The album opens with a track, "Surrounded," that resembles the music from The Rock very much: Heavy synthesizer sounds with heavy beats. The first time I heard it, I said to my self, "Don't tell me that he scored this movie just like how he scored The Rock. How is that possible? For a film that set in 1662?" While I was thinking what if George Fenton has had scored this movie, I heard something very different came out from my stereo: a very moving and beautiful melody that played by flute. "Heart of A King" is a track that is very different from "Surrounded." Then I heard a very playful melody in "The Pig Chase." In other words, I heard three different themes in the first few tracks already. Yes, there are indeed more good themes and motifs in the rest of the score. This is not a typical album from a Media Venture composer. It is different. There are tracks that sound very modern, like "Surrounded, "King For A King," and Training To Be A King." There are tracks that sound very classical, like "The Masked Ball, "The Taste of Something," "The Palace," and "Raoul and Christine." And of course, there are tracks that are in between both styles.

Nick explained "The film is set in 1662, but it also incorporates some very modern filmic devices. I wanted to have the classical stuff as a backdrop. For instance, there's a ten minute sequence in the film depicting a masked ball; I didn't think that guitars and other modern instruments would be appropriate at all. So I wanted to create a score with classial foundation that was capable of having modernity wrapped around it at any time. There are occasional guitars, electric basses and synths and percussion that wouldn't have seen standard in a Renaissance Court band, but when it came to action sequences, there was no reason the score shouldn't be as modern sounding as you might want it to be."