The Sixth Day by Trevor Rabin
Rabin’s third submission for 2000 is somewhat of a
maligned or minimized by many film music fans, Rabin refuses
to deliver the sort of cookie-cutter score found all too
often in today's films. Granted, this style is appealing
to a distinct group of people, Rabin's music generally
stands out from the pack.
While dependent upon synthesizers, Rabin is able
to keep his music several levels above the ever-thinning
sound of television sci-fi music. Rabin's scores may depart
from the tried-and-true, and some would interject, “more
acceptable” style of film music, but, more often than not,
his work provides a few truly enjoyable themes.
Such is the case with The
the inspirational Remember the Titans and his
rubber-burning, techno-score for the Bruckheimer film, Gone
in 60 Seconds, composer Trevor Rabin enters the sci-fi
realm once again with The
6th Day. For Mr. Schwartzenaggar’s simultaneous return to the
sci-fi/action genre, Rabin delivers an eclectic score, that
dawns a number of familiar Rabin-elements but also shows off
an exotic touch.
the familiar end, The
6th Day is constructed much like some
of Rabin’s most popular scores such as Armaggedon. This score, like Armageddon, is heavily dependent on its electronic components
and most have come to expect this style from Trevor Rabin.
For the action/suspense sequences of The
6th Day, Rabin uses deep and ominous
synths, choral accents, and bombastic crashes that also show
up quite frequently in his work. In addition, Rabin layers a lonely solo piano into his work
for The 6th
Day, as he has in scores such as Enemy of the State
and Deep Blue Sea.
the softer side, Rabin composes another enjoyable, emotional
theme, much in line with the Launch cue from Armaggedon.
In fact, there is a two minute segment of track 4,
Adam’s Theme, constructed almost identically to the
aforementioned Armaggedon cue.
In any event, despite such similarities, The 6th
Day is most appealing in these moments.
there exist a number of similarities to many of Rabin’s
earlier works, there are a few elements that help set this
score apart from its 2000 predecessors. Rabin travels a much
different road from both Remember the Titans and Gone in
60 Seconds. Most
noteworthy among them are the engaging Middle-Eastern vocals
that are found in its title theme:
The 6th Day (1),
Drucker meets Drucker (12), Adams Goes Home (13).
The 6th Day continues the love-hate responses from within the soundtrack-appreciation world. It represents Rabin’s most impressive effort since Armaggedon and certainly is reminiscent of the 1998 hit. I would recommend this effort to those who enjoyed Armageddon, even though The 6th Day is far less patriotic or inspirational. On the other hand, if Armaggedon found itself on your “most-despised” list, then The 6th Day will likely do the same.
Track Listing and Ratings
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