If Danny Elfman the film composer seems ever farther from Elfman the former cult rock icon, his work on director Ang Lee's adaptation of the Marvel Comics legend suggests he may be reinventing himself yet again. While he s... more »eems to have largely abandoned his melodic interests somewhere south of Sleepy Hollow, the diverse concerns--ranging from bright, propulsive rhythms and repetitive wind phrases through ethnic modalities of (deliberately) undetermined origin and delicate pastoral touches--suggest a textural mindset more akin to Herrmann, but informed by the incandescent, hypnotic cadences and sonorities of Steve Reich and other post-modernists. While he occasionally lapses into the overbearing tribal drum sturm und drang that may have made some listeners of his overwrought Planet of the Apes score yearn for an umbrella, they are at least leavened here by slashing horns and Middle Eastern vocal flourishes. Subtle electronic sound washes ebb and flow throughout, serving up a percolating tension the composer gleefully punctuates with blasts of brass and thunderous percussion. This isn't your mother's--or Lou Ferrigno's--Hulk, and Elfman has done a fine job of musically propelling the big green fella into the 21st century. Also features the Guns N' Roses-meets-Stone Temple Pilots line-up of Weiland, Slash, Duff McKagen, Matt Sorum, and Dave Kushner performing the angular riff-rock of "Set Me Free." --Jerry McCulley« less
If Danny Elfman the film composer seems ever farther from Elfman the former cult rock icon, his work on director Ang Lee's adaptation of the Marvel Comics legend suggests he may be reinventing himself yet again. While he seems to have largely abandoned his melodic interests somewhere south of Sleepy Hollow, the diverse concerns--ranging from bright, propulsive rhythms and repetitive wind phrases through ethnic modalities of (deliberately) undetermined origin and delicate pastoral touches--suggest a textural mindset more akin to Herrmann, but informed by the incandescent, hypnotic cadences and sonorities of Steve Reich and other post-modernists. While he occasionally lapses into the overbearing tribal drum sturm und drang that may have made some listeners of his overwrought Planet of the Apes score yearn for an umbrella, they are at least leavened here by slashing horns and Middle Eastern vocal flourishes. Subtle electronic sound washes ebb and flow throughout, serving up a percolating tension the composer gleefully punctuates with blasts of brass and thunderous percussion. This isn't your mother's--or Lou Ferrigno's--Hulk, and Elfman has done a fine job of musically propelling the big green fella into the 21st century. Also features the Guns N' Roses-meets-Stone Temple Pilots line-up of Weiland, Slash, Duff McKagen, Matt Sorum, and Dave Kushner performing the angular riff-rock of "Set Me Free." --Jerry McCulley
"My only problem with the Hulk score is that there doesn't seem to be enough of it. That isn't Danny Elfman's fault, but the movie didn't leave a great many opportunities for him to flesh out the score. That said, what's here is amazing.
The main theme is suprising. One would expect something loud and clamoring with brass for a character like the Hulk, and while the music does get that way at times, the Hulk's melody is actually a steady, soft melody that resonates with wonder. It almost feels like what you'd hear when looking at DNA, molecules, and whatever else would need to be involved in the Hulk's origin. In the background there is a low, appropriately grand brass.
The score uses this theme to different heights throughout, along with fast-paced drums and occasional synth instruments. The most memorable tune outside of the main theme is a Middle Eastern choral section in the second half of the score, emoting the desolation of a solitary creature like the Hulk (and used for the desert backdrop seen in the movie.)
The finale varies the theme, making it granduer, because in it's simple 12 notes, a score for a movie about science fiction makes it seem like a score for a movie about magic. It peaks curiosity, majesty, and even innocence, and then turns into the backdrop for what the movie entails as a climactic battle.
Danny Elfman has been given a large responsibility among composers. He's had to tackle the objective of composing unique themes for three different well-loved super-heroes: Batman, Spider-man, and now the Incredible Hulk. And because he is such an excellent composer, the Hulk can join these other fine scores, and I can only hope Elfman is brought back for the sequel."
Lets not forget Natacha Atlas
Jonathan D. Berke | Pleasant Hill, ca United States | 07/22/2003
(4 out of 5 stars)
"Come on it's a wonderful sound track but no one even talks about Natacha Atlas's great vocals on much of the sound track!
Wake up!"
A 'HULK' for discerning tastes!
cinemusic | Toronto, Canada | 06/17/2003
(4 out of 5 stars)
"No stranger to superheroes and comic books, Danny launched the the most fertile period of his career with Batman, through to the early '90s with Darkman, Dick Tracy, Batman Returns and the theme for the television series The Flash. He would later collaborate with Darkman director Sam Raimi for 2002's biggest financial success, Spider-Man, making everyone at Marvel notice. The Hulk proves the Elfman formula is still viable, as his score is brilliant, matching the scope and tone of the picture, proving to be progressive, often exhilirating and touched with Elfman's unique brand of tragedy.The score is anchored by an often-repeated theme that is stated quickly in the magnificent "Main Titles" "Main Titles", first as a scientific-sounding 6-note descending motif for woodwinds and then later developed in the brass and strings ("Hulk Out!", "A Man Again"). Like Spider-Man, it's not an immediately obvious main theme, but it is there if you want to find it. This main "Science" theme is then put through it's paces in "Prologue", an extension of ideas from the "Main Titles", and the first appearance of the female vocals performed by Natacha Atlas. They do the work intended, adding an emotional gravitas to an otherwise loud and rambunctious summer movie blockbuster score, which is something increasingly rare.Action elements are surprisingly rare here, "Captured" introduces a bevy of percussion rythms overtop vocals and an Eastern-like string rythm. This might be the first time that Danny Elfman has written anything remotely resembling a Hans Zimmer-like action cue(!). "Hulk Out!" features the first real, balls-to-the-wall action scoring, with towering brass grunts overtop urgent strings coupled with frenetic percussion, concluding with a full-scale rendition of the main theme. Despite the fact that Elfman scores more mainstream films then ever before he still imbues his scores with flashes of his twisted sensibility, particularly in The Hulk, which features many dark passages, particularly for Bruce Banner's father in "Dad's Visit" and "Father Knows Best" (two of my favorite tracks), which churn with menacing synth effects. Additional highlights include the duduk-laced and tragic "The Truth Revealed", which features a heartbreaking statement of the "Betty and Bruce" theme. The track concludes with a gorgeous and warm reprise of Atlas' vocals. B-e-a-utiful! "Hulk's Freedom" brings back the vocals and percussion for a victorious and thundering fanfare.This album has a lot of challenges, it's short on hardcore action scoring, heavy on pathos, it's dark and not always pleasant. It's probably doomed to immediate criticism from the crowd of vanilla taste film music fans who populate message boards. There's something here though, something distinctly Elfman, that means a rewarding listening experience will develop. With each listen, this album opens up, reveals a new idea, and ties together two others. If you found that to be true while listening to Elfman's Planet Of The Apes or Spider-Man, you'll find it in The Hulk too. Expectations can kill a film score before anyone even hears a note. The Hulk strikes a balance between what you'd expect: percussive thunder and brass lightning, and what you don't: female vocals and Eastern influences. In short, it's typical Danny Elfman -- never the easy route!"
Interesting eclectic mix of non-traditional Elfman music
J. K. Moser | Flemington, New Jersey USA | 02/21/2005
(3 out of 5 stars)
"Yes, there is alot of percussion which is a staple of Elfman, but in writing the music for a their super-hero franchise, Elfman breaks new ground. Rather than the dark flourishes of Batman & the high flying theme of Spider-Man, The Hulk is a dark score filled witth exotic sounds that actually capture the filmakers vision and provide an interesting listening experience for the listener. I gave this score 3 stars not because its bad, but because its not to my personal taste, and I would not necessarily recommend it. However, if you a collector of Danny Elfman music or super-hero scores, then feel no guilt when you purchase this unique score."
Great soundtrack, good standalone music.
Matarael | Indonesia | 07/20/2003
(4 out of 5 stars)
"The soundtrack for the Hulk is a magnificent, inspired piece of art that fits the film perfectly. I've seen people compare it to (Elfman's other soundtrack) Spiderman, which I find odd since Hulk the film is nothing like Spiderman. It's not a superhero story as much as a unique drama injected with something more (in this case science fiction).
The soundtrack therefore isn't a standard 'superhero' soundtrack (like Spidey, Batman, and The Flash: all Elfman creation).
From the slow-paced music to the mid-eastern touch, this package is a superb showcase for Danny Elfman's talent"
Track Listings (19) - Disc #1
