What You Need to Know: Who would have ever thought that Roland Emmerich and Dean Devlin would have created a premise with this much sustainability? Aside from the fact that they didn't vouch for it, they should have very little to complain about the manner in which Sci-Fi Channel has taken off and ran with the Stargate series. I think its longevity is a surprise to anyone who saw the original film back in 1994, even if it was a respectable sci-fi entry.
Staying true to the premise required staying faithful to the music, which is what Joel Goldsmith has done now for many years, integrating David Arnold's thematic work into his own in what has been a very successful run. In "Stargate" Ark of Truth," Joel's direction remains consistent with that of the original theatrical movie and the series itself, implementing a mix of his own thematic content along with references to Arnold's original writing. The biggest key, though, is that this work felt like it was written for a feature and not a 45 minute show.
Joel's score is robust and a slight notch above the music from the television series. Indeed, this one has more of a theatrical flavor to it and plays on a larger scale. Seasoned soundtrack listeners can tell quite easily when they're listening to music from a television show or a theatrical release and this one definitely had the scope of the latter, which is evident quite early on in the way it builds up steam. I quite enjoyed revisiting the "Stargate" theme in the first track and then hearing it give way to Joel's direction in this score, unhitched and without a rush. By the time he cues in the power of the chorus and aggressive percussion, I was totally on board with the adventure, enjoying the ride for what it was.
"Ark of Truth" truly earns its merit in the second half of the album, which is where the tide turns to a more distinct, melodic approach both in the action statements and the underscore. In listening to these cues, it makes you wonder why Hollywood hasn't signed up Joel for major motion pictures. I can guarantee that some of the music from this score outmatches the average sci-fi score as heard in theaters. In particular, the various usages of the choir makes for a prime example. At times powerful and in other moments mysterious and ancient, the choral work is a big player on this score and Goldsmith employs its use intuitively.
All in all, this is an accomplished score.
