As a companion piece to my review of
Revellís other score this month, The Fog, this does nothing to
change the views I have already expressed. While this soundtrack is very
different in style and tone, sadly it still suffers from many of the same
faults. Admittedly, it is superior to Revellís relentlessly dull music from The
Fog, with lots of exotic tinged percussion and layered synth work, but
there is still an inherent lack of melodic interest and a sense that it is
manufactured rather than created. Itís fair to say that the composer could credibly
counter this last assertion and I would accept the point that there is thought
and expertise behind the composition. But it does not change the fact that this
listener at least was left unmoved and uninvolved. The debate may continue
evermore as to whether film music admirers should appreciate a score for its
effectiveness in the film it was written for, or simply as a piece of music in
its own right (I personally prefer both), but ultimately I canít imagine myself
returning to listen to this music again. Yes, itís not bad, it occasionally has
moments of slender attraction, but they are transitory and the majority of the
score passes by without invention or incident.
A bad, sad month for Graeme Revell then.
The fact that he came to this project late, after at least two other composers
had been previously announced, would appear to tell us that within the industry
he has a reputation for professionalism and getting the job done. On the
surface, AeonFlux suggests verve and inventiveness, but scratch beneath
and it all appears to be quite commonplace.