Alien to Prometheus: Past to Present Music Review
Any fans of the Alien series of films, books, games, and comics will almost immediately recognize certain musical cues from the movies. They may not knowwhich film they came from (there are a lot to choose from now) but the mood, colors, and signature feel is often unmistakable. Jerry Goldsmith started the audio brand back in 1979 with Ridley Scott at the helm. In 2012 Scott returned to the franchise with composer Marc Streitenfeld to score the prequel.
When you place the two side-by-side many of the tracks could easily be interchangeable. Streitenfeld’s music, while more ambient at times, stands next to Goldsmith’s work as equal or in some cases, better. Goldsmith was creating something new and different and was also unaided by modern conveniences like computers, so when taking that into account it’s hard to see how he can’t be called the master on this occasion. A few times Goldsmith takes advantage of delay effects (echo to the layperson), in some cases quite creatively, but past that there’s very little going on that isn’t done with a traditional orchestra. The scoring is unparalleled and the intensity of feeling is absolute. Goldsmith manages to keep harmony and melody present while still attacking the audience’s limbic system percussively.
Main Title and Hyper Sleep from Alien (1979)
As originally composed and intended by Jerry Goldsmith (Different from Album and Film Version)
Track 1 from the original score of Ridley Scott’s “Prometheus”
Composed by Marc Streitenfeld.