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Drokk Music Inspired By Mega-City One

Geoff Barrow Audio CD
4.0 out of 5 stars  See all reviews (7 customer reviews)
Price: 9.91 & FREE Delivery in the UK on orders over 10. Details
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Frequently Bought Together

Drokk Music Inspired By Mega-City One + Dredd: Original Film Soundtrack + Dredd (Blu-ray 3D + Blu-ray)
Price For All Three: 34.19

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Product details

  • Audio CD (30 April 2012)
  • Number of Discs: 1
  • Label: Invada
  • ASIN: B007KFZ84G
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Bestsellers Rank: 73,793 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
Listen  1. Lawmaster / Pursuit 3:410.89  Buy MP3 
Listen  2. Helmet Theme 1:570.89  Buy MP3 
Listen  3. Titan Bound 2:520.89  Buy MP3 
Listen  4. 301-305 4:050.89  Buy MP3 
Listen  5. Justice One 2:020.89  Buy MP3 
Listen  6. Scope The Block 2:420.89  Buy MP3 
Listen  7. Exhale 5:110.89  Buy MP3 
Listen  8. Council Of Five 1:470.89  Buy MP3 
Listen  9. Puerto Luminae 2:270.89  Buy MP3 
Listen10. Miami Lawgiver 2:000.89  Buy MP3 
Listen11. Eagle 1:050.89  Buy MP3 
Listen12. Clone Gunman 2:300.89  Buy MP3 
Listen13. Inhale 6:080.89  Buy MP3 
Listen14. Iso Hymn 3:290.89  Buy MP3 
Listen15. 2t(Fru)T 1:350.89  Buy MP3 
Listen16. Dome Horizon 1:400.89  Buy MP3 
Listen17. The Men Who Never Learned 4:260.89  Buy MP3 
Listen18. End Them 2:370.89  Buy MP3 
Listen19. Helmet Theme (Reprise) 3:010.89  Buy MP3 

Product Description

Product Description

Geoff Barrow is a founding member of Portishead and producer/label owner of INVADA records UK. Ben Salisbury is a soundtrack composer with over 200 film and TV credits to his name, including David Attenborough s Life of Mammals , Life in the Undergrowth and Life in Cold Blood . Barrow and Salisbury met over 10 years ago when they both joined a Bristol football team for old men. After many disastrous games they decided they might be more productive working on a music project together. Other work commitments kept them apart until late 2010, when the pair met up with a screenwriter to discuss some possible work on a feature film project. Although their involvement with this particular film didn t continue, a collaborative writing relationship had begun... When Barrow and Salisbury revisited and started expanding upon this early material they decided to continue writing what was essentially soundtrack music. Barrow, along with album designer and long term friend, Marc Bessant, were both avid 2000AD readers from a young age, and the sprawling metropolis and classic stories of Mega-City One seemed the ideal inspiration for this soundtrack . Although Mega City One has been brought to life in great detail over many years by the acclaimed work of writers and artists alike, there is still huge scope for readers to have their own vision/soundtrack of the city. Rather than intending to be the definitive sound of Mega City One (could there be a definitive sound of a city so vast, changeable and varied?), DROKK is Barrow and Salisbury s personal, outsider s interpretation. DROKK was written in a 6 month period between Barrow s Portishead world tour and Salisbury s composing jobs for the BBC. Even though it is a soundtrack of sorts, Barrow and Salisbury instinctively felt that music for MC1 should steer clear of the rich orchestration common to many contemporary film scores. Even for electronica the music is often purposefully stark and spare, with the majority of tracks created exclusively on the Oberhiem 2 Voice Synthesizer (a 1975 classic keyboard), and its onboard sequencer used to create rhythm and drums sounds . The only exceptions are a handful of tracks which combine the synth with digitally manipulated and time- stretched performances of acoustic instruments (such as piano, violin, mandolin, ukelele, voice and hammered dulcimer). There is also a brief cameo from Barrow s other band BEAK>.

BBC Review

Step inside your nearest CD stockist and chances are you won’t find a section for imaginary soundtracks. Yet it’s here that one should rack Drokk, a collaborative set from Portishead’s Geoff Barrow and Life of Mammals composer Ben Salisbury. It’s inspired by the near-future urban sprawl that is the fictional Mega-City One, home (and office) to 2000 AD’s most famous law enforcer, Judge Dredd.

With Dredd returning to cinemas in September, the pair’s timing is excellent. And Dredd composer proper Paul Leonard-Morgan would do well to listen to this collection should his creative mojo stall, as its various cues accompany a mind’s-eye tour of the megalopolis magnificently well.

A minimalist motorik pulse carries many a piece, the first impression being that this is more Barrow’s baby than Salisbury’s. On Inhale, Barrow’s touch is identifiable indeed, the track a close cousin of The Horrors’ Sea Within a Sea (produced by Barrow for the band’s Primary Colours LP). Throughout, the measured menace that pervades his Portishead productions is a constant constituent.

But Salisbury’s more organic than industrial presence comes to the fore at suitable intervals. Exhale is gorgeous, a heavenly echo from a Gregorian-style sect ensconced within the envisioned future world. Elsewhere, 2T[fru]T is a sublime little number, all analogue warmth beneath a veil of crackling static – this music is almost exclusively made using the Oberheim 2 Voice Synthesizer, from 1975 and therefore predating 2000 AD’s publication. Titan Bound’s repeated six-note motif is a ringer for Jon Hopkins’ Light Through the Veins, albeit one that casts a deeper, darker shadow.

Despite Hopkins’ cinematic experience – he scored 2010’s Monsters – it’s two other composers who are called to mind immediately: Brad Fiedel and Cliff Martinez. Fiedel’s work on Terminator 2 took synthesizers into new territories, turning the Fairlight CMI sampler into an iconic piece of kit. These sounds have since become synonymous with a particular breed of sci-fi movie – the dirty, gritty, ‘real’ kind – and they’re referenced throughout Drokk. Martinez, meanwhile, delivered one of 2011’s best soundtracks with Drive, and his appropriation of stripped-bare 80s electro is effectively transposed by Barrow and Salisbury to complement their own cluttered vistas.

It’s perhaps a bit long, and there may be too much repetition for some – but persist and Drokk is quite the engrossing, and sporadically discomforting, listen. Dredd would certainly approve… before introducing less-impressed critics to his trusty Lawgiver.

--Rich Hanscomb

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Customer Reviews

4.0 out of 5 stars
4.0 out of 5 stars
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
5.0 out of 5 stars Drokking great! 20 April 2014
Format:Audio CD
Although bound to draw comparisons with the scores of John Carpenter and Brad Fiedel, this fantastic soundscape by Geoff Barrow and Ben Salisbury, perfectly evokes the harsh dystopia of Mega-City One and makes for a very satisfying listening experience.

It also shares many attributes with Lalo Schifrin's and sound designer Walter Murch's work on George Lucas' film THX1138 and the groundbreaking experimental score by Gil Melle on The Andromeda Strain and as such should be considered an essential purchase for those who appreciate electronica and the more avant garde side of soundtracks.

It also makes a welcome companion piece to Paul Leonard-Morgan's equally impressive Dredd movie score:

Dredd: Original Film Soundtrack
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5 of 6 people found the following review helpful
5.0 out of 5 stars Immense. Exactly what you'd think only better. 17 May 2012
Format:Audio CD
I can only imagine the actual Dredd soundtrack will pale in comparison to this spun off version by Portishead's Barrow and less famous dude Salisbury. The vibe here is a stripped down and dirty channeling of the best sci-fi soundtracks from the past thirty years. Puts you in mind of John Carpenter via Tron, or The Warriors Vs Robocop. Rocketed right into my top ten soundtracks list, despite having no movie to accompany it. Who needs a film though? Crack open the Henry Flint collection and crank this up.

Like the other guy said this probably isn't for everyone, but then nothing is for everyone. That's ridiculous.
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8 of 10 people found the following review helpful
3.0 out of 5 stars Marmite album I suspect.... 7 May 2012
Format:Audio CD|Verified Purchase
Firstly I have to say that this is clearly a personal project of the creators/musicians. This is not a mass market product or something you're going to expect to fly off the shelf and is clearly done out of a love of the 2000AD comics and having too much time on your hands when you've made money doing other things. Kudos for giving it a go.

This soundtrack to Mega-City One is all done on old synthesizers, or perhaps new synths made to sound old. It sounds alot like the Terminator soundtrack in terms of musical sytle, though not in themes.

Mega-City One to me is a multicultural melting pot, it's everything and everybody crammed together due to necesity, nobody would choose to live there is there was a better altnerative and this music is so, well, bland and unemotional in places I don't get the same vibe listening to it as, say, the Deus Ex Soundtrack or Vangelis' Blade Runner soundtrack, both music written to evoke a similar setting.

That isn't to say that what is here isn't terrible or badly done, if you like music that sounds like an old Amiga game, look no further. There are highlights when the music steps up a gear, but it never becomes personal nor epic.

Certainly will divide opinion this one and I don't regret buying it, if only to support a creative idea and see where somebody would go with this type of music, it's not what I would've done...but then, I'm not a musician nor do I have this much time on my hand :-)
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4.0 out of 5 stars A cool 'alternative' soundtrack to Dredd...... 2 Jun 2013
Format:Audio CD|Verified Purchase
It would be intriguing to hear this music mixed into the Dredd movie. It's quite an effective sci-fi themed work, though I wouldn't mind a bit more variation. Mega-City One in the comics is a crazy place, yet this feels quite somber and emotionless overall - though in a nice cyberbunk sorta way.

Having listened to some of the Dredd Audio Adventures, I would like to hear some city-based sound effects and/or voices woven into the electronic soundscapes here.

Certainly an interesting companion piece to the official Dredd soundtrack.
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