About the Soundtrack: Though not quite a reboot, and perhaps not even a re-imagining, the 2008 version of "Death Race" is an update to the cult classic of the 70's, only this time, there is more mayhem to be had. The score, released by Intrada, clocks in at over 41 minutes of music and features dialogue excerpts from the movie itself. While such excerpts are usually a poor inclusion, the dialogue actually works well with the confines of this score and drums up the coolness value just a bit.
What You Need to Know: When a composer's charge is to create music that drips of blood and sweat, you might have an idea as to what you're in for. For
Paul Haslinger, he followed the director's requests to the letter, creating a score that is aggressive, harsh and full of muscle. Unfortunately, it was a bit too extreme for my tastes.
For fans who enjoy more of an edge to their soundtracks, look no further than "Death Race" -- Haslinger's score takes no prisoners. From the very outset, the score starts off with intensity and never lets up, though the type of product that is offered is definitely in the vein of hard, electronic rock music. In fact, the tunes were cranking out so ferociously that I had to turn the volume down on multiple occasions. This is definitely not the type of CD you can sit down with for a casual listen; you'll either need to be a fan of metal, experimental rock music or getting ready for a gladiatorial match! The director must have been elated.
Haslinger's score isn't bad, it just doesn't play well on its own. It's easy to envision how well the music would fit in with the film, however, since the sound design matches up quite well with the visuals I've seen from the movie. Indeed, the "feel" that came to mind as I listened to the music was of mud and dirt, shades of gray and dampness; not exactly a pretty picture, but it's one that's accurate to the world of "Death Race!" One can never say that the objective for this soundtrack wasn't achieved.
While the majority of the album projects a driving, experimental sound, there are a few moments when the melodies of the sampled orchestra sneak in and provides temporary relief to the ears. You see, Haslinger's score never truly becomes melodic, the restrictions of the film didn't seem to permit it to be, but there are a few spots that stand out. Thus, whenever a catchy set of notes or background beats are introduced, the listening experience becomes vastly improved (the beginning of track 7, "Punch It," for instance). Besides that, however, prepare to be pummeled by percussion, guitars, bass and electronic effects.
Final Score: Tough to offer a negative grade to a composer who delivered what was asked of him, but I have to do so here based on the listening experience. "Death Race" simply has too much of an overpowering, jarring presence to it and it's a style that doesn't match up to my tastes. I have to give a pass on this one.
