DoomsdayWhen you’re thinking of the more graphic films of recent years (300, Halloween, The Devils’ Rejects, Slither) chances are you’re thinking of a film that composer Tyler Bates worked on. It’s proof enough of Bates’s skill that after working with directors Zack Snyder (Day of the Dead) and Rob Zombie (The Devil’s Rejects)  once, they’ve consistently hired him for subsequent films. (Zombie for his Halloween remake and the upcoming The Haunted World of El Superbeasto, Snyder for his blockbuster 300 and now his upcoming comicbook adaptation Watchmen). Doomsday may not be a high-profile picture along the lines of 300 or Halloween, but Bates puts his signature orchestral/electronic stamp of approval on the project.

More adrenaline-laced pieces like “Same Shit Different Era” and “Headless Love” provide the type of thrilling beats and nervy strings that listeners expect in this type of score, while earlier tracks like “Prologue” and “Exodus” hint at a sense of impending doom without overly hammering it home. “Hospital Battle” starts out like a commercial rock song before leading into more orchestral sounding and there are even hints of epic flourishes in the climactic “Finish Her Off!”

The additional tracks not composed by Bates are also welcome additions, though the final tune (“The Can Can” by Ariel Rechstshaid) is a little unusual (and only 41 seconds long). It’s the almost eight minute mix of “Two Tribes” by Frankie Goes to Hollywood that really stands out, though. With mixed in voices and looping music it’s surprisingly more mellow than you might expect for something subtitled “Carnage Mix.” In fact, the entire album manages to blend intensity, triumph, and despair while still maintaining a pleasantly melodic feel.

Zach’s Rating: A-
Perfect For: An electric mix of peaks and troughs
Stay Away if: You’re looking for something along the lines of the Atonement score
Buy this on Itunes: “Two Tribes (Carnage Mix)” – Frankie Goes to Hollywood

To purchase the Doomsday soundtrack, visit Amazon

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