Original Album Review
The Star Trek: First Contact
score is quite simply the best Star Trek score since Star Trek The Motion
Picture and contains one of the most beautiful themes Jerry Goldsmith ever
wrote. When Jerry accepted the job to score First Contact he didn’t have
enough time to complete the whole score himself due to commitments on The
Ghost And The Darkness, so turned to son Joel Goldsmith to provide some
extra music. While Jerry composed most of the score Joel composed a number of
key cues for the film. The album contains three of these; Locutus,
Retreat, and 39.1 Degrees Celsius. According to the recent First
Contact DVD, Jerry believed Joel’s style would be right for writing the
musical sound of the Borg and is contribution is seamless throughout the score.
The two main musical ideas to the film are the
symphonic and metallic, which perfectly captures the mechanical Borg and their
disregard for mankind. While the symphonic approach perfectly emphasizes the
humanity of the Federation.
I can’t say enough about the Main Title/Locutus,
here Goldsmith opens with an elegant rendition of Alexander Courages' fanfare
then segues into his own new theme to complement his Motion Picture
theme. Goldsmith creates a theme full of wonder but also emphasises melancholy,
in particular Captain Picard's emotional battle with the Borg and what they did
to him. Goldsmith’s theme grabs your emotions, and creates so many images while
listening to it, juxtaposing the wonder of space travel with the bond of
friendship. The second part of the cue introduces the ominous, metallic
signature of the Borg.
Red Alert begins with a dynamic rendition of
Goldsmith's own Motion Picture theme, replete with sumptuous cymbal crash
for the Enterprise E as it enters warp and heads to the aid of the Federation
and their battle with the Borg. Low end brass underscores the arrival of the
Borg Cube, immediately setting up the attack by Lt. Commander Worf in the
Defiant with Goldsmith referencing his popular Klingon theme from The Motion
Picture. As the Enterprise E enters the battle, Goldsmith heroically
responds with the main Motion Picture theme.
Temporal Wake develops an ominous metallic tempo
as the Enterprise E follows the escaping Borg sphere, while also referencing the
Klingon theme for Worf's arrival on the Enterprise bridge. As the pursuit
continues and the crew realise the Borg are returning to Earth's past to change
its future, Goldsmith creates an intense but haunting atmosphere as briefly the
crew see the Earth's population transformed into Borg.
Welcome Aboard references Goldsmith’s First
Contact theme to underscore the friendship between Picard and Lily.
Goldsmith perfectly emphasising wonder and beauty as Picard shows Lily the
view of the Earth from an Enterprise airlock. The second portion of the cue
reveals Picard's second sense as he realises the Borg are planning to make
contact with other Borg by modifying the sensor array.
Fully Functional opens aggressively as Data
briefly escapes from the Borg but is quickly captured and introduced to the sexy
Borg Queen who in turn introduces him to sexual emotions by way of a passionate
kiss. The second portion of the cue deals with frantic attempts of the crew to
fight the Borg.
Retreat composed by Joel Goldsmith utilises
metallic sounds and low end brass and strings for the crew's fight with the Borg
and the desperate hand to hand fight as crew members are abducted and
transformed. Joel also initiates the Klingon theme several times as Worf, in his
element, fights the Borg face to face and sees the abduction of Data.
Evacuate returns with the low end brass as
Picard finally gives the order for the crew to evacuate the Enterprise and set
it to self destruct. The First Contact theme returns in a warm and
sensitive mode as Picard apologises to Worf for calling him a coward and resigns
himself to the fact he will stay onboard and face the Borg.
39.1 Degrees Celsius is Joel Goldsmith's second
major cue for the film for an earlier sequence when Picard first realises
the Enterprise has been boarded by the Borg and crew members are attacked. Joel
introduces some typically 'Goldsmithian' motifs throughout including a perfectly
captured moment as Data locks out the Borg from accessing the computer. The cue
also contains some effective military inspired snare drums as the crew is armed
and heads into battle.
The Dish underscores Picard’s attempt to prevent
the Borg from using the Enterprise as a communication device to contact other
Borg in the current time. Here Picard and co change into space suits and battle
the Borg on the hull of the ship. Goldsmith provides one of his best action
cues, albeit a lot less robust than usual. Metallic percussion provides the
tempo for the orchestral cue as Goldsmith builds slowly to a cue bristling with
brass and riveting percussion. The cue triumphantly includes quotes from the
Klingon theme for Worf and the First Contact theme as the Dish is
First Contact is the finale of the film as the
humans meet the Vulcan’s for the first time in one of the most memorable parts
of the film. Goldsmith creates a finale piece bristling with awe emphasising
thoughtful woodwinds and strings for this historic Star Trek moment. The second
portion of the cue deals with Picard saying goodbye to Lily. Goldsmith closes
the cue with a touching moment and an heroic flourish as the Enterprise warps
back to their own time.
The End Credits is topped and tailed with the
show-stopping Motion Picture theme while sandwiching a reprise of the
gorgeous First Contact theme. The album concludes with source cues;
Magic Carpet Ride and Ooby Dooby.