{"id":7148,"date":"2013-10-18T14:06:10","date_gmt":"2013-10-18T18:06:10","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=7148"},"modified":"2013-10-18T14:06:10","modified_gmt":"2013-10-18T18:06:10","slug":"cd-resident-evil-6-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=7148","title":{"rendered":"CD: Resident Evil 6 (2013)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>P to R<\/a><\/p>\n

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\"\"<\/a>Rating: Very Good<\/p>\n

Label: Sumthing Else Music Works<\/a> \/ Capcom\/ Released: July 30, 2013<\/p>\n

Tracks & Album Length: CD 1 + CD2: 61 tracks \/ (129: 23)<\/p>\n

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Special Notes: \u00a0n\/a<\/p>\n

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Composer: Thomas Parisch, Laurent Ziliani, Daniel Lindholm, Sebastian Schwartz, Kota Suzuki, Akihiko Narita, Akiyuki Morimoto<\/p>\n

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Review:<\/p>\n

Whereas the feature film spinoffs are pretty much marketing tactics designed to maintain an active consciousness among consumers of the Resident Evil <\/strong>franchise, the video games seem to have better luck in both expanding the dramatic concepts and offering more developed musical visions.<\/p>\n

Lead composers Thomas Parisch and Laurent Zilani recorded their score contributions with a 90-piece orchestra, and with cues largely linked to their chugging main theme, there are sufficient variations covering foreboding danger, pensive moments, and direct combat.<\/p>\n

With sharp orchestrations (and the addition of occasional chorals), RE6 is a pretty robust score of which Disc 1 offers the most satisfying and cohesive listening experience. The blending of orchestral and electronic elements is fairly fluid, and the pair wrote some great pieces filled with heavy brass (\u201cNo Way Out\u201d) that draw a little from the thick writing of Marco Beltrami, and maybe a slight dose of Christopher Young\u2019s trick of using light & dark sounds for eerie counterpoint while the entire sonic scope surges up with chilling chorals (as in Urban Legends<\/strong>).<\/p>\n

Most of the cues run between 3-2 minutes, and the intro and conclusions aren\u2019t abrupt, making for a fairly balanced listening experience. Where things get a little disjointed are on Disc 2 which features a m\u00e9lange of cues by additional composers.<\/p>\n

Some extra material sounds like source cues, alternate versions, and synth variations of the score\u2019s main themes (of which not every rendition is wholly convincing, such as the dated brass emulations in \u201cThe Tank,\u201d which recall the cheesy sounds of Thomas Dolby\u2019s Gothic<\/strong>). The overt rock and heavy synth emulations in \u201cSpeeding Bike 1 \u2013 Run Away!\u201d is also ddly comedic, especially with its jazzy brass. (A more successful effort is \u201cThe Last Escape,\u201d which benefits from thicker instrumentation and rather bawdy brass renditions.)<\/p>\n

Standout tracks include \u201cUgly Customers 1\u201d with its Morricone-styled ostinato and brass (evoking more than a little of The Untouchables<\/strong>), and \u201cWe\u2019re Finally Here,\u201d a solid doom & gloom theme variation with a slow build.<\/p>\n

Sumthing Else\u2019s mastering is nice & clean, and the 2-disc set offers a wealth of music which should please fans wanting all the meat in the score, plus peripheral cues.<\/p>\n

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\u00a9 2013 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB: Parish <\/a>\/ Ziliani<\/a><\/p>\n

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Select Merchants:<\/p>\n

Amazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0SAE<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0P to R<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ P to R . Rating: Very Good Label: Sumthing Else Music Works \/ Capcom\/ Released: July 30, 2013 Tracks & Album Length: CD 1 + CD2: 61 tracks \/ (129: 23) . Special Notes: \u00a0n\/a . Composer: Thomas Parisch, Laurent Ziliani, Daniel Lindholm, Sebastian Schwartz, Kota Suzuki, Akihiko Narita, Akiyuki […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[2277,2275,2276],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1Ri","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7148"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=7148"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7148\/revisions"}],"predecessor-version":[{"id":7161,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7148\/revisions\/7161"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7148"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7148"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7148"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}