic yet sinister cue for 'villain' John Harrison (or Khan as he's unnecessarily known, but that's for another review). Much like the 2009 score, this score is also a delight to listen to from start to finish as a complete work. Other highlights included 'Ship To Ship' and 'Krono Wartet' that incorporates a Klingon choral section! Some other reviews here complain about the absence of the complete end titles score and I would agree that its a disappointment not to have that overture when listening to the work as a whole. This however was corrected with the release of an expanded edition, which also happened with the 2009 score. Though I do resent the double dipping, when a score is this much fun I'm happy to give Mr. Giacchino a little more cash. Here's hoping he stays on board for the third outing in 2016.4AN ACADEMIC BUT SATISFYING SCOREMichael Giacchino's most recent Star Trek contribution is a dynamic pulsating score that is far more satisfying than some of the mere clanging and banging that now frequents the action and comic book films that are currently appearing on a regular basis. Given the type of movie that it is, one cannot expect love themes and romantic melodies. Yet, Giacchino is able to insert a melodic line here and there, most noteworthy being the first five notes of the main theme that he builds upon which makes an emphatic statement from beginning to end. (As an aside, I would invite film music fans to listen to Rozsa's "Ben Hur" music for the "miracle/finale scene" wherein one will find embedded a cluster of somewhat similar notes - I'm not suggesting any kind of borrowing - perhaps(?); it's mainly my own aural "note". Likewise, the theme used for the Hobbits "marching along" in The Lord of the Rings strongly reminded me of the theme for the wandering of Christ and his apostles in Alfred Newman's score for The Greatest Story Ever Told - something that no one else seems to have noticed. But back to MG's score.) Giacchino also inserts what sounds like fragments or variant fragments of music from previous Star Trek movies, particularly the orchestrative quality that one hears in James Horner's earlier two Star Trek efforts.It doesn't have the impact of Jerry Goldsmith's score for the first Star Trek movie. Nor for that of James Horner's The Wrath of Khan. But movies have been transformed thanks to CG effects far beyond anything imagined in the late 70s or early 80s; and the musical demands are different. Giacchino's score is certainly not pedestrian and fits the action and general rhythm of the film excellently with main theme punctuations at appropriate places. The main problem with this CD is that it contains so relatively little of the entire score and there probably will be a later released CD with the complete score (as they did with MG's first ST), something that is being done more and more to the detriment of our pocket books. The end credits alone, containing Alexander Courage's original Star Trek theme, should have been included since this would have been the most continuous and longest symphonic thread by far. This is a shortcoming of so many soundtrack releases which I will never understand. The end credits have it all and yet are omitted in so many CDs. It's like leaving out the 4th movement of a symphony.For anyone to challenge Giacchino's Film credentials is absurd; and many of us can always suggest a different composer that we prefer for any given film over the one who actually did the score. (I wish that Franz Waxman had been able to do the score for Cleopatra as originally intended instead of Alex North, or Rozsa for The Fall of the Roman Empire instead of D. Tiomkin, but c'est la vie.) One has to evaluate what someone has accomplished on its own terms. In the end, I would say that Giacchino did a masterful job, though I just could not give him 5 stars due to my own subjectivity.4Great soundtrack to a great movieThe soundtrack completely takes you through the emotional highs and lows, starting with the light-hearted Pranking the Natives- to the extremely sad Mind Meld. The entire film gets replayed in your mind listening to this, which I think is just great. The individual pieces of music stand quite well on their own: London Calling, Kronos Wortet (the percussive banging of metal is a great touch), Brigadoom, and the edit from the closing credits. The Mp3 album is good for the Conway dance track (not a fan of that genre of music-but it is really good). Sonically, the cd is much better- but I'm glad I have both.Only complaint....give us a deluxe version to hear more--too short!!!5Excellent Soundtrack but I wish it had moreThe music from The Original Series episodes and movies is a difficult act to follow given its iconic status. Giacchino has performed yeoman's work to draw inspiration from Star Trek's past while bringing his distinct style to the franchise. His main theme is uplifting & inspirational without being bombastic. The music he has written fits the action in the movie quite well from the most action packed scenes to the quiet, somber scenes. I particularly enjoyed "London Calling" which brings a quiet dignity to a part of the film that is poignant before the movie makes the jump back into warp. My only complaint is that the soundtrack is just 47:17 long when it could have easily filled an entire CD and more. I have seen the film three times so far and the music throughout the film is thoroughly engaging which harbors the promise that an extended version will be released at a future date.5Builds From the Last, But Not StagnantI have never had such a bizarre love/hate relationship with any film composer as I do with Michael Giacchino. There are times when I listen to his music and my jaw goes slack because it's so breathtaking... and then there are times when I grit my teeth and go: "What on earth is this idiotic racket?" I was willing to completely write him off (something I hardly ever am willing to do with ANY composer, simply because I understand the demands of the job) - that is, until his entries for the '09 "Star Trek" film proved he can write some tremendous themes, and his scores for "John Carter" and "Super 8" proved that he found the 'on' switch somewhere back there.The score for the 2009 "Star Trek" film was a very dichotomous mixture of insanely good themes ("Enterprising Young Men," etc.) and his - as I call it - 'exploding circus' action music (aka, "Nailing The Kelvin") which is very irritating to listen to on its own, and does not capture the 'organic' action music feel of many other composers. Because music is such a huge part of the Star Trek franchise - remember 1982's "Star Trek II: The Wrath of Khan" was Horner's first big break, and he did wonderful work there, or remember Jerry Goldsmith and Cliff Eidelman's entries - I was somewhat disappointed with the first score, while simultaneously being enthralled with certain elements. As a Star Trek fan and a film score buff, I was very, very curious to see what Giacchino did with the new score.First things first: the label's plan to do a double-release of the score (first on digital mp3, before the movie opened, and then on CD yesterday) was profoundly irritating. I like to pick up film scores before I see the movies they go to, and this 'forced' me to buy it twice (!!!) in order to listen to it before I saw this movie. Epic fail (although I'm sure they're very happy to get the money twice).Now for an in-depth review of the actual tracks on the CD, to help understand what I liked and what I did not like. Some of it is personal preference, but it should help some choose whether or not to buy the disc for themselves, if they're torn... I try not to give any spoilers for the film away, but I can't guarantee it, so read carefully, please! :)1. "Logos / Pranking The Natives" - The Grade-A theme from the '09 movie returns, with a less irritating 'tension-buildup' over the "Bad Robot" Logos than the previous iteration. The "Pranking The Natives" portion is a fun, fast-tempo roll through the orchestra. (****)2. "Spock Drops, Kirk Jumps" - This builds off the main theme in the beginning to a strong percussive beat, and then pushes forward into a rather scatterred, non-melodic bit of tempo-keeping music, which then pulls back together only in the final few seconds into something musically fascinating. (***)3. "Sub Prime Directive" - A hero/victory piece based on the main themes from the '09 film, brilliantly built upon and thoroughly engaging. Also contains the main Star Trek theme by Alexander Courage. (*****)4. "London Calling" - A delicate start on the piano, with backbuilding strings building tension steadily to a hair-raising crescendo at the end. Some of the best 2 1/2 minutes of music ever written. I can not give this piece enough credit. 10 stars out of five. (*****)5. "Meld-Merized" - A sad opening, which then builds tension rather ingeniously before backing off to sad music again. Nicely, nicely done! (*****)6. "The Kronos Wartet" - Begins with strong percussive and banging sounds backed by a chanting chorus. The most idiotic piece of Klingon music ever, ever written. No Jerry Goldsmith ("Star Trek: The Motion Picture" [1979], "Klingon Battle"), James Horner ("Star Trek III: The Search For Spock" [1984], "Klingons"), or Cliff Eidelman ("Star Trek VI: The Undiscovered Country") comparisons possible here. This is literally the worst Star Trek music I've heard -- ever. The chorus sounds like a bunch of apes grunting at the beginning. Might as well be listening to Worf's hideous Klingon opera; Jerry Goldsmith is rolling over in his grave... Then the piece fades from the banging, stupid, ape-chanting sounds and turns introspective on the strings for a moderately interesting ending. The ending boosts the rating to a single star from none. (*)7. "Brigadoom" - Very interesting theme for the Cumberbatch villain. Starts delicately and then builds militaristically to a very interesting conclusion. I wish that the 'buildup' lasted for a little longer, as just when the foot starts tapping to it it ends; still, it's very nice. (****)8. "Ship To Ship" - High tension piece; fortunately not as 'exploding circus' as some of Giacchino's previous action music (such as his "Mission Impossible III" lunacy, or "Nailing The Kelvin" on the '09 Star Trek CD). The ending of the piece is a very nice building crescendo. (***)9. "Earthbound And Down" - This is an interesting piece that works very well in the film for building the tension; much of it is not very 'musical' when listened to as a standalone piece, being more of a jarring 'tumble through the orchestra', but again we are fortunately spared the infamous 'exploding circus' sound. (***)10. "Warp Core Values" - A militaristic start on the drums indicating someone's on a 'mission' turns into a hero piece that is very engaging... all in the first minute. This is followed by twenty seconds of 'tension-building' before turning into 'tragic' music that is extremely effective and enjoyable. (*****)11. "Buying The Space Farm" - A very sad piece which is based in large part on "Labor of Love" from the previous film (which also happened to be one of the best segments of music in that movie). At 2:43, the music begins to turn completely into something fast-tempo and 'angry' ... perfect for the scene. (****)12. "The San Fran Hustle" - A largely fast-tempo chase cue, with some slower music interspersed between bursts of kinetic energy. Most of this action music is not very musically interesting when listened to apart from the film on the CD (it actually starts to get annoying on its own about three minutes in), but it does drive the tempo in the actual movie. I prefer a more organic approach to action music, but this is simply a matter of taste. At about 3:24, the piece actually gets very musically interesting, and remains that way until the end, even building off some of the themes from the first film. (***)13. "Kirk Enterprises" - A piece building nicely off some of the themes from the previous film, but changed up and made 'fresh' again. (****)14. "Star Trek Main Theme" - Overall, an excellent piece to conclude the score, building on the themes from the '09 film very appropriately. My one complaint (and it's a big one) is that the timing of the notes for the Alexander Courage "Star Trek" theme (about 3:00 minutes in) is absolutely butchered again, just as Giacchino did at the end of the previous film. I mean - it's tortured. Any Star Trek fan who pays attention to the music (like me) has to be all but tearing his hair out at this insistence on changing it up just to show it was changed. Overall, though, the piece is terrific. (****)15. "The Growl" (Digital bonus track not included on CD) - A club / dance song. Played in the scene where Scotty is in the bar in San Francisco. A mediocre addition to the score that seems very out of place compared to the orchestral music. (** for 'fit' with the score; *** or **** as a standalone song.)Overall score: 3.7 out of 5.To summarize, I feel that Giacchino did a nice job building off his themes from the 2009 movie, and most of his action music in this film is less jarring than his older 'exploding circus' sounds. This is the case even if it is not always as melodic or musically interesting as other music from the Star Trek universe by the Goldsmith or Horner.4Another great soundtrack from GiacchinoI really liked what Giacchino did with the first movie. One of my favorite pieces from that soundtrack was the popular "Labor of Love" music where Kirk's father rams the bad guys with his ship. The new score has some great moments in it too. The best one to me is "Sub Prime Directive". The music builds and really captures the intense scene in the movie that it is pulled from. Giacchino has done something else with these movies that some music composers fail to do sometimes...and that is to give it a great theme that becomes recognizable in different variations that compliments key scenes in the movie. James Horner and Jerry Goldsmith did it with the other Star Trek movies and I am glad that Giacchino has done the same. It is a great movie and this score is done really well. If you are a fan and collector of film music, you've got to have this one in your collection.5Great, but beware: CD does not include End Titles musicGiacchino's score for Into Darkness is one of the things about this movie that are noticeably better than the 2009 production. But WOW: the music that plays during the End Titles, which I've enjoyed both times I've watched the movie in a theatre, is missing entirely from this CD. Instead, we have "Star Trek Main Theme" which is labeled as containing music from the original series, but really only contains the opening bars of that Alexander Courage theme. I assume that Varese was unwilling to pay royalties for the full Alexander Courage theme, which Giacchino integrated and arranged beautifully. Well, we should all cry "FOUL" -- especially Mr. Giacchino, who obviously takes great care in threading original franchise themes into his original work (no one has ever done it better). I would choose this CD in a heartbeat over the 2009 soundtrack album because the music has more range of feeling and I like the new. But I'm very disappointed at the unconventional decision not to include the End Titles music.3RivetingWhile the move gets mediocre reviews, Giacchino delivers another solid installment of captivating music. Like Alexander Courage and Jerry Goldsmith before him, Giacchino captures the essence of Star Trek from riveting, captivating music in combat to eloquent, whimsical notes where humor exists - admittedly small in J.J. Abrams' version of Star Trek. Still, this is a work of art in both senses of the word, and worthy of any Trekkie's collection of music.5Bigger, Louder, BetterMichael Giacchino's score for Star Trek Into Darkness shows his comfort level with the material. With his score to the "first" movie, he was finding his way. He was experimenting and turning the traditional Star Trek score on its ear. With this score, he is still experimenting, but he's already found the sound he was looking for and so he throws himself all-in.This score is bigger than the previous score. It's more complex. It has many more moving parts. Yet it is still true to what he already developed. The "Enterprising Young Men" theme is still her in all its glory. The soft, poignant moments are still here. Bombastic, Intense, Quiet, Slow: It's all here. It is, by far, a superior score to the the first score.My one big gripe with this release is not the music itself, but what's missing. The full end-titles suite (with the Original Series theme) is not on this album. Granted, it is very similar to that found on the first score, but the completionist in my wants it on this score too.4

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Star Trek Into Darkness (Michael Giacchino) [LP]

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Star Trek Into Darkness (Michael Giacchino) [LP]

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Star Trek Into Darkness (Michael Giacchino) [LP]

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