Call of Duty
Michael Giacchino
" Medal of Honor had themes, Call of Duty has ruckus "Written by Thomas Glorieux - Review of the regular release
The reason why Electronic Arts fell apart in the war department is unclear, but it was clear that half of the crew jumped ship, and went on creating the much more appreciated Call of Duty series. Now of course war is war and the games will ultimately look and feel alike, but you can always twitch the differences. And one of the differences could be the music. After all, if Medal of Honor had thematic orchestral music, you could always change it to something that sounded differently.
So if you're ecstatic to discover another MOH, think again. This is a completely different musical experience. Call of Duty doesn't use the themes or the sub themes or the developing art in how to make each track an experience on its own. No Call of Duty goes darker, grittier to work and creates a sound Lost would develop on.
Don't get me wrong, there is much to appreciate in Call of Duty, but perhaps not a lot to like. Think back at John Williams in his most non melodic sense carrying his dark gritty robe, creating dark music for films such as Born on the 4th of July or Star Wars, and then without the themes. Basically this video game score shows a completely different Michael at work, and it's nice to have a different voice from him for diverse reasons. Call of Duty is not to be enjoyed for its themes, it's to be appreciated for its ruckus. And what a ruckus to speak of because it blows you away. It is as powerful orchestral as it is demanding.
Are you ready for dark aggressive action music in the most non melodic sense of the word? Then get set from the 3rd track. First we have the gritty opening in "Call of Duty", following with some heroic tones (with the aggressive opening motif between it) and some lovely Born on the 4th of July strings. It's very nice if you would want to compare it with what to come.
"Pathfinder" has some sneaking around music (very dark), and this is the foreboding of darker things to come. John Williams like carnage in "Countryside Drive", the return of the growling motif of track 1 in "Below Deck", the brass clusters flying around in "Stuka's and Flakvierling's", mind blowing atonal music in "Eder Dam" and "Breaking Through" and etc etc ... It is fair to say you will have to listen to it a couple of times to appreciate it. And of course that the softer pieces are a lucky break between all the mayhem.
"Approaching the Tirpitz" has some John Williams like creepy music (from the likes of Star Wars and Close Encounters) while "Taking Stalingrad" creates a march alongside the return of the main theme and growling motif. However the best track is "Red Square", because it finally states the main theme with emotion and this through a growing orchestra. And thank god for "Pegasus Bridge", showing some optimism after all this darkness.
Call of Duty is low and behold absolutely not Medal of Honor, it is the exact opposite of that. From the orchestral brilliance with powerful themes to the aggressive non melodic attacks of the orchestra, it's basically set to film boundaries (or it at least feels that way). I appreciate this assault of Call of Duty because it is mighty impressive to actually dissect it, but it falls flat if you want to hear themes like we had in Medal of Honor. But I think that was the general idea behind Call of Duty in the first place.
Tracklisting
1. Call of Duty (4.58)
2. Pathfinder (3.08)
3. Countryside Drive (4.13)
4. Approaching the Tirpitz (2.38)
5. Below Deck (1.47)
6. Stuka's and Flakvierling's (3.10)
7. Eder Dam (3.26)
8. Taking Stalingrad (3.51)
9. Breaking Through (2.02)
10. Red Square (1.37)
11. Sewers Under Stalingrad (1.54)
12. Tanks a Lot (3.25)
13. Pegasus Bridge (2.50)
Total Length: 39.08
So if you're ecstatic to discover another MOH, think again. This is a completely different musical experience. Call of Duty doesn't use the themes or the sub themes or the developing art in how to make each track an experience on its own. No Call of Duty goes darker, grittier to work and creates a sound Lost would develop on.
Don't get me wrong, there is much to appreciate in Call of Duty, but perhaps not a lot to like. Think back at John Williams in his most non melodic sense carrying his dark gritty robe, creating dark music for films such as Born on the 4th of July or Star Wars, and then without the themes. Basically this video game score shows a completely different Michael at work, and it's nice to have a different voice from him for diverse reasons. Call of Duty is not to be enjoyed for its themes, it's to be appreciated for its ruckus. And what a ruckus to speak of because it blows you away. It is as powerful orchestral as it is demanding.
Are you ready for dark aggressive action music in the most non melodic sense of the word? Then get set from the 3rd track. First we have the gritty opening in "Call of Duty", following with some heroic tones (with the aggressive opening motif between it) and some lovely Born on the 4th of July strings. It's very nice if you would want to compare it with what to come.
"Pathfinder" has some sneaking around music (very dark), and this is the foreboding of darker things to come. John Williams like carnage in "Countryside Drive", the return of the growling motif of track 1 in "Below Deck", the brass clusters flying around in "Stuka's and Flakvierling's", mind blowing atonal music in "Eder Dam" and "Breaking Through" and etc etc ... It is fair to say you will have to listen to it a couple of times to appreciate it. And of course that the softer pieces are a lucky break between all the mayhem.
"Approaching the Tirpitz" has some John Williams like creepy music (from the likes of Star Wars and Close Encounters) while "Taking Stalingrad" creates a march alongside the return of the main theme and growling motif. However the best track is "Red Square", because it finally states the main theme with emotion and this through a growing orchestra. And thank god for "Pegasus Bridge", showing some optimism after all this darkness.
Call of Duty is low and behold absolutely not Medal of Honor, it is the exact opposite of that. From the orchestral brilliance with powerful themes to the aggressive non melodic attacks of the orchestra, it's basically set to film boundaries (or it at least feels that way). I appreciate this assault of Call of Duty because it is mighty impressive to actually dissect it, but it falls flat if you want to hear themes like we had in Medal of Honor. But I think that was the general idea behind Call of Duty in the first place.
Tracklisting
1. Call of Duty (4.58)
2. Pathfinder (3.08)
3. Countryside Drive (4.13)
4. Approaching the Tirpitz (2.38)
5. Below Deck (1.47)
6. Stuka's and Flakvierling's (3.10)
7. Eder Dam (3.26)
8. Taking Stalingrad (3.51)
9. Breaking Through (2.02)
10. Red Square (1.37)
11. Sewers Under Stalingrad (1.54)
12. Tanks a Lot (3.25)
13. Pegasus Bridge (2.50)
Total Length: 39.08