Embark on a journey into the supernatural realms with Renovatio Records' latest release, the spellbinding score for the 2005 superhero horror film Constantine, composed by Brian Tyler and Klaus Badelt. Directed by Francis Lawrence, the movie draws inspiration from DC Comics/Vertigo Comics Hellblazer graphic novels and introduces Keanu Reeves as John Constantine, a cynical exorcist gifted with the ability to perceive and communicate with celestial and demonic entities. The stellar cast also includes Rachel Weisz, Tilda Swinton, Pruitt Taylor Vince, Djimon Hounsou, Shia LaBeouf, Gavin Rossdale, and Peter Stormare. In spite of achieving financial success at the time of its release, the film received a mixed reception from critics initially. However, over the years, it has garnered a cult following, not only solidifying its status as a noteworthy entry in the superhero horror genre, but also paving the way for the development of a sequel that was announced in 2022.
While criticisms primarily targeted the film's intricate plot and abundance of characters, director Francis Lawrence undeniably succeeded in crafting an atmospheric film that delivers thrills, scares, and unforgettable visuals, thanks to Philippe Rousselot's fine cinematography, and memorable creature designs by Stan Winston Studio.
The score was also a significant matter of discussion. Initially conceived as a solo project by Brian Tyler, the score was poised to be a monumental entry into the genre, with powerful orchestral and choral passages, dissonance and a diverse array of ethnic and percussive soloists. However, Tyler’s original work was met with skepticism from the studio, which considered that it lacked the contemporary flair needed for widespread appeal. As a result, Klaus Badelt was brought in to collaborate with Tyler, infusing the existing large-scale orchestral foundation with a modern electronic approach. The end result, a harmonious amalgamation of both compositional styles, stirred debates among film score enthusiasts, with some considering it an unbalanced fusion.
Despite the divided opinions, the score maintains a consistent use of bass-heavy orchestral and choral elements, creating a staggering soundscape for the demon world. Simultaneously, it introduces beautiful thematic identities on a smaller scale for the main characters, perfectly reflecting the idea of a solo battle against the monumental forces of evil. Noteworthy among these themes is the main motif for John Constantine, unveiled in the cue "Meet John Constantine." This theme, played on an electric cello over synthesized rhythms and bass guitar, effectively encapsulates the character's gritty personality. The theme undergoes various renditions, including poignant piano solos in cues like "John’s Theme" and "John’s Solitude," offering glimpses into the character's more humane side and inner struggles. Similarly, Rachel Weisz's character is adorned with a piano theme introduced in "Confession/Suicide" and explored further in "Encountering a Twin" and the first half of "Angela Crosses Over." Without a doubt, the dynamic application of these themes are the most accomplished aspects of the score for Constantine, effectively providing authentic character development through the use of music. For the evil menace of the demons, Tyler and Badelt provide a basic but fitting six-note phrase mostly on bass strings. This theme is revealed in the opening cue “Spear of Destiny” and is later explored with great effect during cues like "Circle of Hell," "Counterweight," and “The Road to Salvation”.
The score's standout moments are abundant, ranging from action-packed cues like "The Cross Over" and the relentless "Into the Light," to excellent choral passages like the inspiring “Ascension”, to intriguing compositions like the atmospheric chorus in "Deo et Patria" and the waltz-like "Humanity." These moments showcase Brian Tyler's original vision of orchestral and choral power, incorporating complex orchestral dissonance reminiscent of composers like Elliot Goldenthal and Don Davis.
The score for Constantine, initially released in 2005 by Varèse Sarabande, has been considered by many enthusiasts a dichotomy of brilliance and concession, with Tyler's dynamic orchestral and choral masterpiece clashing with Badelt's more electronic inclinations as per studio requirements. Renovatio Records' treatment of the score aims to strike a balance, leaning more heavily on Tyler’s original compositions while retaining some of Badelt’s synthetic elements, particularly in the opening and closing segments. Throughout the album, listeners will also encounter snippets of the themes initially conceived by Tyler for the film, including a duduk theme for John in the latter part of "Spear of Destiny" and a distinct piano identity for Weisz's character in "A Sister Story," an early iteration of the final theme for the character. With a duration of approximately 70 minutes, this new release offers plenty of unreleased material, retaining as much chronological order as possible. We hope you enjoy it.
Track List:
Cover Artwork:
Credits:
|
Track
Title |
Slate
& Cue Title |
|
1. Spear of Destiny |
1m1 Spear of Destiny 1m1Alt Spear of Destiny
Alternate (Edited)
|
|
2. Meet John Constantine |
1m3 Possession – Meet john |
|
3. The Cross Over |
1m4 Exorcism (Alternate) |
|
4. John’s Theme |
1m5a John at Home |
|
5. Confession/Suicide |
1m6Alt Confession – Suicide
Alternate (Edited) 1m6 Rites of the Son
(Edited)
|
|
6. Encountering a Twin |
1m9 Encountering Twin
(Edited) |
|
7. Deo et Patria |
2m10 Deo et Patri |
|
8. Hennessy in the Ether |
2m12-13Alt1 Rifling Through
Papers Alternate I (Edited) 2m12-13 Rifling Through
Papers (Edited) 2m12-13Alt3 Rifling Through
Papers Alternate III (Edited)
|
|
9. John’s Solitude |
2m15aAlt Welcome to My Life
Alternate |
|
10. Seplavite Attack |
2m17 Seplevite Attack
(Edited) 4m31Alt Balthazar Alternate
(Edited) 2m14aAlt Vermin Man
Alternate (Edited)
|
|
11. Trip to Hell |
3m18 Trip to Hell (Edited) 3m19 Bracelet
|
|
12. John Discovers the
Symbol |
3m21 Flashback Part I 3m21a Flashback Part II 3m21Alt Flashback Part I
Alternate (Edited) 3m23 John Discovers Symbol
(Edited)
|
|
13. A Sisters Story |
3m24 Isabel’s Room (Edited) |
|
14. Circle of Hell |
3m26Alt2 Finding Beeman
Alternate II |
|
15. Angela Crosses Over |
4m27a I Left Her Alone 4m27bAlt Bathtub Alternate
(Edited)
|
|
16. Someone Was Here |
4m29 Someone Was Here 4m29Alt1 Someone Was Here
Alternate I (Edited)
|
|
17. Counterweight |
4m30 Counterweight 4m31 Balthazar (Edited) 4m31Alt Balthazar Alternate
(Edited) 4m33 Pieces – Angela Taken
(Edited) 4m32 Last Rites
|
|
18. Flight to Ravenscar |
5m36 Angela Flown 2m12-13Alt1 Rifling Through
Papers Alternate I (Edited) 5m34bAlt After Midnight
Part 2 Alternate (Edited) 5m40Alt Angela In Hell
Alternate
|
|
19. Into the Light |
5m42 Into the Light
(Edited) 5m42Alt Into the Light
Alternate (Edited) 0m0 Black Smoke (Edited)
|
|
20. The Road to Salvation |
5m43 Gabriel Confronts John |
|
21. Gabriel Fantastique |
5m43Alt Gabriel Confronts
John Alternate (Edited) 5m44 Piety (Edited)
|
|
22. Lucifer |
6m45 Lucifer Arrives
(Edited) 6m45Alt Lucifer Arrives
Alternate (Edited)
|
|
23. Ascension |
6m46 Ascension |
|
24. Humanity |
6m47 Humanity |
|
25. Rooftop |
6m48Alt1 Rooftop Alternate
I |
|
26. Constantine End Titles |
6m49 End Credits |
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