~ Original Soundtrack
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~ David Arnold
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~ Jerry Goldsmith
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![Hannibal Rising [DVD] [2007]](http://ecx.images-amazon.com/images/I/51810Ygu65L._SL500_SS90_.jpg)
DVD ~ Gaspard Ulliel
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Product details
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Track Listings
| 1. End of Days Manin Title |
| 2. Porcelain Man |
| 3. The SHooter |
| 4. The Tunnel |
| 5. Alley Fight |
| 6. Baptism In Blood |
| 7. Helicopter Pursuit |
| 8. Satan Walks The Streets |
| 9. Cruxifiction |
| 10. The Beast Comes a Callin' |
| 11. The Gates of Hell |
| 12. Subway Attack and The Escape |
| 13. Jericho Finds Faith / The Possession |
| 14. The Eternal Struggle |
| 15. Redemption |
| 16. End of Days Alternate Main Title |
| 17. End of Days Dance Mix |
Product Description
Amazon.co.uk Review
In the "Main Title" the listener is immediately introduced to the End of Days score's intriguing piece of experimentation--an electronically manipulated boy soprano's voice. Later there are plenty of deviations from this opening idea, but as Big Arnie's soulful motif it's the most recurrent of all the musical material. This opening cue also sets a stylistic precedent for much of what follows. The atonal effect of breathing voices mixed with electronics and sombre ensemble is akin to sound design. If it makes for long stretches of unnerving aural distraction, that's to John Debney's credit. Bursting out of the quietude comes some frighteningly loud drama--as you'd expect with Schwarzenneger taking on Satan himself--cue a Terminator-like beat in "The Shooter", fast and furious action crashes in "Helicopter Pursuit" and the showpiece scariness of "Subway Attack & Escape". All of the vocal effects find resolution before ascending heavenwards in "Redemption". And then at the album's end come two complete surprises: an alternate, bravely experimental "Alternate Main Title" and a "Dance Mix" of some of the material. It isn't likely to have anyone doing a Beelzebub Bop but it's certainly frightening! --Paul Tonks
From Amazon.com
In the "Main Title," the listener is immediately introduced to the End of Days score's intriguing piece of experimentation--an electronically manipulated boy soprano's voice. Later there are plenty of deviations from this opening idea, but as Big Arnie's soulful motif it's the most recurrent of all the musical material. This opening cue also sets a stylistic precedent for much of what follows. The atonal effect of breathing voices mixed with electronics and somber ensemble is akin to sound design. If it makes for long stretches of unnerving aural distraction, that's to John Debney's credit. Bursting out of the quietude comes some frighteningly loud drama--as you'd expect with Schwarzenegger taking on Satan himself--cue a Terminator-like beat in "The Shooter," fast and furious action crashes in "Helicopter Pursuit," and the showpiece scariness of "Subway Attack & Escape." All the vocal effects find resolution before ascending heavenwards in "Redemption." And then at the album's end come two complete surprises: a bravely experimental "Alternate Main Title" and a "dance mix" of some of the material. It isn't likely to have anyone doing a Beelzebub Bop, but it's certainly frightening! --Paul Tonks
In the "Main Title" the listener is immediately introduced to the End of Days score's intriguing piece of experimentation--an electronically manipulated boy soprano's voice. Later there are plenty of deviations from this opening idea, but as Big Arnie's soulful motif it's the most recurrent of all the musical material. This opening cue also sets a stylistic precedent for much of what follows. The atonal effect of breathing voices mixed with electronics and sombre ensemble is akin to sound design. If it makes for long stretches of unnerving aural distraction, that's to John Debney's credit. Bursting out of the quietude comes some frighteningly loud drama--as you'd expect with Schwarzenneger taking on Satan himself--cue a Terminator-like beat in "The Shooter", fast and furious action crashes in "Helicopter Pursuit" and the showpiece scariness of "Subway Attack & Escape". All of the vocal effects find resolution before ascending heavenwards in "Redemption". And then at the album's end come two complete surprises: an alternate, bravely experimental "Alternate Main Title" and a "Dance Mix" of some of the material. It isn't likely to have anyone doing a Beelzebub Bop but it's certainly frightening! --Paul Tonks
From Amazon.com
In the "Main Title," the listener is immediately introduced to the End of Days score's intriguing piece of experimentation--an electronically manipulated boy soprano's voice. Later there are plenty of deviations from this opening idea, but as Big Arnie's soulful motif it's the most recurrent of all the musical material. This opening cue also sets a stylistic precedent for much of what follows. The atonal effect of breathing voices mixed with electronics and somber ensemble is akin to sound design. If it makes for long stretches of unnerving aural distraction, that's to John Debney's credit. Bursting out of the quietude comes some frighteningly loud drama--as you'd expect with Schwarzenegger taking on Satan himself--cue a Terminator-like beat in "The Shooter," fast and furious action crashes in "Helicopter Pursuit," and the showpiece scariness of "Subway Attack & Escape." All the vocal effects find resolution before ascending heavenwards in "Redemption." And then at the album's end come two complete surprises: a bravely experimental "Alternate Main Title" and a "dance mix" of some of the material. It isn't likely to have anyone doing a Beelzebub Bop, but it's certainly frightening! --Paul Tonks
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