This is War
30 Seconds to Mars
Virgin/EMI

AFTER creating waves and screaming female fans with its second album A Beautiful Lie, thanks no less to pretty blue-eyed singer and movie star Jared Leto, 30 Seconds to Mars returns with its third album, This is War.

At first glance, the album promises to impress with Steve Lilywhite, who has worked with artistes such as U2, Morissey and Dave Matthews Band, as producer.

However, the album lacks the complexity and depth that A Beautiful Lie managed to capture with its raw, crescendo guitar riffs and angst-y lyrics. This is War is lacklustre despite the grand choruses and epic moments of heavy, ­rythmic rock which are marred by pop-inspired beats and synthesisers.

The album opens with the 2½-minute Escape which ends on a promising high with lingering crescendo vocals belting out “This is war”.

Tracks like Kings and Queens, Stranger in a Strange Land and Vox Populi stand out with strong guitars and persistent drumming. However, ­Hurricane and Closer to the Edge discredit rock with its pop sounds and lack of edginess.

The gem of the entire album is Alibi which starts with sparkling piano notes, soft riffs and whispery vocals before ending with Leto’s screaming vocals over heavy drumming and guitars.

Overall, This is War is an ambitious effort but does not quite hit the mark.


Avatar (Original Motion Picture Soundtrack)
Composed and conducted by James Horner
Warner Music

CREATING the score for Fox Features’ most costly film project must have put James Horner on the edge. He admits in the album’s inlay it was a ­monumental task to devise the score; he credits the ­album to the music editors and synth ­programmers who “worked ­tirelessly and selflessly to help me realise my music ideas”.

Horner deserves heaps of credit for successfully steering the score to match the grandeur of the film and its theme.

The film score captures the ­emotions reflected in the movie with arching melodies, sweeping violins and intense, thrilling horns as well as ­percussion.

The score also seamlessly blends tribal, ­African music, albeit contrived, with orchestral music.

Some parts of the score also has hints of Scottish flutes and South American influences.

The soundtrack begins with You Don’t Dream in Cryo which begins on a quiet, haunting note and gradually builds to the climatic tune of the film.

The Bioluminescence of the Night also stands out with its shimmering notes and percussion between soft layers of violins. Becoming One with Neytiri is particularly abundant with lush, optimistic melodies and tribal twists.

This is one album worth keeping.