Amazon.co.uk allows you to pay for your items in your local currency. Restrictions apply. Learn More. |
Frequently Bought Together
Product details
|
Tags Customers Associate with This Product(What's this?)Click on a tag to find related items, discussions, and people.
|
Customer Reviews
Most Helpful Customer Reviews
5 of 6 people found the following review helpful
Format:Audio CD
This soundtrack is superb. I've been a fan of film scores for years, especially Hans Zimmer, Mark Isham, Clint Mansell and many others. This is up there with the best of them. Just got it today and listened to it while both typing an assignment and then doing running, rowing and cycling in the gym. I did better than ever at both! Ha ha. The underlying main theme is present throughout, as with most epic film scores. It has a very Hans Zimmer like feel to it. Some quieter moments and fast action parts but also some soaring choir highs. A great mix of astounding composing. If you liked the film or like anything by the guys I've mentioned or just fancy listening to a hugely great CD, this is for you.
Highly recommended and a truly uplifting score, 10/10
Highly recommended and a truly uplifting score, 10/10
3 of 5 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
This is a soundtrack which isn't afraid to turn epic up to the max. Brian Tyler is no stranger to action scores, and is a master at the percussive and rhythmic elements. In Battle: Los Angeles, you get all these things and the edition of a choir, which does its fair share of adding to the epic soundscape of the score. There are so many stand out tracks, I may as well just list the whole album.
There are quite a few references to previous scores of his, notably Eagle Eye and Bangkok Dangerous (Score). There were also similarities to Steve Jablonsky's Transformers 2: Revenge... Given the style of the film, this is perhaps not surprising and it certainly didn't bother me - most composers plagiarise themselves and others with increasing regularity.
One thing of note regarding all Brian Tyler's scores (including B:LA) are how well they are produced. The mix is superb - turn it up loud and the neighbours will think the Apocalypse has descended (at least for some tracks anyway)!
Overall, whilst failing to tick the originality box, everything else is perfect. Wonderfully orchestrated, this is a textbook case in how to score an aliens have descended / end of the world action film and is hugely entertaining. It is a long album by soundtrack standards running in at 78 minutes (but is about average for a Brian Tyler album) and means you certainly get value for money. If you liked the score in the film, you surely can't go wrong with this release but it also works fantastically as a stand alone listen for those who like that style of music!
There are quite a few references to previous scores of his, notably Eagle Eye and Bangkok Dangerous (Score). There were also similarities to Steve Jablonsky's Transformers 2: Revenge... Given the style of the film, this is perhaps not surprising and it certainly didn't bother me - most composers plagiarise themselves and others with increasing regularity.
One thing of note regarding all Brian Tyler's scores (including B:LA) are how well they are produced. The mix is superb - turn it up loud and the neighbours will think the Apocalypse has descended (at least for some tracks anyway)!
Overall, whilst failing to tick the originality box, everything else is perfect. Wonderfully orchestrated, this is a textbook case in how to score an aliens have descended / end of the world action film and is hugely entertaining. It is a long album by soundtrack standards running in at 78 minutes (but is about average for a Brian Tyler album) and means you certainly get value for money. If you liked the score in the film, you surely can't go wrong with this release but it also works fantastically as a stand alone listen for those who like that style of music!
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
13 reviews
14 of 15 people found the following review helpful
Tyler Wins The Battle For LA
16 Mar 2011
Format:Audio CD
Battle: LA by Brian Tyler is a strong, often impressive piece of work. The ideals of honor, sacrifice, battle, hope, life and death that the film didn't quite deliver are captured here, and he explodes them into your headphones.
But where Tyler shines is in introducing some of the best percussion cues since Brad Fiedel's Terminator motif. For now I'll just call them the Primary Snare motif (1-2/3-4-5-6)- strong, determined and deliberate, and the Secondary Snare motif (1-2-3-4-5/6)- almost a reversal and more battle-oriented, but every bit as equal. He also indulges heavily in what seems to be the new trend in composing: adding sub-tonal pulses and rhythm guitar riffs and sweep-picks.
The main theme consists of four 3-note measures that alternately rises and falls on the last note, even as the other notes rise in pitch after the second measure (a-b-c/a-b-C/A-B-c/A-B-C). It's first introduced on rhythm guitar, but also shows up on string and horn as lesser variants and alternates appear frequently as the score progresses.
Some highlights:
Battle: LA Hymn- Intros with the emotional guitar picking heard in the trailer, which segues into an extended variant of the 12-note main theme, supported by faint strings, tonal pulse and choir. At 1:00 it switches into a harder percussion beat accompanied by snares, the strings joining as the guitar theme gets stronger and exchanges higher synths for the choir. At 1:30 it settles into a softer version before changing up again at 2:05 into a brief rock-based tempo accompanied with clavesticks until the outro.
Battle: LA Main Titles- One of the better openings you'll hear. The full range of percussion comes in with the primary snares and a touch of brass behind them that leads into a brief lull of action string rushes and more snares. At :29 we get the tempo switch as the trumpets and violins bring in the main theme. The percussion returns at :40 on the secondary snares underneath layered versions of the main theme. Then at :59 we get a whole new groove featuring a programmed beat and synth underlay as the middle strings start their rush. Brass and a male choir carry the measure until 2:06 where there's another brief lull in the action leading to a slower reprise. But fear not- the primary snares bring it back to speed at 2:50, followed by layered mid strings and more male choir over a new bass drum beat. It wraps up with a mini-flourish with a reprise of main theme on horn and strings in harmony with the primary snares. And all of this happens in a mere 4:19... Now's the time to go get some water and an energy bar if you wanna keep up- cause it's only getting started.
Command & Control Center- After some ominous brass and tension strings there's a guitar riff leading into cello rushes punctuated by tuba blasts. At :36 we get an elongated, altered version of the main theme on brass over the driving percussion and action strings. It fades down at 1:16 with the sweep-picking rhythm guitar in the background until 1:36 when the softer horns and male choir softly arise to join in. 2:08 sees a statelier version of the primary snare combined with some brass in a brief ostinato, segueing into cello rushes at 2:37 that combine well with a staccato bass drum and tuba blasts. 2:53 has a return of an alternate of the main theme on string and trumpet combo. There's a brief emotional rise with the horns, higher strings and tenor voices before kind of an abrupt ending.
Evac- Begins with a brief timpani rumble, then a quick tuba and cello combo before the low strings take over for a while, the rhythm guitar barely audible underneath it. The primary snares make a dramatic appearance along with tuba blasts. One of the secondary themes appears on violin supporting the cellos at 1:18, along with some staggered percussion. The primary snares return to announce the change to a now-familiar tempo at 1:46, bringing with it the male choir. This brings back another familiar cello and chant refrain on a slight alteration. Primary snares change the tempo again at 2:30, leading into the to finale as a refrain of the primary snares and main theme.
If the descriptions of the tracks seems rehashed and repeated ... well, that's the big problem here. Every key motif and theme shows up in just about every track. Repeatedly. Brian Tyler reuses everything so much Hans Zimmer must feel like a proud father. Plus each time the tempo changes it's telling you when he's gonna drop them in. Don't get me wrong; Battle: LA is a combat-fueled, highly energized, militaristic good time. It's also very, very, very repetitive- which takes away from its luster, and is the only real problem with it. But it's still definitely one for your collection.
But where Tyler shines is in introducing some of the best percussion cues since Brad Fiedel's Terminator motif. For now I'll just call them the Primary Snare motif (1-2/3-4-5-6)- strong, determined and deliberate, and the Secondary Snare motif (1-2-3-4-5/6)- almost a reversal and more battle-oriented, but every bit as equal. He also indulges heavily in what seems to be the new trend in composing: adding sub-tonal pulses and rhythm guitar riffs and sweep-picks.
The main theme consists of four 3-note measures that alternately rises and falls on the last note, even as the other notes rise in pitch after the second measure (a-b-c/a-b-C/A-B-c/A-B-C). It's first introduced on rhythm guitar, but also shows up on string and horn as lesser variants and alternates appear frequently as the score progresses.
Some highlights:
Battle: LA Hymn- Intros with the emotional guitar picking heard in the trailer, which segues into an extended variant of the 12-note main theme, supported by faint strings, tonal pulse and choir. At 1:00 it switches into a harder percussion beat accompanied by snares, the strings joining as the guitar theme gets stronger and exchanges higher synths for the choir. At 1:30 it settles into a softer version before changing up again at 2:05 into a brief rock-based tempo accompanied with clavesticks until the outro.
Battle: LA Main Titles- One of the better openings you'll hear. The full range of percussion comes in with the primary snares and a touch of brass behind them that leads into a brief lull of action string rushes and more snares. At :29 we get the tempo switch as the trumpets and violins bring in the main theme. The percussion returns at :40 on the secondary snares underneath layered versions of the main theme. Then at :59 we get a whole new groove featuring a programmed beat and synth underlay as the middle strings start their rush. Brass and a male choir carry the measure until 2:06 where there's another brief lull in the action leading to a slower reprise. But fear not- the primary snares bring it back to speed at 2:50, followed by layered mid strings and more male choir over a new bass drum beat. It wraps up with a mini-flourish with a reprise of main theme on horn and strings in harmony with the primary snares. And all of this happens in a mere 4:19... Now's the time to go get some water and an energy bar if you wanna keep up- cause it's only getting started.
Command & Control Center- After some ominous brass and tension strings there's a guitar riff leading into cello rushes punctuated by tuba blasts. At :36 we get an elongated, altered version of the main theme on brass over the driving percussion and action strings. It fades down at 1:16 with the sweep-picking rhythm guitar in the background until 1:36 when the softer horns and male choir softly arise to join in. 2:08 sees a statelier version of the primary snare combined with some brass in a brief ostinato, segueing into cello rushes at 2:37 that combine well with a staccato bass drum and tuba blasts. 2:53 has a return of an alternate of the main theme on string and trumpet combo. There's a brief emotional rise with the horns, higher strings and tenor voices before kind of an abrupt ending.
Evac- Begins with a brief timpani rumble, then a quick tuba and cello combo before the low strings take over for a while, the rhythm guitar barely audible underneath it. The primary snares make a dramatic appearance along with tuba blasts. One of the secondary themes appears on violin supporting the cellos at 1:18, along with some staggered percussion. The primary snares return to announce the change to a now-familiar tempo at 1:46, bringing with it the male choir. This brings back another familiar cello and chant refrain on a slight alteration. Primary snares change the tempo again at 2:30, leading into the to finale as a refrain of the primary snares and main theme.
If the descriptions of the tracks seems rehashed and repeated ... well, that's the big problem here. Every key motif and theme shows up in just about every track. Repeatedly. Brian Tyler reuses everything so much Hans Zimmer must feel like a proud father. Plus each time the tempo changes it's telling you when he's gonna drop them in. Don't get me wrong; Battle: LA is a combat-fueled, highly energized, militaristic good time. It's also very, very, very repetitive- which takes away from its luster, and is the only real problem with it. But it's still definitely one for your collection.
12 of 14 people found the following review helpful
It's the End of the World As We Know It Because Aliens Destroyed It
9 Mar 2011
Format:Audio CD
Ever since Independence Day, I've kind of had a thing for movies where aliens destroy major cities. Unfortunately for me, these types of film don't come around that often. So when I heard about Battle: LA, my hopes were raised. When I saw the trailer, my hopes were raised even higher. Now, if the movie could live up to its excellent soundtrack, then we might have something here.
Highlights Include:
Battle Los Angeles Main Titles
Redemption
Battle Los Angeles
We Are Still Here
Composer Brian Tyler never really caught my eye before simply because most of the work he did was unmemorable produced for studio schlock. With this soundtrack however, I feel that Tyler is a revelation here, showing that he has real talent. He comes out of the Hans Zimmer school, but here it's just an influence and Tyler verges on several other paths so he doesn't feel derivative. This sense of originality kind of sets him apart from several other composers already, since he breathes life in what could have been a tired work.
Tyler conveys all of the tones of the movie very well in the work, as it verges from the epic, to the standard military glory pieces we've seen in years past, to downtrodden, to sad, to yes, even a bit alien. It all works well, and Tyler composes it all effortlessly to the point where I already felt like I was in the movie. Another hard feat he manages to pull of is that even though the album is over in hour in length, I never found myself board listening to it, although I did feel a bit lulled at a few of the slower more emotional pieces towards the middle. Still, tracks like "Redemption," even though they stretch 8 minutes in length, never wear out their welcome.
The only criticisms I would lobby against this score is that it doesn't sound epic enough. It also feels like it's close to creating a theme for itself at times, but it never fully completes the idea, although I'm sure some would see the idea of a theme for the movie a tad inappropriate.
Overall, with this score I feel like Brian Tyler is sort of a revelation in the world of composing. This is a solid score worthy of some of today's greats. It makes me exited for the film, since I haven't watched it at the time of writing this review. This score could have come off very bland and derivative, but it shines through with its own ideas and the result is a solid listen for soundtrack fans.
Highlights Include:
Battle Los Angeles Main Titles
Redemption
Battle Los Angeles
We Are Still Here
Composer Brian Tyler never really caught my eye before simply because most of the work he did was unmemorable produced for studio schlock. With this soundtrack however, I feel that Tyler is a revelation here, showing that he has real talent. He comes out of the Hans Zimmer school, but here it's just an influence and Tyler verges on several other paths so he doesn't feel derivative. This sense of originality kind of sets him apart from several other composers already, since he breathes life in what could have been a tired work.
Tyler conveys all of the tones of the movie very well in the work, as it verges from the epic, to the standard military glory pieces we've seen in years past, to downtrodden, to sad, to yes, even a bit alien. It all works well, and Tyler composes it all effortlessly to the point where I already felt like I was in the movie. Another hard feat he manages to pull of is that even though the album is over in hour in length, I never found myself board listening to it, although I did feel a bit lulled at a few of the slower more emotional pieces towards the middle. Still, tracks like "Redemption," even though they stretch 8 minutes in length, never wear out their welcome.
The only criticisms I would lobby against this score is that it doesn't sound epic enough. It also feels like it's close to creating a theme for itself at times, but it never fully completes the idea, although I'm sure some would see the idea of a theme for the movie a tad inappropriate.
Overall, with this score I feel like Brian Tyler is sort of a revelation in the world of composing. This is a solid score worthy of some of today's greats. It makes me exited for the film, since I haven't watched it at the time of writing this review. This score could have come off very bland and derivative, but it shines through with its own ideas and the result is a solid listen for soundtrack fans.
2 of 2 people found the following review helpful
An Epic Score That's Right Up There With Black Hawk Down
7 Jun 2011
Format:Audio CD|Amazon Verified Purchase
After seeing the film "Battle: Los Angeles" I knew I had to go get the soundtrack. After listening to it couple of times, I have to say that the compelling and emotionally charged score is just as impressive as the action sequences of the movie itself. The film begins on a picturesque California beach where a group of gruff combat Marines are going through their paces staying in shape with a morning jog. The main character, a veteran Marine Staff Sergeant played by Aaron Eckhart from "The Dark Knight" is doing his best to keep up with the younger twenty something year olds as he's nearing the end of a long productive career; leaving him with the nagging question of "Where do I go from here?" Nevertheless, fate intervenes in the form of some unexpected events on the California coast when alien aircraft begin their Armageddon-like assault on earth forcing the reluctant Staff Sergeant to hold off his retirement as he mobilizes his forces to the ready as an all out military counter offensive is launched to take back the planet from the relentless alien onslaught. The drama and suspense only builds from there as Eckhart and his Marines execute a daring and dangerous mission to bring the fight to the enemy and rescue innocent civilians caught in the maelstrom. In the process, the characters each discover something unique about themselves as they come together as a unit in a desperate struggle for survival.
The film delivers the gritty raw emotion and teamwork of "Black Hawk Down" and the nail biting suspense and jaw dropping spectacle of "Independence Day." Nonetheless, the film's score composed by Brian Tyler does not disappoint. His musical orchestra talents are right up there with blockbuster soundtrack genius Hans Zimmer. The film tells a very compelling human story and the score only serves to heighten the emotion as well as covey the valor and sacrifice of brave men and women in uniform who are willing to go the extra mile to save lives. Tracks like "For Home, Country and Family" help to bring that point home very well as it is reminiscent of the score from "Black Hawk Down." If you haven't had a chance to listen to this soundtrack go get it because it's well worth the time to listen to. Also I think the score speaks volume to the courage and humility of ordinary men and women in uniform who do extraordinary deeds on the battlefield.
The film delivers the gritty raw emotion and teamwork of "Black Hawk Down" and the nail biting suspense and jaw dropping spectacle of "Independence Day." Nonetheless, the film's score composed by Brian Tyler does not disappoint. His musical orchestra talents are right up there with blockbuster soundtrack genius Hans Zimmer. The film tells a very compelling human story and the score only serves to heighten the emotion as well as covey the valor and sacrifice of brave men and women in uniform who are willing to go the extra mile to save lives. Tracks like "For Home, Country and Family" help to bring that point home very well as it is reminiscent of the score from "Black Hawk Down." If you haven't had a chance to listen to this soundtrack go get it because it's well worth the time to listen to. Also I think the score speaks volume to the courage and humility of ordinary men and women in uniform who do extraordinary deeds on the battlefield.
Were these reviews helpful?
Let us know
Customer Discussions
|
This product's forum
Active discussions in related forums
Search Customer Discussions
|
Related forums
|
What Other Items Do Customers Buy After Viewing This Item?
Listmania!
Look for similar items by category
Look for similar items by subject
Feedback
- Would you like to update product info or give feedback on images?
|
