Search - Elliot Goldenthal :: In Dreams (1999 Film)

In Dreams (1999 Film)
Elliot Goldenthal
In Dreams (1999 Film)
Genres: Pop, Soundtracks
  •  Track Listings (16) - Disc #1


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CD Details

All Artists: Elliot Goldenthal
Title: In Dreams (1999 Film)
Members Wishing: 0
Total Copies: 0
Label: Varese Sarabande
Original Release Date: 10/12/1999
Re-Release Date: 10/10/2000
Album Type: Soundtrack
Genres: Pop, Soundtracks
Number of Discs: 1
SwapaCD Credits: 1
UPCs: 030206600124, 4005939600129

CD Reviews

A leap from 'Interview With the Vampire.'
Stewart Sheargold | Australia | 02/24/2000
(4 out of 5 stars)

"Goldenthal's most interesting score to date. An eclectic mix of creepy industrial and synth soundscapes, appropriate songs, and his usual frenetic stomping and highly excitable dramatics. Happily, this is more experimental than his other offerings, and very moody with its combination of squealing guitars (Scytheoplicity)positioned next to synth loops (Wraith loops) and industrial noise (While we Sleep). At times this could be classified under alternative in your local music store. Then we get the regular Goldenthal - an orchestra going hell for leather, with a force-driven brass section, or his gentle but terrifying lone violins. Dream baby, the song at the end, music by Goldenthal, lyrics by Neil Jordan, is an odd, lilting hymn to end on but utterly beautiful. If you liked SPHERE then this goes one step further. A composer who becomes more interesting with every score, and this is possibly his finest."
Darkly playful music
Black Russian 1968 | USA | 09/26/2000
(4 out of 5 stars)

"I'm a big fan of Goldenthal and it's interesting to see what he does from film to film (his collaborations with Neil Jordan produce some of his best stuff). 'In Dreams' finds the composer experimenting with some different sounds, sometimes to great effect. His style is a little looser here, but still familiar (there's still the thunderous brass and tragic strings)even allowing for a little experimentation with guitars. There is a reoccuring theme throughout the music which some will approve of and some will consider mearly redundant. Track 1 is a winner is as "Rebecca's Abduction" and "While we sleep". While not a score that stands firmly apart from the image/film (I'm thinking his score for "TITUS"), it's one to own for anyone interested in one of the most poetic voices currently working in film music. (Also, if you get a chance to, check out the film!)"