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Track Listings
| 1. Aliens vs. Predator - Requiem | |||
| 2. Opening Titles | |||
| 3. Decimation Proclamation | |||
| 4. Requiem Epilogue | |||
| 5. National Guard Part. 1 | |||
| 6. National Guard Part. 2 | |||
| 7. .Taking Sides | |||
| 8. .Predicide | |||
| 9. Kelly Returns Home | |||
| 10. Coprocloakia | |||
| 11. Power Struggle | |||
| 12. Skinned And Hung | |||
| 13. Down To Earth | |||
| 14. Predator Arrival | |||
| 15. Special Delivery | |||
| 16. Alien Awakening | |||
| 17. Striptease | |||
| 18. Buddy's New Buddy | |||
| 19. Searchng The Poolhouse | |||
| 20. Gutless And Autosurgiosis | |||
See all 21 tracks on this disc
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Product Description
Album Description
In this follow-up to the worldwide hit Aliens vs. Predator, the iconic monsters from two of the scariest film franchises ever wage their most brutal battle yet in an unsuspecting Colorado town.
The epic score by composer Brian Tyler is truly apocalyptic. It's a massive, driving, powerful orchestral assault that adds an exciting new opus to the previous franchise scores of Jerry Goldsmith (Alien), Alan Silvestri (Predator, Predator 2), James Horner (Aliens) and Elliot Goldenthal (Alien 3).
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:Audio CD
The movie was average, and well I guess the soundtrack isn't the best either. But I still like it, more so than some of the others. A lot of complaints I've heard revolve around how it rips off from Silvestri, such as that classic theme for the Predator from the first movie which I completely disagree with, I think it's fantastic that the Predator has his signature 'backing' back in the score. The directors talked about going back and making it for the fans, which the half delivered on but it's helped by using some of the older music too.
My big beef with this though is that the album is horribly out of order, almost reversed. Buddy's New Buddy near the end of the album when the face hugger/chestburster scenes were around a third of the way in? Taking Sides and the National Guard tracks near the beginning of the album? They were at the latter stages of the movie, who composed the order of this album? It's as bad as releasing a tv series on DVD with the episodes in production order over chronological.
My big beef with this though is that the album is horribly out of order, almost reversed. Buddy's New Buddy near the end of the album when the face hugger/chestburster scenes were around a third of the way in? Taking Sides and the National Guard tracks near the beginning of the album? They were at the latter stages of the movie, who composed the order of this album? It's as bad as releasing a tv series on DVD with the episodes in production order over chronological.
4 of 5 people found the following review helpful
Format:Audio CD
I'll be the first to say that Harald Kloser's score for the original AVP was utterly worthless and he had no business writing the music for that film as much as Paul Anderson had no business directing. The new AVP movie promises to be a very gory, hard R-rated movie and has a new composer with a better track record.
But Bryan Tyler's score is nothing more than blaring brass sections and pounding percussion for near 80 minutes. There's no hint of any new theme or anything resembling melody. It does slightly resemble the sounds that Goldsmith and Horner created for the first two Alien movies but there's none of the mystery of either franchise. How I long for Alan Silvestri to return and show how it's really done.
I am disappointed. Tyler created a wonderful score for Bubba-Ho-Tep but his efforts for AVPR are so simple that anyone could really have come up with it.
It's loud, inarticulate and chaotic. Yes, it does get the blood pumping occasionally but cheesy trance music also achieves the same effect. If you must buy, pick it up cheap. Otherwise, just save your pennies for Silvestri's scores to Predator or Predator 2, both available from Varese Sarabande.
But Bryan Tyler's score is nothing more than blaring brass sections and pounding percussion for near 80 minutes. There's no hint of any new theme or anything resembling melody. It does slightly resemble the sounds that Goldsmith and Horner created for the first two Alien movies but there's none of the mystery of either franchise. How I long for Alan Silvestri to return and show how it's really done.
I am disappointed. Tyler created a wonderful score for Bubba-Ho-Tep but his efforts for AVPR are so simple that anyone could really have come up with it.
It's loud, inarticulate and chaotic. Yes, it does get the blood pumping occasionally but cheesy trance music also achieves the same effect. If you must buy, pick it up cheap. Otherwise, just save your pennies for Silvestri's scores to Predator or Predator 2, both available from Varese Sarabande.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
7 reviews
8 of 10 people found the following review helpful
A Knock Out
11 Dec 2007
Format:Audio CD
Brian Tyler gives us a knock out punch to the head with one of the biggest and most intense science fiction scores ever recorded. The music is at times terrifying suspenseful and at times full of searing action. For anyone that enjoyed the classic Alien and Predator scores, this soundtrack is for you. The orchestral fury of this score is akin to Horner's "Aliens" score while there are shades of Silverstri's "Predator" with the tribal drums. This is a no-brainer purchase for anyone that loves science fiction soundtracks. And this is by far the best of the latter day Alien scores.
3 of 3 people found the following review helpful
great score
25 Dec 2007
Format:Audio CD
A Great score. Many are underwellmed because of its unoriginal sets but i think it only adds to the movie and the Alien and Predator franchise. It has parts from both films and puts them together for one great film soundtrack. The film was a knock-out by itself and this only adds to it.
2 of 3 people found the following review helpful
Relentless action score which tips its hat to its precedessors
26 Sep 2008
Format:Audio CD
It's interesting how the careers of Brian Tyler and the late Jerry Goldsmith have dovetailed: Tyler replaced Goldsmith on Timeline in 2003, and is scoring the fourth Rambo movie in a series which Goldsmith made his own. On Alien vs. Predator: Requiem, Tyler is not only following in the footsteps of Goldsmith, but also James Horner, Elliot Goldenthal and Alan Silvestri, each of whom left an indelible musical mark on their respective entries into the franchises. What's most impressive about this score is how Tyler has managed to pay homage to all the composers who preceded him by incorporating some of their compositional stylistics into his own music, while still retaining a great deal of his own voice throughout the score. This tightrope must have been a difficult one to walk, but he has succeeded admirably. The film itself was a critical and commercial disaster: with an unknown cast, debutante directors (Greg Strause and Colin Strause), and hackneyed plot involving aliens and predators descending on small-town America to wreak havoc, really the only thing to concentrate on is the quality of Tyler's music. Tyler doesn't waste any time setting his stall out, going for the jugular from the outset. The opening "Alien vs. Predator - Requiem" is a massive collision of Goldenthal and Gustav Holst, with the famous ostinato overlaid with throbbing, apocalyptic brass. Elsewhere, the creeping, metallic, sub-industrial chords which so typified James Horner's Alien music can be heard in the militaristic beginning to the "Opening Titles", which effortlessly segues into a neat twist the icy isolation of Goldsmith's classic original score. Similarly, the instantly-recognizable percussion elements, chord progressions and rhythmic devices from Alan Silvestri's Predator scores are immediately noticable in cues such as "Skinned and Hanged". The score's many action cues, such as the two "National Guard" tracks, "Power Struggle" and the angry, vicious "Searching the Poolhouse" are wholly exciting. However, by far the most impressive piece on the album is the 7½-minute "Decimation Proclamation", a loud, cacophonous, relentless, utterly thrilling action set piece which is amongst the most impressive single cues of Tyler's entire career. It nods it's head to `Bishop's Countdown' and `Futile Escape', but embraces a broader orchestral palette, resulting in a singularly stunning piece through-composed action music. If one was to make one criticism of the album it's that it lasts too long - even with score as good as this, 77 minutes of relentlessly pounding action music can tax even the most hardy listener. A little bit of judicious pruning could have made a good score better; nevertheless, in purely musical terms, this is a winner.
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