Doomsday
Tyler Bates
" Doomsday is NOT Bates' damnned day "Written by Thomas Glorieux - Review of the regular release
Tyler Bates really isn't a favourite of many. His Devil's Rejects score will be despised for years to come and 300 captured such obvious rips that it was only in these moments that the music became epic at all. And with the release of this bad ass movie in the Carpenter / Mad Max style, Doomsday couldn't possibly offer much could it?
The Opening cue "Prologue" doesn't promise redemption when we spot an eerie moody design, but "Exodus" is far deeper. It covers a stronger emotional level and it holds a sorrowful vocal over surging strings alongside a soft choral ending. It might not be brilliant, but on an album as this it does make a lot of difference.
The Faltermeyer coolness of "Boat" and "Block 41" albeit more refined, the soft electronic design of "Piss & Vinegar" and the desolate feeling of "It's Medieval out There", they are all warming up the real pride of Doomsday. And who would have thought I would mean by that the action music?
The utterly cool "Hospital Battle" finds the balance between the pumping energy, feisty string work and choral back up to give us action music that is cool and fast. Bates implements the use of this technique further along in equally great action tracks like "Train Escape" and "Bentley Escape". With the difference that "Bentley Escape" throws in a vocal at the end to give us truly an epic stirring finish.
The only exceptions in these action tracks are "Sword Fight" which is almost entirely a Fiedel / Faltermeyer piece (albeit sounding more refined here due to the material) and "Slayer" which is a 300 piece full of guitar rocking attitude.
Nonetheless, this doesn't take away that half of the album is bleak, covering a hypnotizing Carpenter sound design. And we can't ignore the synthesized sound of the score. Oh they are effective and in a way they could have been a lot worse, but they aren't what you call stimulating to listen to. The Carpenter sound is overtly present in "Train to Kane" (while doing a Morricone The Thing move). Nonetheless there are still several surprises. The vocal and choral "Captured", "Prime Suicide" and Finish her Off!" bring a lovely epic depth to the music.
While this is interwoven with the songs from the begin and the weird piece at the end, Bates' score does present quite nicely the sound I expected with the cues I didn't expect at all. The raw synthesized sound design, bringing forth the desolate creepy world that we see in the movie was to be expected. And the rocking attitude during the action music was totally a move I saw coming. But hearing moments of orchestral refinement over these pieces I didn't' saw coming at all. It makes Doomsday far from a brainless attempt and it shows the movie tried to preserve a musical finesse that isn't standard during movies like these. Basically it shows that Bates' Doomsday has got tricks up its sleeve you young people will love to hear very much.
Tracklisting
1. Dog Eat Dog: Adam and the Ants (3.10)
2. Two Tribes: Frankie Goes to Hollywood (7.55)
3. Prologue (1.22)
4. Exodus (4.58)
5. Boat (3.05)
6. Piss & Vinegar (1.24)
7. Block 41 (3.26)
8. It's Medieval out There (3.19)
9. Hospital Battle (2.29)
10. Strung Up (4.42)
11. Sinclair Slips Free (1.18)
12. Sword Fight (1.26)
13. Train Escape (2.35)
14. Train to Kane (3.14)
15. Tolamon (1.28)
16. Captured (1.19)
17. Prime Suicide (1.58)
18. Same Shit Different Era (3.51)
19. Slayer (2.38)
20. Finish her Off (1.28)
21. Bentley Escape (3.31) Excellent track
22. Headless Love (2.37)
23. The Can Can * (0.40)
* Ariel Rechtshaid
Total Length: 64.11
The Opening cue "Prologue" doesn't promise redemption when we spot an eerie moody design, but "Exodus" is far deeper. It covers a stronger emotional level and it holds a sorrowful vocal over surging strings alongside a soft choral ending. It might not be brilliant, but on an album as this it does make a lot of difference.
The Faltermeyer coolness of "Boat" and "Block 41" albeit more refined, the soft electronic design of "Piss & Vinegar" and the desolate feeling of "It's Medieval out There", they are all warming up the real pride of Doomsday. And who would have thought I would mean by that the action music?
The utterly cool "Hospital Battle" finds the balance between the pumping energy, feisty string work and choral back up to give us action music that is cool and fast. Bates implements the use of this technique further along in equally great action tracks like "Train Escape" and "Bentley Escape". With the difference that "Bentley Escape" throws in a vocal at the end to give us truly an epic stirring finish.
The only exceptions in these action tracks are "Sword Fight" which is almost entirely a Fiedel / Faltermeyer piece (albeit sounding more refined here due to the material) and "Slayer" which is a 300 piece full of guitar rocking attitude.
Nonetheless, this doesn't take away that half of the album is bleak, covering a hypnotizing Carpenter sound design. And we can't ignore the synthesized sound of the score. Oh they are effective and in a way they could have been a lot worse, but they aren't what you call stimulating to listen to. The Carpenter sound is overtly present in "Train to Kane" (while doing a Morricone The Thing move). Nonetheless there are still several surprises. The vocal and choral "Captured", "Prime Suicide" and Finish her Off!" bring a lovely epic depth to the music.
While this is interwoven with the songs from the begin and the weird piece at the end, Bates' score does present quite nicely the sound I expected with the cues I didn't expect at all. The raw synthesized sound design, bringing forth the desolate creepy world that we see in the movie was to be expected. And the rocking attitude during the action music was totally a move I saw coming. But hearing moments of orchestral refinement over these pieces I didn't' saw coming at all. It makes Doomsday far from a brainless attempt and it shows the movie tried to preserve a musical finesse that isn't standard during movies like these. Basically it shows that Bates' Doomsday has got tricks up its sleeve you young people will love to hear very much.
Tracklisting
1. Dog Eat Dog: Adam and the Ants (3.10)
2. Two Tribes: Frankie Goes to Hollywood (7.55)
3. Prologue (1.22)
4. Exodus (4.58)
5. Boat (3.05)
6. Piss & Vinegar (1.24)
7. Block 41 (3.26)
8. It's Medieval out There (3.19)
9. Hospital Battle (2.29)
10. Strung Up (4.42)
11. Sinclair Slips Free (1.18)
12. Sword Fight (1.26)
13. Train Escape (2.35)
14. Train to Kane (3.14)
15. Tolamon (1.28)
16. Captured (1.19)
17. Prime Suicide (1.58)
18. Same Shit Different Era (3.51)
19. Slayer (2.38)
20. Finish her Off (1.28)
21. Bentley Escape (3.31) Excellent track
22. Headless Love (2.37)
23. The Can Can * (0.40)
* Ariel Rechtshaid
Total Length: 64.11