Halo: Reach


Ścieżka do gry | Data wydania: 28/09/2010 | Format: CD, Pobieranie
 

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# Tor   Czas
Disc 1
1. Overture 4:47
2. Winter Contingency 12:08
3. ONI: Sword Base 8:28
4. Nightfall 5:40
5. Tip of The Spear 6:05
6. Long Night of Solace 11:46
7. Exodus 7:18
 
Disc 2
8. New Alexandria 8:41
9. The Package 6:56
10. The Pillar of Autumn 9:40
11. Epilogue 4:29
 
(Bonus Tracks)
12. From The Vault 4:59
13. Ashes 2:45
14. Fortress 1:07
15. We're Not Going Anywhere 1:14
16.At Any Cost 2:30
17. Both Ways - remix 2:17
18. Walking Away 1:53
19. Ghosts and Glass 2:41
20. We Remember 2:05
 107:28
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Halo: Reach - 05/10 - Przegląd wersji Steve Ewing, zgłoszone w (Język angielski)
Quality over quantity. We’ve all heard the phrase before in some context, though perhaps it has never been more applicable than when listening to the soundtrack to Halo: Reach. Written by Martin O’Donnell (the audio director for Bungie, the game’s developer) and Michael Salvatori (a veteran Halo composer), the album consists of 20 tracks totaling 1 hour and 47 minutes of musical purgatory. The first 5 of the 20 tracks match the length of a lot of entire soundtracks, and after these 5 tracks the listener has already heard all of the musical themes and elements that will then be repeated for the next 15 tracks. What’s more, the music is synthesized despite the rising trend of video games with live musicians, and considering the budget this game undoubtedly had. A disappointment, to be sure.

Of course, the unfortunate fact of the matter is that the music was written to accompany the game. To better understand the music, it helps to understand the game. Reach is a colonized and distant planet where aliens are threatening to bring about the downfall of the whole planet. As such, the game is played on the planet Reach as a human fighting off the marauding aliens. It makes sense, then, that the music be unpredictable and frenetic, and that’s exactly what the composers have scored.

Another nice element of the music is the continued use of a choir (albeit synthesized). It is used in tracks both fast and slow; soft and aggressive. Since the beginning of the Halo series, the music has included a choir, and at times throughout this soundtrack, the composers snuck in little snippets of the recognizable main choral theme from the early Halo games. The choir is perhaps the most dynamic part of the music; it is used in music styles ranging from mysterious to hectic to chorale-like. Where the choir sings more slowly, it often sounds like what Howard Shore wrote for the Lord of the Rings trilogy, entirely reliant on interesting chordal transformations in the absence of any sort of moving melody.

The majority of the music - and again, it is written to correspond with the video game - has a fast tempo and aggressive feel, employing heavy percussive sounds. From this the listener gets a sense of amazonian wilderness; an image of the main characters in the game charging through the vast and uncharted wilds of the remote planet, combating the unlucky aliens who cross their path. To say that the composers achieved this so well is probably the greatest compliment this soundtrack could ever hope to receive.

This brings me back full circle to my original complaint of quality over quantity. So far I have had mainly good things to say about the music, and with an hour and 47 minutes of music, there are plenty of opportunities for good music. Where this soundtrack dearly suffers, though, is in its organization. Most popular and successful soundtracks are condensed into a handful of tracks that highlight the best music and leave out “filler” music that is unenjoyable when strictly listened to. Unfortunately this entire soundtrack seems to be music that has simply been pulled straight from the game and put onto the CD.

There is no flow or organization to the tracks, or even to the music within each of the tracks. What’s more, the composers managed to arrive at quite a few wonderful musical themes in many of the tracks but never took the time to develop and expand them. (Probably because doing so would require them to write music beyond what’s included in the game.) A pity, really, because so much of the music has potential. Instead, these little musical gems are awash in a sea of numbingly repetitive “filler” music that really ought to have been stricken from the CD.

If you are someone who enjoys the “native” music as it can be heard in the game or movie, then pay no attention to my complaints in this review. Or, if you are someone who can enjoy 30 seconds of beautiful music and overlook the five minutes of terrible music filling the rest of the track, then you should also ignore my complaints. But if those producing the soundtrack had taken the time to edit together cohesive and linear tracks for the purpose of the soundtrack, this soundtrack would appeal to a far larger number of people, and I for one would happily give it a far better review.
Halo: Reach - 10/10 - Przegląd wersji Nicolas Cazzara, zgłoszone w (Francuski)
Voilà près de dix ans, le 15 Novembre 2001, sortait sur la X-box de Microsoft 'Halo Combat Evolved', le jeu qui révolutionna le FPS. La musique d'un tel blockbuster se devait d'être à la hauteur. Martin O'Donnell et Michael Salvatori ont signé une partition inspirée et efficace qui réussit à s'accorder parfaitement au jeu. Les deux compères ont affirmé leur talent au fil des opus pour en arriver là où ils en sont aujourd'hui.
Après un Halo 3 majestueux et digne des plus grandes œuvres hollywoodiennes, et un Halo 3: ODST, à la partition de film noir, le duo revient fin 2010 avec le pré quel de la franchise: La chute de la planète Reach.
Une fois encore, les deux compositeurs nous font cadeau d'un score à la mesure de la saga: Épique et légendaire.

L'ouverture annonce le thème dès le départ, mais ici, les chœurs des autres volets laissent la place aux cuivres et aux cordes, produisant une atmosphère particulière, une ambiance très Western. Car c'est un peu ce qu'est la Noble Team: une équipe de cowboys.
Le reste du morceau introduit un thème aux cordes assez mélancolique qui sera réutilisé de nombreuses fois au cours du score.
'Winter Contingency' est le premier vrai morceau de l'album, le véritable Main Title d'Halo Reach, assez classique dans la mélodie mais efficace et original dans la formation : Si les cuivres ont la part belle, on s'attend moins à l'apparition des percussions. Du reste, le morceau étale sur près de douze minutes, la première mission de la campagne.
Les autres pistes suivent le même chemin, alternant entre les différents thèmes musicaux et les passages électroniques.
Jusqu'à 'The Pillar of Autumn' véritable apogée dramatique de cet opus. Ce dernier morceau 'in-game' donne l'occasion à Martin O'Donnell et Michael Salvatori de sortir la grosse berta. A grands coups de cuivres et de cordes, le duo nous plonge dans un climat apocalyptique total qui reprend le leitmotiv principal.
L'épilogue au piano conclut l'aventure en introduisant un morceau mélancolique à l'intensité dramatique rare.
Là encore, le morceau reste simple dans la mélodie mais terriblement efficace que ce soit collé aux images, ou à l'écoute séparée sur CD.

Le reste de l'album est composé de bonustracks reprenant les thèmes principaux en différentes variations.
L'album se conclut sur 'We Remember', reprise rock du thème de l'épilogue.

Au final, le score d'Halo Reach répond à nos attentes et procure un réel plaisir à l'écoute. Pari réussi pour les deux compositeurs qui n'ont plus rien à prouver.
Le seul défaut est celui que l'on pourrait attribuer aux autres opus: L'utilisation souvent abusive des mêmes motifs, tout le temps, tout le temps... mais même si cela peut devenir lassant, on accordera aux compositeurs le droit de se faire fainéants par moments, vu la quantité de travail fourni ces dix dernières années.


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