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8 of 8 people found the following review helpful:
3.0 out of 5 stars
Resident Evil 3, April 18, 2001
Coming in at just seconds under two hours, this album is a good example of a `complete score' release. Some of the cues time at just five seconds, so completists really don't feel that anything is left out.This time working with Saori Ueda, composer Masami Ueda shines in this score. The style is recognisably a continuation of Resident Evil 2, and seems bigger due to the length of the album and the variety of material. Generally, the music is sombre and oppressive, which perfectly conjures back the game (and matches it when you hear it in that context). Jill's progress through destroyed nighttime streets of the city is vividly re-created in the music. Fear and suspense are evoked by use of sustained chords, punctuated by sounds such as bell tolls (a reference to the clock tower that will figure in the story's middle chapter). The clanking you can hear at times sounds much like Brad Feidel's Terminator scores. There is also a touch of Graeme Revell's The Crow in here. At the other end of the mood scale, the action-music is based on violent orchestral strings and blaring brass, imitating Nick Glennie Smith and Hans Zimmer's score for The Rock. As in his score for Resident Evil 2, Ueda uses piano to soften the general harshness, and again, the result is very pleasing, and keeps this score from being too much like the movie sources he draws from. Also like the Resident Evil 2 album, it's a little strange to have music fade out rather than come to an end, but this is due to the music being written for continuous looping. A piece will play in the game for as long as you are in a room or area, so it isn't structured to come to an end. If you listen to the album in the wrong frame of mind, its low-key character can make the music fall easily out of your notice. But in the right mood, it is quite enthralling. In all, a very good album if you're a fan of film scores and/or Resident Evil games.
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