While there are elements common to Newman's usual array of abnormal instrumentation for scores of the prior decade, The Iron Lady does not emphasize them to any consequential degree. Newman's plucky rhythmic sense returns as expected, but mostly via symphonic performances. The structural techniques heard in this score are traceable to any number of prior Newman works, including his tendency to write cyclical ascending phrases for strings with solo accents to represent evocative subject matters. The score's first of two recurring themes of note is, not surprisingly, exactly one such phrase of four ascending notes on strings over a bed of plucked low strings, solo string ostinatos, and a variety of ticking organic and synthetic elements that, along with some ambient dissonant tones, create the feeling of government mechanisms at work. This theme is introduced lightly in "Grocer's Daughter" before being adjoined with the technically precise but rather cold accents in "Nation of Shopkeepers" and "Statecraft." The light-footed, rhythmic nature of this identity will, ironically, please Desplat collectors. A more dramatically lyrical theme on restrained strings carries over from "Swing Parliament" to "Steady the Buffs," in which the reprise follows a dynamically raucous passage of violin solos. A handful of other singular motifs include a soft harp and string idea in "Denis" and a lovely piano piece of pure Newman magic in "The Twins" that is unfortunately neglected elsewhere. Outside of these passages, the score meanders significantly through a series of "stream of consciousness" moments that vary in their saturation with Newman's trademark mannerisms. The pair of "The Great in Great Britain" and "Discord and Harmony" clearly emulate (or mock, for some) the classical and military stature of yesteryear for Britain. The latter cue erupts with full adult choral accompaniment late, an impressive diversion for Newman, and the humming tone of these singers returns in the latter half of "Steady the Buffs." Not all is entirely pleasant, the pair of "The Difficult Decisions" and "Exclusion Zone" forcing the music into synthetic territory and, in the case of the latter, a sequence of ominously blaring brass over militaristic snare rhythms. The assassination attempt in "Grand Hotel" is treated to an obnoxious, pulsating electronic effect with dissonant tones over the top. In between all of these cues are several nearly inaudible placeholders of little value to the greater work. Newman has succeeded in capturing some of the basic essence of the pomp and drama necessary for The Iron Lady, but his music is ultimately as coldly clinical as Thatcher's demeanor, never allowing its fleeting moments of warmth to develop into a satisfyingly engaging narrative. Enthusiasts of the composer will appreciate the return of his early 1990's mould, but that alone cannot support a rather disjointed overall package.  ***   @Amazon.com: CD or Download