Buy In Time soundtrack from Amazon.com

 

 

Soundtrack Blog Soundtrack Reviews Soundtrack Features Soundtrack Forum Soundtrack Contest Soundtrack Shop About and Contact Home Listen or subscribe to our podcast - The SoundCast Follow us on Twitter Like us at Facebook Tracksounds:  The Film Music and Soundtrack Experience

QUICK-CLICK REVIEWS (Vol. 25)

Apocalypse World War II
The Best Exotic Marigold Hotel
Music from the Batman Trilogy
The Possession

FULL  SOUNDTRACK REVIEWS

Snowpiercer
How to Train Your Dragon 2
Dawn of the Planet of the Apes
Captain America:  The Winter Soldier
Rio 2

POPULAR FEATURES

2015 Cue Awards Show
In-Context- Guardians of the Galaxy

Interview: Jeff Russo
In-Context- Dawn/Planet of the Apes
Interview: Neil S. Bulk

LATEST PODCAST EPISODES

Twitter Response Show 1 (Ep 4)
The State of the Film Music Theme
The James Horner Legacy
2015 Cue Awards ReactionShow
2015 Cue Awards Show

 

 

 

In Time by Craig Armstrong

In Time

Buy online

In Time (Soundtrack) by Craig Armstrong
In Time (Soundtrack) by Craig Armstrong
In Time (Poster and Memorabilia)
 

In Time (Poster and Memorabilia)

Buy the Poster

 

 

 

 

 

 

 

 

In Time (Soundtrack) by Craig Armstrong

In Time
Composed by Craig Armstrong
Promotional Release (2010)

Rating: 8/10

Buy In Time (Soundtrack) by Craig Armstrongl  from Amazon.com Buy In Time (Soundtrack)  by Craig Armstrong from iTunes

More soundclips below provided by AmazonMp3

 

“...ARMSTRONG’S score is certainly not the most memorable of Sci-Fi soundtracks, but is a constantly engaging listen, and does a fantastic job in supporting the film.”

Simultaneous Warmth and Cold Feeling
Review by Richard Buxton

Creating a believable and engaging Sci-fi world requires a balance of both the familiar and the uninhibitedly ambitious. Director ANDREW NICCOL, director of the low-key but invigorating GATTACA, is certainly capable of creating such a world. The musical world of IN TIME is an altogether different prospect to that of the typical Sci-fi. The exploration of Andre Niccol’s visualised future comes in the form of a reflection on human life and most importantly: mortality. As a result, CRAIG ARMSTRONG bypasses the typical overly synthetic soundscape of a visualised future, and has crafted a score that is constantly ticking as its running time counts down.

ARMSTRONG’S interpretation of IN TIME’S future is comprised of duelling textures and thus emotions. This clash is immediately apparent in the score’s main theme “In Time Main Theme” (1), as a blanket of warmth is expertly grafted onto a cold and ambient exterior. The opening of pulsating synths and hollow strings soon swell into life to create a simultaneously warm but pensive texture. The propulsive synth heard in the main title is a common theme throughout the score, and is translated onto the percussion that acts as a pacemaker for the entire soundtrack. A feeling of perpetual movement is felt as the percussions ticks over throughout.

The following track, “Lost Century” (2) acts as a fantastic example of ARMSTRONG’S efficiency in utilising the aforementioned hollow, but ultimately very effective sound for this score. Swirling above the percussion is a wailing string progression that, when accompanied by a relentlessly ascending and descending string pattern, acts almost as a siren’s call. Upon first hearing the track, it is hard to shake a feeling that something is missing from the sound, that the string section is devoid of the necessary warmth needed to create an attractive sound. As the track develops however, the strings and percussion make for an intense and chillingly exciting action-piece that makes for the origins of the score’s greatest asset: action.

This asset, and the score overall reach their peak in the tracks “Abduction” (11) and “Rooftop Chase” (18). Both work from similarly rhythmic bases, as the percussion drives the erratic strings forward towards climactic conclusions of orchestral mayhem. The rising action theme is heard throughout both at various points and again in “Leaving the Zone” (22), with each variation evolving as the overall sound reaches new highs in of chaos. The writing of such relentlessly evolving and intense music often brings with it the danger of sounding forced and ultimately formulaic. The orchestration and multitude of layers heard utilised by CRAIG ARMSTRONG in the action-oriented side of IN TIME, and these two tracks in particular, show just enough restraint to avoid becoming overbearing or forced. The sound has a controlled-frenzy manner to it that combines well with the airy strings to craft moments of outstanding and unrelenting intensity.

ARMSTRONG also experiences success away from the tumultuous action scoring, having moulded a calmer but equally engaging sound for IN TIME’S less chaotic moments. Heard in the likes of “Mother Times Out” (5) and “Ocean” (10), the subtle variations on the main themes maintain the cold string texture whilst adding slight layers of warmth as the overlapping strings meld together.

ARMSTRONG shows that he is adept in switching between the two prevalent styles heard within the score by seamlessly shifting from one to the other. “Whatever We Have To” demonstrates this twice throughout its running time as ARMSTRONG switches from synthetic and percussive suspense, to swirling strings, and finally to a combination of both. The result is a smooth transition between emotional states that avoids any jarring and ultimately off-putting switches.

One of the great staples of a Sci-fi score is the use of synthetic sounds in order to apply a more futuristic quality to a score. This can occasionally result in unforgettable music, but is all too-often used in an almost obligatory sense, without any real purpose other than to tick the boxes. ARMSTRONG avoids this fate by intelligently integrating a subtle use of synthetic sounds into the orchestral texture that dominates the score. A continuous percussive synth is the perpetual accelerant in “There’s Still Time” (24), whereas the pulsing synths heard in “Giving It Away” (17) slowly creep in towards the climax of the piece, adding a propulsive backing to the strings and woodwinds that expertly demonstrates ARMSTRONG’S careful use of electronics, making sure that they do not dominate the score and become almost token in nature.

Based on critical reception, IN TIME is unlikely to be at the forefront of Sci-fi as a film genre in years to come. Likewise ARMSTRONG’S score is certainly not the most memorable of Sci-Fi soundtracks, but is a constantly engaging listen, and does a fantastic job in supporting the film. In the end, that’s what film scores are for.

 

Rating: 8/10


Track

Track Title Track Time  Rating
1 In Time Main Theme 1:36  ****
2 Lost Century 1:58  ****
3 Dawn in Dayton 1:27  ***
4 The Cost of Living 1:40  ***
5 Mother Times Out 2:56  ****
6 Zones of Time 2:12  ***
7 Welcome to New Greenwich 1:11  ****
8 Waking Up in Time 0:45  ***
9 An Hour Ahead 0:53  **
10 Ocean 1:33  ****
11 Abduction 2:25  *****
12 Whatever We Have To 2:38  ****
13 Mother's Dress 0:45  ***
14 Clock Watching 2:26  ***
15 Sylvia Shoots 2:09  ****
16 Backseat Love 1:39  ****
17 Giving It Away 1:13  ****
18 Rooftop Chase 2:52  *****
19 You Saved My Life 1:07  ****
20 Surrender 1:54  ***
21 To Be Immortal 1:53  ***
22 Leaving the Zone 1:31  ****
23 In Time Choral Theme 3:20  ****
24 There's Still Time 0:46  ****
25 In Time Theme (Orchestral) 2:25  ****
  Total Running Time (approx) 45 minutes  

 

blog comments powered by Disqus

 
 
   

 

Home  |  Soundtrack ReviewsBlog |  Podcast | News Forum  |  Features  |  About  |  Advertise  |  Links   | Shop  

YesAsia.com - Asian Entertainment products CD Universe - Music, Movies, & Games At Low Prices! iTunes Logo 88x31-1

Copyright ©1998 - 2009. Tracksounds:  The Film Music Experience.   All rights reserved. This material may not be published, broadcast, rewritten or redistributed in any form.  All compact disc artwork is property of the specified record label and appears here for informational purposes only.  All sound clips are in Real Audio format or mp3 and are the exclusive property of their respective record labels. Contact the Webmaster