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Composed and Produced by:
Andrew Lockington

Orchestrated and Conducted by:
Nicholas Dodd
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WaterTower Music
(April 13th, 2018)
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Initially available as only a commercial download release, but with high resolution options. An identical CD was released internationally a month later.
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Buy it... if your passion for Andrew Lockington's typically solid fantasy voice can content itself with fifteen minutes of dramatic, accessibly satisfying music in an otherwise aggravating environment of glum rhythms and piercing eardrum damage.

Avoid it... if you don't have the heart to hear Lockington succumb to the worst mannerisms of the hyped, Hans Zimmer-led methodology of needlessly manipulating action scores to death.
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WRITTEN 4/23/18
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Rampage: (Andrew Lockington) Despite all the good intentions of filmmaker Brad Peyton to translate Warner Brothers' ownership of the classic 1980's video game "Rampage" into a feature blockbuster, loyalists rejected the unsatisfying plot and the fate of two of the three famed monsters in the concept. In the video game, the player could choose one of three monsters with which to annihilate cities while evading military counterattacks. It was simple fun, and it's understandable that many players maintain soft spots for all three creatures. In the 2018 film adaptation of Rampage, the script provides a nefarious, terrorist (otherwise known as "corporate") experiment in domination to explain how the three creatures came to exist and offers a conveniently Dwayne Johnson-like protagonist to lead the charge against them. This anti-poaching, special forces muscleman (otherwise known as the liberal crusaders' dream) is a friend of the albino gorilla, George, that is unwittingly infected with genetic material falling from space and becomes the massive King Kong-like destructor of his destiny. Meanwhile, a wolf and crocodile also become infected by chance and are summoned, like George, to Chicago to party like there's no tomorrow. The movie would have been far more interesting if a canister had fallen on Donald J. Trump while he was golfing, mutating him into a giant orange furball that attacks his own towers; the international box office for that version of the script would have been monumental. As it stands, however, Rampage proved itself just too dumb for even young, post-9/11 audiences seeking senseless skyscraper flattening and associated mass death. One of the more humorous retorts to the movie was from German director Uwe Boll, himself a veteran of video game adaptations, who declared Warner Brothers' endeavor a detraction to his own, unrelated Rampage films by declaring the 2018 venture "one of those typical feel-good, popcorn bullshit movies that the studios use to brainwash America." Despite all the negativity or indifference about Peyton's misfire, film score collectors could at least take solace in the director's continued support of talented Canadian composer Andrew Lockington.

While Lockington's career dates to ample success prior to when Peyton inherited him for Journey 2: The Mysterious Island in 2012, much of the composer's notable production in the six years following was tied closely to film and television projects either directed or produced by Peyton, including the 2015 blockbuster San Andreas and some strong work for the television series "Frontier" starting in 2016. While Lockington has provided competent scores for others during this time, he has yet to completely break through into the mainstream without being attached to Peyton, the notable exception being Percy Jackson: Sea of Monsters. Nevertheless, Lockington, like Peyton, is a child of the Steven Spielberg/John Williams generation of movie magic, and an assignment like Rampage affords him the opportunity to reteam with veteran orchestrator and conductor Nicholas Dodd to produce what listeners continue to hope will build upon the massive fantasy success of his two Journey to the Center of the Earth franchise scores. Not surprisingly, Lockington took his preparation to the extreme for Rampage, travelling with his omnipresent black hat to regions around the world to assemble the sounds he would employ for this score. There are recordings of wild howler monkeys in Costa Rica, stretched and manipulated to sound like grating, metallic sound effects. There's a Ugandan children's choir (actually in America) that was, at times, itself stretched and manipulated to sound like grating, metallic sound effects. There are extensive brass and percussion overlays that are processed to sound like grating, metallic sound effects. And then there were the vintage 1980's video game's own 8-bit monophony sounds translated into a new library to play like grating, metallic sound effects. While Lockington has provided some tough soundscapes in his lesser-known scores, including in the horror realm, this marks the first time electronic manipulation has truly come to define a major work for him. To counter these techniques, he does employ over 100 orchestral musicians, with massive brass and low string sections recorded separately, and the Ugandan singers do provide regularly enunciated innocence for one of the score's themes. Likewise, Polynesian rhythms influenced unusual meters for the recording, a nice plus on the whole.

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Average: 2.85 Stars
***** 16 5 Stars
**** 22 4 Stars
*** 36 3 Stars
** 33 2 Stars
* 20 1 Stars
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I don't understand this review
Roman M - May 27, 2018, at 11:39 a.m.
1 comment  (557 views)

Track Listings Icon
Total Time: 72:48
• 1. Space (4:57)
• 2. Gorillas (1:32)
• 3. Paavo (1:22)
• 4. Calm (3:10)
• 5. Wydens (2:14)
• 6. Kate (2:16)
• 7. Lab (1:09)
• 8. Crispr (4:46)
• 9. Wyoming (1:21)
• 10. Antennae (3:00)
• 11. C17 (5:50)
• 12. Cornfield (3:18)
• 13. Quarry (4:52)
• 14. Chicago (2:54)
• 15. George (3:38)
• 16. Laptop (1:18)
• 17. Energyne (2:35)
• 18. Team (3:44)
• 19. Showdown (2:16)
• 20. Grenades (1:11)
• 21. Requiem (3:04)
• 22. Saved (4:06)
• 23. Rampage (4:00)
• 24. The Rage - performed by Kid Cudi (4:22)

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The initial digital releases of this album contain no packaging.
Copyright © 2018-2021, Filmtracks Publications. All rights reserved.
The reviews and other textual content contained on the site may not be published, broadcast, rewritten
or redistributed without the prior written authority of Christian Clemmensen at Filmtracks Publications. All artwork and sound clips from Rampage are Copyright © 2018, WaterTower Music and cannot be redistributed without the label's expressed written consent. Page created 4/23/18 (and not updated significantly since).
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