1 |
Prayers
(6:02) |
2 |
Pull
The Tapes (4:14) |
3 |
Take
Off (3:07) |
4 |
2nd
Plane Crash (2:27) |
5 |
Making
The Bomb (3:57) |
6 |
The
Pilots (1:21) |
| 7 |
The
Pentagon (1:43) |
8 |
Phone
Calls (10:49) |
9 |
The
End (5:50) |
10 |
Dedication
(3:51) |
REVIEW
There are two recent Hollywood productions on the September
11 tragedies. While Oliver Stone’s World Trade Center
is more affecting and moving, Paul Greengrass’ United
93 is a grittier and more intense film experience. It is only
apt that the music score for these two films get similar treatment
in style as the films.
While
Craig Armstrong’s composition for World Trade Center
uses softer and soothing music to bring out the victorious
human spirit in the film, John Powell takes on a totally different
approach for his work on United 93.
Be
warned, the album will prove to be one very uncomfortable
listening experience, and is definitely not everyone’s
cup of tea.
Other
than “The End”, there almost seems to be no main
music direction for the other nine tracks on this 44-minute
album. The abovementioned cue is a tense and plodding track
that chronicles the last moments before the plane crashes
into the Pentagon in the film. One can almost feel the plane
going down in increasing speed and feel the fear of the passengers
on board.
The one thing that stands out from the other nine tracks is
the disturbing timpani beats that thump at the most eerie
rhythms. The terrifying tension is one that no listener can
ignore. It is almost depressing and gloomy just by hearing
these beats, knowing that there will be no uplifting atmosphere
throughout the entire album.
The
loneliness of the soundtrack can also evidently be felt. The
only apparent presence of any other instruments other than
the percussive beats is the underlying horns and occasional
synthesizers. They are so monotonous and ominous; the emotions
of the tragedy come through almost immediately.
Powell,
whose earlier works this year included the wacky Ice Age:
The Meltdown and soaring X Men:
The Last Stand, takes on an entirely unconventional style
this time round, proving his talented diversity.
One
thing we’d like to remind you again: this album, like
the film, isn’t easy to stomach. But do give it a spin
on your player more than once, and you’d be impressed
by the sheer ingenious concept that has been put into composing
this score.
SOUNDTRACK
RATING:
Review
by John Li
|
