Afternoon, all -
I just hit repeat on the new CD of Michael Kamen's score for "Crusoe". Much clamoring can usually be heard for updated or expanded releases of Kamen's action scores, and they are great fun, but his gentle melodic side as exhibited here is truly something special. This one instantly leapt to the top of the list to sit alongside "The Winter Guest" among my favorites of his.
Massively, epically huge this may not be, but there aren't many composers who would be as comfortable writing as transparently as this - no net here, just Kamen and his theme with his electronic ensemble in a few transcendent sections. Kamen's use of electronics took advantage of the electronic instruments' unique sound, rather than half-heartedly conceal a lack of resources. There's an orchestra where he wants one - he could sling an orchestra around a recording studio like few others - and the shifting soundscape makes this an even more captivating listen for me. (Wow! The brass in the middle of "Grave Marker" just made me lose my train of thought.)
Of the upper-tier composers we lost in the '00s, I think we might have missed the most from having been deprived of another ten years of Michael Kamen. By the time they dropped off the twig Jerry Goldsmith, Basil Poledouris, and Elmer Bernstein had pretty much had their fill of being dicked around (although Goldsmith was capable of pulling miracles out of his backside like few others) and as much as I love her music, I can't imagine the industry letting her out of her horror box to do the romantic stuff she always wanted a shot at. Kamen, however, had successfully backed away from his patented HUGE action scores in favor of more character driven stuff like "Winter Guest", "Frequency", and even "Open Range". His response to "Iron Giant" makes me wonder how he might have clicked with the Pixar bunch?
Getting all sniffly now. I blame "Crusoe" - its like that.
