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The Bible by Hans Zimmer, Lorne Balfe & Lisa Gerrard (Review)

posted Mar 19, 2013, 7:03 PM by Kaya Savas

I'm just going to put all religious points of view aside and just review this piece of music as a score. The Bible is the miniseries that aired on The History Channel, and for it an absolute dream team of talent composed the score. The score is only credited to Hans Zimmer & Lorne Balfe, but Lisa Gerrard's contributions earn her enough credit to be mentioned. The score for the miniseries is an absolute delight to listen to as it incorporates many textures and sounds to build the sonic landscape.

The score starts off quite slow and gentle. The opening piece is a 12-minute track that sets up the soundscape for the entire series, and what follows starts to move things forward. The sound that Hans and Lorne came up with here feels familiar, and I'm saying that in a good way. I know people are going to compare it to Gladiator merely because of Hans and Lisa, but I assure you this is no Gladiator. A little bit of the instrumentation helps us transplant to the middle east setting. Lisa Gerrard's vocals add that angelic and etherial quality that really only she can bring. The motifs at work here are strong and you feel as if the score is building towards something big, and in the end the music delivers. You can feel Lorne's voice throughout the score as well. If you've heard Ironclad then you can identify some of his stylings at work. In the end though I was satisfied but it did feel lacking in certain aspects. The score sounds big, feels big but it doesn't resonate big. There seems to be a lacking cohesiveness to the whole experience as well. It's just that feeling you get after listening to a score. It absolutely works and definitely filled me up during the listen, but afterwards it just didn't stick with me.

I know what Hans Zimmer, Lorne Balfe and Lisa Gerrard are capable of. We're talking about 3 of my favorite composers of all-time here. This is a solid score and it serves its purpose perfectly, but that emotional depth is missing. Musically it stays more in the background than the foreground, which was shocking to me as it's coming from Hans. My conclusion is that Hans and Lorne have been insanely busy the past 2 years, and this just seemed like a fun side project between the big challenges. I can guarantee you that Hans is focused on tackling Man Of Steel and The Lone Ranger right after coming off The Dark Knight Rises. Lorne has been busy turning heads with his Assassin's Creed 3 and Skylanders scores. The talent here is amazing, but it's clearly a score that is missing focus and depth. There are a few outstanding tracks that really stand out above the rest so I do recommend this listen very much so.