Murphy does it with spectacular results making it the soundtrack’s best highlight. Various instruments and genre swapping is extremely well placed: “Frank’s Death – Soldiers (Requiem in D Minor)” is memorable due to its first classical appearance within the film. Without a hitch it works significantly for the soundtrack and the film overall. Murphy does this a lot mixing Eno’s ambient work, Grandaddy’s poppy number, Blue State’s “Season Song” and his female opera vocalists scattered throughout, all along adding the dark dreary texture and atmosphere that is abrasive and drowned in drone. Take “Even More Films” and “In Paradisum”, entirely different in form, yet they alleviate the sense of hopelessness within the film. Murphy’s mixture of tone and atmosphere within this album keeps it fresh and listenable all the way through. “An Ending (Ascent)” is one of those tracks that will surely never become bland or uninspired to the human ear. Highly uplifting, its light drones and high pitch background vocals are an astonishment to listen too. The type of feeling you only understand once you’ve accomplished something great. “An Ending (Ascent)” feels like the peak of satisfaction. Modern day artists have been affected by this man’s work for years and his contribution within this soundtrack is exceptional. 180 with its keyboard driven background.Įno’s work as an ambient artist cannot be more admired due to his highly influential work spanning many genres. Yes, Grandaddy makes an appearance with the highly infectious A.M. His decision to splash a small amount of pop is extremely gratifying. Such is Murphy’s stability within the soundtrack of mixing heavy electronic themes with touching and opera-like vocals. What is most surprising is the use of the contributing artists. “The Tower” like its predecessor “Tower Block” uses massive amounts of electronic, heavy driven based background within its drones. As stated earlier Murphy doesn’t necessarily take a dark route within the soundtrack, although it is meant to be the music is more energetic in rhythm and massive drone than anything else. Upbeat and extremely beautiful with their opera-style female lead vocalists, each balances the soundtrack when Murphy’s direction becomes sparse. His balance within the movie’s atmosphere and tense moments are elevated with sorrowful and touching pieces like “Jim’s Parents” and “Taxi (Ave Maria)”. John Murphy is mostly seen on this soundtrack, with the various contributions of Brian Eno, Granddaddy, and the Blue States.įor a film about the end of modern civilization Murphy doesn’t take a seriously dark route. The avenues are open – sadness, disbelief, shocking, I could go on with the same synonyms, but that would just be a waste of time. The soundtrack for such a project would be glorious. Sure, there is horror, but it isn’t as graphic as we would expect. 28 Days Later takes previous themes of futuristic doomsday dilemmas and mixes thriller more than anything.
It would be especially eerie to see the empty streets we see today as desolate as nature intended.
Unaware and shocked to see deserted cities of nothing, no one…but you. Much like our protagonist in 28 Days Later I would find myself in disbelief. How would a modern day virus that was easily spreadable and had maddening effects be dealt with today? If it was anything like the bubonic plague, sweeping through cities one by one with ease, it would be fairly easy to assume with today’s population it would be disastrous. The bubonic plague killed millions of Europeans in only a few years of the 1340s. Mankind is still susceptible to great plagues, diseases, and viruses – even in today’s technological advanced day. The isolation would be damning, the fear of anything out there would be frightening. I’m not sure if I could imagine what it would be like without human contact. Review Summary: Murphy helps us realize the fictitious tragic fall of civilization and its struggle.
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