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Composed and Co-Produced by:
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Trevor Rabin
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Co-Produced by:
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Paul Linford
Steve Kemster
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Release Date:
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November 21st, 2000
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Availability:
Regular U.S. release.
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Filmtracks Editorial Review:
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The 6th Day: (Trevor Rabin) By now, if you are a film music collector,
you've either decided that Trevor Rabin's music is a cool, contemporary move for
the future of scores, or you've decided that his music contains an occasional
theme of note, but is useless noise the rest of the time. While generally
open-minded, the majority of classic film score collectors (those of us who grew
up collecting Goldsmith scores in the 1960's and 1970's) have dismissed Rabin's
music as low-budget, synthetic waste... a regrettable, but predictable turn in
Hollywood's modern-day tendancies to cut costs on the musical part of
post-production for most of its films. Last year, Rabin's score for Deep Blue
Sea, also released by Varese Sarabande, surprised many of these disgruntled
collectors with an elegant, simple, and easily listenable theme. This year, his
highlight is the Arnold Schwarzenegger sci-fi thriller The 6th Day.
Unfortunately, The 6th Day is very much like Deep Blue Sea, but
without that latter score's title theme. The music for The 6th Day is
usually painful while it is playing, and easily forgettable when it has ceased.
It has all the makings of a low-budget hack-job. Perhaps the most disappointing
aspect of this score is its lack of strong theme. Rabin, after all, is known for
composing viable, if not simplistic, themes that make for good guitar or piano
performances. The track most resembling a theme is the fourth, though even that
seems to be stagnant in its personality. During the more reflective moments of
the score, an uneasiness instilled in the tone of the music (no doubt mirroring
the identity crisis in the film) causes such moments to lack heart. Also under
suspicion is a seemingly blatant reuse of material from Deep Blue Sea,
with that film's theme integrated at low volumes thoughout the background of
The 6th Day. Another interesting, but muddled effect is Rabin's insertion
of synthetic voices and chords that add both Arabic intonations and Christian
chants at the same time. It is an awkward combination in the first track, and it
repeats a few times more. I can understand the religious affiliation in the
music, but the ethnic tilt doesn't really blend very well with it. The use of a
choir, which is typically very good with these Media Ventures artists, has
almost no effect in this score.
The majority of music during the score is nonsensical electronic blasting to
accompany chase and other action scenes. They are noisy and relentless, with
electronic pounding that could give anyone a headache. No substantially
enjoyable rhythm comes out of these cues, and their unpredictability make for a
jarring and unpleasant listening experience. For a futuristic Schwarzenegger
action film, the producers (and Rabin, had it been possible) should take a
listen to Jerry Goldsmith's Total Recall, which makes efforts such as
The 6th Day seem childish and embarrassing in their lack of complexity
and style. The last track of the album is a good example of why these low budget
scores are inferior compared to their orchestral counterparts. While a small
orchestra was under contract for small portions of this score, they are overrun
by the parade of synthetic samples. Unless these electronically dominated,
centerless scores have proven to be enjoyable for you already, I would suggest
remaining a fair distance from this album. *
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Viewer Ratings and Comments:
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• 1. The 6th Day (4:06)
• 2. In the Beginning... (2:04)
• 3. Cloning (2:25)
• 4. Adam's Theme (3:33)
• 5. One for the Team (2:25)
• 6. The Rescue (3:50)
• 7. Playing God (3:37)
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• 8. The Roof Top (4:50)
• 9. Adam's Birthday (1:18)
• 10. Kill The Doctor (1:58)
• 11. The Hospital (1:42)
• 12. Drucker Meets Drucker (3:32)
• 13. Adam Goes Home (2:42)
• 14. The Kiss (1:15)
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Insert includes no extra information about the score or film.
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