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Versión en español

Composer : Mansell, Clint
Year : 2005
Label : Varèse Sarabande
Total time : 59:57

Compra este CD en Zona K
Very good
  1. C24 ('43)
  2. Doom (3:14)
  3. Olduvai / Facing Demons (3:44)
  4. Searching... (3:40)
  5. Sibling Rivalry (2:25)
  6. The Lab (4:38)
  7. Taking Control (1:51)
  8. Mac Attack! (2:16)
  9. Resurrection (1:55)
  10. BFG! (1:07)
  11. Destroyed (2:28)
  12. Infirmiary (3:25)
  13. Experiment: Stahl (2:46)
  14. Containment Breach (1:52)
  15. Superhumans and Monsters (2:12)
  16. "Kill 'em all... (2:18)
  17. ... Let God Sort 'em out" (2:06)
  18. Mass Onslaught (2:19)
  19. First Person Shooter (4:45)
  20. Semper Fi (2:50)
  21. Go To Hell (4:12)
  22. You Know What You Are? (Clint Mansell Remix) (3:11)

What's Hell without a Little Fire?

Obviously, it would be very tempting to compare this score to John Carpenter's Ghosts of Mars. This enticing affirmation is no less true, but albeit similar in style, the new Mansell score for the filmic adaptation of the Doom games, an ID Software franchise well known by PC users, which has proved to be rather fruitful in the genre, stays faithful to the musical vision that was presented in its playable ancestors. First game of its generation to ever utilize a subjective camera so efficiently, leaving the player to really impersonate the game character, feeling and suffering for him as he actually progresses through the many levels, this FPS (international abbreviation used for describing progressive shooting games involving subjectiveness) is the very reason why all the following clones, named after 'Doom-like', were born : Halo, GoldenEye 007, Medal of Honor, TimeSplitters, Perfect Dark, etc... owe it everything - although the latter naming tends to completely disappear to the benefit of the First Person Shooter designation. Since then, it has become nothing less than one of the best selling types of games, regardless of the consoles they are running on.

The main asset of this score is undoubtedly its low-key attitude; manifestly straight to the point, it doesn't load itself down with redundant instruments, a process sometimes resulting in a too intricate sound and uselessly overbearing the listenability. You know, I'm the type that thinks less is more in music. In this case, it is a confirmed thought. However, don't get it into your head that the score's only plausible description is in terms of minimalism, that's not always the case. Because, rest assured, it does indeed beat the crap outta plenty of atmospheric scores principally based on those quiet and monotonous cues! When the music gets more violent, it either resorts to heavy guitars or percussion (for example, Destroyed, at 1:24, is just crazy!) while retaining this unique electronic approach that characterizes the general sound of it. Very early on, you are confronted with the savageness that pervades your ears. So when it's not chaotic and unleashed, the music makes room for more mysterious and murky moments, ranging from pure sampled strings (Taking Control, a simply wow track that builds up into a mind-boggling crescendo) to lighter guitar (heard briefly in The Lab, e.g.), if not strange noises (Infirmiary, ... Let God Sort 'em Out", ...).

Connoisseurs of the first game (although being, it is true, an incredible accumulation of headache provoking pixels) that was made playable on various gaming systems at that time, as well as the great SNES aka Super Nintendo/Famicom, may recognize a few hints from the music initially composed by Bobby Prince -- also responsible for the first sequel called Doom 2: Blood Bath -- that was used during the many shooting phases against the creatures, notably that First Person Shooter track - quite evidently a nod to it. Insofar as the in-game sequences were often emphasized by some rock'n'roll type of music, the composer successfully intertwines those elements of the game with his music. Only real fly in the ointment is that precarious Nine Inch Nails track closing the album.

To make sure it is crystal clear in everyone's mind, it is not a score replete with heartbreaking and unforgettable melodies that will put a lump in your throat, but it is nonetheless a hell of a ride, perhaps the most entertaining piece of film I have heard this year. For those of you sick of this mainstream orchestral soup we are continuously bombarbed with, or if you are simply interested in a testosterone-filled score with balls that doesn't necessarily rely on a full orchestra in order to impress, this might be a valuable investment. Personally one of my favorites of late 2005.

The Best: feels damn good and helps you let off steam!

The Worst: without hesitation, 'the triple N track', hence my question: why do they bother to put these songs on soundtracks?

Highlights: Doom, Olduvai/Facing Demons (probably the only track having recourse to real brass but, again, (very convincing) samples or not?), Taking Control, Destroyed, Containment Breach, First Person Shooter, ...


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