SCORE: Star Trek Nemesis (Deluxe Edition)

[BLUMENKOHL 1,081]

Star Trek Nemesis is a score about a man who is facing his mortality too soon and at the hands of a terrible disease. Except, the man who is dying isn't Shinzon. It's Jerry Goldsmith.

I never appreciated Nemesis until just a few years ago. When it first came out, I hated it. It was strange. It felt like familiar Goldsmith, maybe too familiar, but distorted. As though the man's style had been taken and put through a twisted fun house mirror and sprinkled with rage. It was, and I would venture to say, is, a tough score to love. Something just isn't right, and to be honest I can't quite place it. Maybe it's the theme? It's off-putting. It straddles this strange border between melancholy and menacing. When I listen to the music I'm left in a hollow, empty, depressing mood. And unlike depressing scores like Schindler's List, there is not much innate beauty to the music itself. The whole score, like its main theme is in a profoundly uncomfortable place: sorrow and rage. And the struggle between the two is never resolved. No dramatic resolution of the two ideas into something beautiful, something more is made.

It takes two disconcerting forms of human emotion and presents them as is. Raw.

Maybe that's why it's such an upsetting score. Maybe that's why it feels half-baked.

It's no wonder why I once thought this was a dud. I thought Jerry dropped the ball. He made a mistake. He made poor decisions. He fucked up, and we got an ugly, raw score that turned me and a lot of people off. Or maybe, maybe he just ran out of time? Maybe his heart wasn't in it anymore?

Well, the highs and lows of twelve years of life since, a dash of hindsight, and the application of probability theories have all made me realize: I just wasn't getting it back then.

It's simply unlikely that an artist, one like Goldsmith, with such an incredible track record, who still continued to write music well into his final days, would suddenly be uninspired, or make a mistake, or drop the ball.

Instead, I realize now that every corner of this score was crafted with a very clear direction and purpose. And it was crafted by a man who had entered the frightening world of cancer. A world, where upon entry, people all-but merge with the technology and medicine that will preserve their lives. A world where people are poked and prodded to add months, weeks, month, or even days to their life. A world where they face their mortality every moment of every day. A world where they face their helplessly watching loved ones. A world where you're not sure if you have two more years or two more months.

I can't imagine what it must have been like for a person in that world to watch and score a film like Nemesis, or a character like Shinzon. Or the breaking of the family. Loss. Moving on. The blood work. The rage.

"Look in the mirror, see yourself."

Indeed.

When you let all that sink in, and you listen to a track like "Full Reverse," with its angry, raw, orchestral power, your mental imagery is no longer of CGI ships pulling away, but of a great artist expressing his own raw anger and his ordeal through the most personal of ways he knows: the notes written on a page.

When you listen to a track like "Repairs" you begin to wonder if the track isn't perhaps the musical narrative of a day in the life of an ill Jerry Goldsmith. Distant warmness, cold technological...almost...medical synthesizers. Nauseating distorted electronics.

It all of a sudden makes sense why the snare drums at the beginning of "Attack Pattern" sound like they are about to be ripped apart from the fury with which they are being struck.

I honestly cannot think of a Jerry Goldsmith score that has as aggressive, direct, and raw a performance and writing as this. It gets downright ugly.

What we have in Nemesis is a personal work of art. It is a glimpse into a world that few of us want to catch sight of. A window into the life of a composer in a profoundly difficult time.

The dark score doesn't fit Star Trek like a glove. It's too depressing for the Star Trek universe. But Jerry gave us over three hundred scores where he lifted films from hideousness to tolerability, and from goodness to greatness. Surely then, the man deserves just one film where the score is more an expression of himself than the universe of the movie?

Blume Score: 89%

[#SnowyVernalSpringsEternal 10,425]

Thank you!

[Incanus 5,817]

An interesting way to look at this score Blume. Thank you for sharing your thoughts.

And it is fascinating what decade of life experiences can do to your perception of music or work of art. I am constantly making this observation.

[#SnowyVernalSpringsEternal 10,425]

I thought Nemesis had exceptional qualities when I first heard it some 10 years ago. There is something about it that made it stand apart from First Contact and Insurrection.

[BLUMENKOHL 1,081]

And it is fascinating what decade of life experiences can do to your perception of music or work of art. I am constantly making this observation.

Yep.

It just shows how much your mental "baggage" can bring to the music listening experience.

[Koray Savas 2,254]

Nice review, Blume. Reminds me that I need to order this and The Abyss from Varese.

[Trent B 340]

Good review. I will agree the OST was a crap listening experience, the boot made it a lot better but even then was not complete.

It's good to finally hear this score in pristine format and even the additional's it comes with it.

[crocodile 8,541]

Not sure how far can you actually go with interpretations like this, but it is an interesting read indeed.

Karol

[#SnowyVernalSpringsEternal 10,425]

Any viewing and listening experience is subject to the receivers interpretation. Blume's is as valid as anyone's.

I agree with him that there is a subtle rage to this score.

[crocodile 8,541]

Any viewing and listening experience is subject to the receivers interpretation. Blume's is as valid as anyone's. I agree with him that there is a subtle rage to this score.

I reckon it's not really about rage, but disappointment and regret. The score is dark and bitter - anything people's favourite Star Treks aren't. The music seems like a distant ghostly shade of something that was once optimistic and comforting. No wonder so few listeners like it. By the way, I agree with Blume on how it feels. That's the best (worst?) thing about it. But I find it difficult to speculate on what the Goldsmith's frame of mind was. I mean, neither Timeline nor Looney Tunes feel like that. Maybe it's the synergy between composer's mind state and film's themes... Could be.

Karol

[Trent B 340]

I thought the score fit the tone of the film fine. Shinzon's theme fit his character perfectly. Also the Romulan's were considered "dark and cold" especially with most of their architecture being in gray color. I think there was one episode of DS9...can't remember which one and who it was that mentioned about Romulus being gray, just like the Romulan heart.

Maybe too that's what the producer wanted for the score.

[BLUMENKOHL 1,081]

Any viewing and listening experience is subject to the receivers interpretation. Blume's is as valid as anyone's. I agree with him that there is a subtle rage to this score.

I reckon it's not really about rage, but disappointment and regret. The score is dark and bitter - anything people's favourite Star Treks aren't. The music seems like a distant ghostly shade of something that was once optimistic and comforting. No wonder so few listeners like it. By the way, I agree with Blume on how it feels. That's the best (worst?) thing about it. But I find it difficult to speculate on what the Goldsmith's frame of mind was. I mean, neither Timeline nor Looney Tunes feel like that. Maybe it's the synergy between composer's mind state and film's themes... Could be.

Karol

Oh absolutely. I think it would be a gross oversimplification to say every minute of Goldsmith's post-cancer life and therefore every minute spent writing Nemesis was bitter. Even cancer patients have ups and downs. In fact from my own experiences with co-workers and my own mother, I would say it's a hallmark of the disease: the roller coaster ride nature of it. But the downs to be very down, and they gently seep to every other part of life.

I think it serendipitous that Nemesis ended up on Goldsmith's plate when it did. The film, as average as it was, I think provided an opportunity for Jerry to write more of himself and his life into the music than he normally would.

[crocodile 8,541]

I thought the score fit the tone of the film fine. Shinzon's theme fit his character perfectly. Also the Romulan's were considered "dark and cold" especially with most of their architecture being in gray color. I think there was one episode of DS9...can't remember which one and who it was that mentioned about Romulus being gray, just like the Romulan heart.

Maybe too that's what the producer wanted for the score.

Oh it certainly does fit the tone. It's just that people who liked, say, the swashbuckling Wrath of Khan or any of the other Goldsmith efforts for the series... well, they were in for a disappointment. Most people simply don't like moody music, simple as that.

The film, as average as it was, I think provided an opportunity for Jerry to write more of himself and his life into the music than he normally would.

As I said, it is possible.

Karol

[BLUMENKOHL 1,081]

I'm also a deep believer in the idea that that in artistic fields, major and traumatic life events have dramatic impact on output.

For example, I don't think it's a coincidence that there's a demarcation between John Williams of pre-1975 and post-1975. Conventional thought is that the great John Wiliams we know today was born because of Jaws.

I don't think it was Jaws. I think the death of his wife deeply affected him. And he shaped those emotions into something really amazing with his output from then on. From a purely artistic perspective, that life event provided him with profound burst of emotional development that he has used since.

[#SnowyVernalSpringsEternal 10,425]

It's very possible. Because JW ios a very private man, we dont really know how the death of his wife affecting him. But it must have been devastating.

[crocodile 8,541]

Interesting, never thought of that. Williams' career shift, that is.

I generally try not to draw such parallels myself, but these kinds of things are bound to happen anyway. It's an artistic medium after all and to create something of any value you need some sort of backbone, sure.

Karol

[BLUMENKOHL 1,081]

Sad part is, like Steef said, I don't think we'll ever really know.

But as unempirical as the process is, that's the story that my brain chooses to create and believe with the small bits of evidence in front of it.

[crocodile 8,541]

Well, as long as the music makes you feel and respond, then it means Goldsmith has done something right.

Should we take a moment and point out Conrad Pope orchestrated this one?

Karol

[Trent B 340]

I've always wondered what Williams would have come up with for a Trek score, concerts don't count.

[#SnowyVernalSpringsEternal 10,425]

Should we take a moment and point out Conrad Pope orchestrated this one?

It doesnt matter!

[crocodile 8,541]

But Stefan... Blume's emotional review, The Hobbit hysteria, John Williams, the considerably reinvigorated post-2005 Horner, The Matrix sequels scores and their considerable following, even Alex Cremers' love for Alexandre Desplat.

All those things have one thing in common.... one person, to be precise.

Can't you see?

Karol

[#SnowyVernalSpringsEternal 10,425]

NO I DONT!!!

What are you saying?

[crocodile 8,541]

There's only one mastermind behind all of this. The one who orchestrates our heartbeats.

Karol

[BLUMENKOHL 1,081]

The Pope of Music, if you will.

[#SnowyVernalSpringsEternal 10,425]

Nope...sorry, don't know what you are getting at.

[BLUMENKOHL 1,081]

You should put that on a t-shirt.

[Trent B 340]

Maybe over time with the complete release this score might change people's minds. I remember reading not only here on JWFAN but FSM that a lot of people didn't like Star Trek IV's score (some still don't) but a lot of people changed their minds when the complete version was released.

[Doo_liss 6,507]

I don't mean to be "that guy" but Star Trek IV did not have a complete boot without sfx and with alternates out there prior to the expanded release though.

[#SnowyVernalSpringsEternal 10,425]

I agree, the Nemesis boot had been out for ages.

[A. A. Ron 1,938]

Ah, but the mix of the Nemesis bootleg is vastly different from that of the Varese deluxe edition. The added prominence of the synths and percussion did wonders for my opinion of the score.

[Trent B 340]

Yes the boot has been out there but there are a lot of people that don't bother with boots.

[A. A. Ron 1,938]

I should elaborate that I didn't particularly enjoy the complete score UNTIL the Varese edition came out.

[Trent B 340]

I should elaborate that I didn't particularly enjoy the complete score UNTIL the Varese edition came out.

Ah okay. I'm glad to see it changed your mind.

[BLUMENKOHL 1,081]

I'm also a deep believer in the idea that that in artistic fields, major and traumatic life events have dramatic impact on output.

For example, I don't think it's a coincidence that there's a demarcation between John Williams of pre-1975 and post-1975. Conventional thought is that the great John Wiliams we know today was born because of Jaws.

I don't think it was Jaws. I think the death of his wife deeply affected him. And he shaped those emotions into something really amazing with his output from then on. From a purely artistic perspective, that life event provided him with profound burst of emotional development that he has used since.

Looks like it's speculation no more!

I told you! I'm the man's shrink!

[Code 000. Destruct. 0. 4,260]

I need to listen to this again.

[#SnowyVernalSpringsEternal 10,425]

That is very interesting, and actually quite moving.

[Hlao-roo 389]

I'm also a deep believer in the idea that that in artistic fields, major and traumatic life events have dramatic impact on output.

For example, I don't think it's a coincidence that there's a demarcation between John Williams of pre-1975 and post-1975. Conventional thought is that the great John Wiliams we know today was born because of Jaws.

I don't think it was Jaws. I think the death of his wife deeply affected him. And he shaped those emotions into something really amazing with his output from then on. From a purely artistic perspective, that life event provided him with profound burst of emotional development that he has used since.

Looks like it's speculation no more!

I told you! I'm the man's shrink!

It is striking how spot on you were. John Williams practically used the exact same language in describing the before/after.

[Incanus 5,817]

I am afraid we need to see those shrink session notes Blume. We also need to know what makes him tick!

[Hlao-roo 389]

I am afraid we need to see those shrink session notes Blume. We also need to know what makes him tick!

Unfortunately we have HIPAA laws in this country!

[BLUMENKOHL 1,081]

Yeah! Can't just go around giving away notes about patients!

[publicist 4,647]

But you can start rumours on the internet.

[crocodile 8,541]

Good rumour is better than truth, anyway.

Karol

[Hlao-roo 389]

Good rumour is better than truth, anyway.

Or so they say.

[John Dutton 7,427]

I think the action music from Odds and Ends is some of Goldsmith's coolest. Ironic considering what it underscored, but it just goes to show how great he was, even when composing for pure shit. He basically did this kind of thing for all of his Trek scores from V on. He'd create a relatively simplistic theme for the villains and construe (?) it in various ways throughout the score, at some point (or several) having the orchestra (typically emphasis on brass) play the shit out of it. Examples: Pick it Up, Shields Down, The Drones Attack.

[Hlao-roo 389]

"It is a score that could be described as being among the awkward few that offer all substance and no style." - Cristian Clemmonnson

[#SnowyVernalSpringsEternal 10,425]

A ridiculous thing to say about the best score of 2002, according to Dan Hobgood.

[Code 000. Destruct. 0. 4,260]

And anyone with more than half a brain.

[#SnowyVernalSpringsEternal 10,425]

At the time many preferred lesser scores like The Two Towers, The Matrix Reloaded or Attack Of The Clones.

[Code 000. Destruct. 0. 4,260]

Yes, including me (only TTT). But with the Cauliflower perspective, I can't continue to feel that way.

[#SnowyVernalSpringsEternal 10,425]

Hobgood and Blumenkohl have shown us the truth...and it's named Nemesis!