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Comments about the soundtrack for The Abyss (Alan Silvestri)

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Not just the last 3 tracks.
• Posted by: Ommadawn   <Send E-Mail>
• Date: Sunday, November 9, 2003, at 9:48 a.m.
• IP Address: spider-loh-tb022.proxy.aol.com

The Abyss by Alan Silvestri is much more than just the last 3 tracks (as the reviewer above unfairly comments,in my opinion).

1) : Main Title : The initial Choral intro (which yes admittedly is quite a ripoff of Horner's superb 1983 Brainstorm intro) there is some rather annoying militaristic percussion.
(2) : Searching the Montana. This is where the score begins it's first example of the incredibly subtle side which is best appreciated with a good pair of big headphones. Searching the Montana is creepy and meditative indeed, detailing the eery search.
(3) : The Crane, is veeeery similar to Silvestri's Predator in it's style and quite punchy.
(4) : The Manta Ship, is a beautiful cue indeed which i adore. Yet it admittedly takes time to get to it's most interesting stage. The majority of the track is virtually an in-audible low rumble even with headphones on in a quiet room. But it's the later part which is simply beautiful. A eeery deep vocal announces the larger manta ship swooping up from the depths and a delightful choral bath ensues. Wavering and wavering it's very meditative and lovely. A highlight for me.
(5) : Pseudopod, has a very icy and metallic sliding approach with a few punches to make you jump now and again. Very mysterious indeed. Full of sound effects and veeery deep rumblings to rumble your speakers bass. The later stages of the track remind me of Goldsmith's Star Trek Motion Picture score in it's style. I can imagine Spock arriving in his pod, or the famous Enterprise piece at times.
(6) : The Fight, begins with a punch that scares the life out of you if you've really been absorbed by the peace of the previous track. Synthetic and tense, the scene in the film is agressive, and this track reflects the animalistic fight between Bud and the guy who's name always sounded like "Coffee" to me. Exciting and very loud track.
(7) : Sub Battle, again very Predator in style. Piano used within. Not my favourite track of the score,but exciting. Again, i can often visualize Schwarzenegger in Central America.
(8) : Lindsey Drowns, one of my favourites on the score. 3:20 onw is a thudding ominous beat as Lindsey has drowned and is carried off by Bud barely alive under water. I just love the sound and uncertainty in the music. A synth choral backing it.
(9) : Resurrection, bit cheesy and lovey dovey in it's initial sound. But becomes beautiful.
(10) : Bud's Big Dive, admittedly means very little outside of the film and is probably one that most people skip over. It does'nt transfer well outside of being familiar with the scene.
(11) : Bud on the Ledge, another highlight of the score. From sheer meditative minimalism, a beautiful choir envelops and as Bud is carried off, and a glorious and optimistic theme rises and rises to reveal the secret under the sea. This epic track really did get me collecting film scores again after several years. Superb.
(12) : Back on the Air, as the secret under the sea rises, yet another crashing orchestral and choral delight. From memory, the special edition version of the film meant that this cue took on some changes. I certainly remember it being quite different from this version due to the extra footage included. Several more breaks implanted.
(13) : Finale, bit over the top this one. But nice nonetheless. Way overdramatic and grander than the equally absurd scene in the movie. Like the movie, You often feel it tries to impose something on you and make you feel more emotion about the characters than you actually may of felt. I seem to remember this one was also interupted due to the extra scene in the S.E.




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