Doomsday (Original Motion Picture Soundtrack)
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||Dog Eat Dog||Adam & The Ants||3:10||Sólo con álbum||Ver en iTunes|
||Two Tribes||Frankie Goes to Hollywood||7:56||Sólo con álbum||Ver en iTunes|
||Prologue||Tyler Bates||1:22||$0.99||Ver en iTunes|
||Exodus||Tyler Bates||4:58||$0.99||Ver en iTunes|
||Boat||Tyler Bates||3:05||$0.99||Ver en iTunes|
||Piss & Vinegar||Tyler Bates||1:25||$0.99||Ver en iTunes|
||Block 41||Tyler Bates||3:26||$0.99||Ver en iTunes|
||It’s Medieval Out There||Tyler Bates||3:19||$0.99||Ver en iTunes|
||Hospital Battle||Tyler Bates||2:29||$0.99||Ver en iTunes|
||Strung Up||Tyler Bates||4:42||$0.99||Ver en iTunes|
||Sinclair Slips Free||Tyler Bates||1:18||$0.99||Ver en iTunes|
||Sword Fight||Tyler Bates||1:26||$0.99||Ver en iTunes|
||Train Escape||Tyler Bates||2:35||$0.99||Ver en iTunes|
||Train to Kane||Tyler Bates||3:14||$0.99||Ver en iTunes|
||Tolamon||Tyler Bates||1:28||$0.99||Ver en iTunes|
||Captured||Tyler Bates||1:19||$0.99||Ver en iTunes|
||Prime Suicide||Tyler Bates||1:58||$0.99||Ver en iTunes|
||Same S**t Different Era||Tyler Bates||3:51||$0.99||Ver en iTunes|
||Slayer||Tyler Bates||2:38||$0.99||Ver en iTunes|
||Finish Her Off!||Tyler Bates||1:28||$0.99||Ver en iTunes|
||Bentley Escape||Tyler Bates||3:31||$0.99||Ver en iTunes|
||Headless Love||Tyler Bates||2:37||$0.99||Ver en iTunes|
||The Can Can||Ariel Rechtshaid||0:41||Sólo con álbum||Ver en iTunes|
Reseña de álbum
In a semi-literate sleeve note, Doomsday director Neil Marshall writes, "I wanted a score that was both electronic (in the tradition of the great post apocalyptic movies of the early '80s that inspired it) but [sic] I also wanted heavy duty orchestral mayhem for the action cues." Marshall does not say what specific movies he was inspired by, but one can surmise that The Road Warrior (Mad Max 2) and Escape from New York were among them, as well, perhaps, as Blade Runner and The Terminator. That gives score composer Tyler Bates the challenge of matching the electronic acumen of the likes of Brian May, John Carpenter, Vangelis, and Brad Fiedel, just to start with, before the "heavy duty orchestral mayhem" comes in. Yet Marshall has reason to feel that the commission has been accomplished. Of his predecessors, Bates seems most mindful of Carpenter, who, if anything, has turned out to be more influential as a composer than as a director. But in combining the thunderous programming with dramatic strings on such cues as "Hospital Battle," Bates also appears to have been taking lessons at the informal composers' school run by Hans Zimmer. The result is efficient in matching the contours of this particular post-apocalyptic movie. Marshall underlines his affection for the early '80s by throwing in two British hits of the era, Adam & the Ants' "Dog Eat Dog" and Frankie Goes to Hollywood's "Two Tribes."
Reseñas de usuarios
I just saw DOOMSDAY-It was AWESOME! Can't wait to put together a COMPLETE playlist after I get the score! I see someone posted a question about the ending credits track-It was by Kasabian...they're really good,If you're a fan of early-mid 90's Brit-Pop,ie;Charlatans UK,Stone Roses,The Verve,Etc... (Although Kasabian is a newer band) I guess there just wasn't enough space to fit all the songs-Siouxsie & the Banshees "Spellbound",Fine Young Cannibals "Good Thing",and Kasabian "Club Foot".
Totally awesome album!!
Bates has an amazing and inventive way of juxtaposing classic 80's electronica with orchestra making his score to Doomsday epic and huge. His attention-grabbing use of synth, orchestra and choir makes this one of the coolest scores of the year. It's heavy, raucous and fun and I highly recommend getting this one!
this is quite an album! I personely think he has got to be one of the greatest major motion picture soundtrack composer! great job mr. bates!!
Género: Bandas sonoras
Años de actividad: '90s, '00s, '10s