Music Webmaster Len Mullenger

FILM MUSIC RECORDINGS REVIEWS


Craig ARMSTRONG Plunkett & Maclean  OST Virgin 7243 8 47350 29 [50:46]

Crotchet


This is an extraordinary score: a heady mix of choral and orchestral baroque pastiche, heavy rock and synth styles. It begins unusually with the cue Hymn which is self-explanatory and devoted to a cappella choral singing. From heaven we descend to the opposite extreme for the following colourful, kaleidoscopic cue ‘unseen’ full of subterranean growling from synths and cellos and basses, drowning out the choir. At one point in this cue a persistent cantering rhythm from some electronic source seems to suggest a whinnying cantering horse. The orchestral music is mostly led by the lower strings moving forward slowly with a melancholic tread underpinning the choir singing in Requiem Mass mode. Two cues named ‘Ruby’ and ‘Rebecca’ introduce warmer more lyrical and romantic material, the latter with piano. ‘Rochester’ is something of a pastiche of classical Baroque orchestral forms. ‘Robbery’ brings a startling contrast for the instrumentation is Indian and Far Eastern – exotic and eerie with a large array of percussion instruments plonking over creepy strings; it works surprisingly well. The sounds of the Age of Enlightenment soon give way to the head-bashing modern day rock music for ‘Ball’ – too long this track by half. ‘Chance’ brings electronic hokum with synthesised choir sounding distorted and ghostly; I was reminded of the modern choral music Kubrick used for 2001: A Space Odyssey.

‘Business’ is really three variations on baroque rock. In ‘Love declared’ the choir is upbeat and triumphant. The jubilation is continued in ‘hanged’ but the accompaniment is given over to the rock band in ‘escape’. But it is the track ‘resolutions’ which stuns. It is as though the choir has been cast down into some deep pit in which their singing sounds muffled and echoing. Simultaneously one might imagine an iron grid roofing with a metal ball bouncing over it overwhelmed by a morass of eerie evil sounds. The album ends with as song that suggests ghostly unrest over 1,000 years and the final cue ‘childhood’ brings some sort of peace and serenity.

Extraordinary, adventurous and well worth trying – as for repeated listening value, that’s up to the listener but for me it would be somewhat limited.

Reviewer

Ian Lace

and another view from Jeffrey Wheeler

According to the previews, "Plunkett & Macleane" is a mutated motion picture -- one deliberately disinterested toward the formalities of creating a period piece -- about a pair of highway robbers in 18th century England.

Good or bad, the score contains no interest in historical details either...

Craig Armstrong is another film composer whose chief talent is combining his classical experience (most recently, a symphonic piece for the Edinburgh Festival 1996) with his popular talents (most recently, string composer for the group Massive Attack). There are many, too many, composers falling out of the woodwork with similar ambitions, and few succeed; the whole deteriorates courtesy of several earsplitting consequences. Oh, these predictable crossbreeds make me weary! Armstrong's "Plunkett & Macleane" has just a few listenable moments and, I suspect, is equally appropriate for its cinematic base.  (Whether the film is appropriate for anything, I cannot say.)

It is a shock when the cybernetic beats kick into high gear following the extremely effective wordless (and *real*) chorales of the opening track. The bait-and-switch introduction reminds one of Elliot Goldenthal almost immediately, despite a weaker, more disadvantageous dramatic bite. The combination of ambient electronics and sung texts from the Requiem Mass appeared many times before. Still, the score does try for its own special voice, and, noticeably with the choral pieces, it achieves a sort of individuality that is refreshing. There are some solid melodies; namely a slightly comical tune in the track 'Rochester,' and a terrific classically inspired motif is the basis of 'Business.' On the other hand, there are vomitus, repetitious collages of pulsating noise (the tracks 'Ball,' 'Chance's Men,' and pieces of several others) that are pure pain. The score exhibits schizophrenia toward musical styles -- the orchestral brilliance, Mr. Armstrong's impressive symphonic mastery, receives torturous contradictions by the onslaught of cacophonous synthesized waste. Maybe that is deliberate as well, but my ears find it more agonizing than any explanation can fully justify.

There is enjoyable music here, music I feel obliged to highly recommend, but it mixes with audio horrors that may be previously unknown to mankind.

Reviewer

Jeffrey Wheeler


Reviewer

Ian Lace

Reviewer

Jeffrey Wheeler

Return to Index