UPDATED - 08/03/07

From the Official "300" Site:

Warner Bros. Pictures acknowledges and regrets that a number of the music cues for the score of "300" were, without our knowledge or participation, derived from music composed by Academy Award winning composer Elliot Goldenthal for the motion picture "Titus." Warner Bros. Pictures has great respect for Elliot, our longtime collaborator, and is pleased to have amicably resolved this matter.

In light of the revelations stated above, the final grade of this score has been reduced to a rating of '5 out of 10.' While I am unsure if Composer Tyler Bates was given strict instructions to derive the final product from "Titus" from the director or if it was simply his personal doing, I find this to be a disappointing matter that taints an effective score.

Original Review:

In a daring realization of artistic achievement, "300" is a film that comes across to the cinema unlike any movie before. Each frame of the picture looks like a well crafted painting from the graphic novel, increased in stature by the benefits of the big screen. In fact, one of the things I took away from the promotional clips was how striking I felt that the colors from each of the scenes were. It's unheard of to see such unique imagery brought to life during this era of filmmaking. Thankfully, it is indeed upon us and bringing music to the proceedings is Tyler Bates, a composer who did not stray away from the challenge of combining might with muscle for this project.

The soundtrack is truly a perfect compliment to a film such as this. The tempo is established from the very beginning as the first track on the disc opens up with a ferocious statement. For me, it's the type of feeling I had always played out in my mind when opening up the first page of any graphic novel that I enjoyed. In a way, it seems that the music is unafraid to be as bold as the film itself. There have been a great many instances where soundtracks beat around the bush and stand pat in the background, unwilling to establish a voice or identity of its own. Well, in this case, none of that is in the mix.

Combining choral elements with a diverse and unique combination of instruments, Bates brings a musical charge to the story that is rewarding to listen to. One aspect I really took a liking to is the intensity of the percussive elements which are raw and exciting, placing you in the midst of the epic battle. Even if you never saw a single frame of film, you can easily become enveloped by the action brought forth from the music.

With all my praise for the high charging excerpts of the score, my favorite moments might ironically be the moments in which the score shifts to more delicate tones in capturing the drama of the saga. These reflective, melodic moments offer a chance to develop emotional depth when the score slows down a notch, which is a wise approach. Driving forward on only one consistent type of music would be to detract from the film itself. Thankfully, Bates realized this and made sure to take time out for character and story development in his use of underscore. Also worth noting are the culturally rich infusions written into the music, including the arabic/persian melodies that flourish when the female soloist emerges in the marvelous track 9.

In a film as unique as this, there should also be moments of mystery and awe. This too is accounted for. Be it from the unique convergence of instruments like the combination of electronics and orchestra or the soaring heights of the choir, there is notable instances of music that elevate the visuals to a higher level of depth. In the end, as a viewer, that's ultimately all you can hope far.

While I quite enjoyed much of the album, I would have liked to have heard a bit more of a signature theme associated with the score. Had there been an anthem or march (similar to that of track 14, Come and Get Them) that represented such a theme, then this score would have been elevated to an even higher status. There are also a few moments during the middle of the score that dark atmospheric music is called upon; this, like it is when heard in any other soundtrack within this genre, is my least favorite aspect to listen to. In the end, however, that's just a couple of minor issues in the grand tally since this is a score that delivers what's asked of it and then some. Keep your eyes open for the special collector's edition of the soundtrack, too!