Restless Records (01877-73715-2)
Release Date: July 27, 1999
Formats: CD, Digital
Music from this album has been used in 4 trailer(s). Click to view which ones!
Average Rating: 3 stars (2 users)
|1.||Who Is Tyler Durden?||5:03|
|3.||What Is Fight Club?||4:45|
|4.||Single Serving Jack||4:14|
|6.||Psycho Boy Jack||2:57|
|7.||Hessel, Raymond K.||2:49|
|9.||Jack's Smirking Revenge||3:58|
|15.||Finding The Bomb||6:50|
|16.||This Is Your Life (feat. Tyler Durden)||3:31|
|Total Album Time:||64:05|
|by Dan Goldwasser
October 24, 1999
At some point through the production of Fight Club, it was determined that The Dust Brothers, not composer Howard Shore, would be scoring the film for David Fincher. The Internet Movie Database, however, inaccurately listed Shore as the composer all the way up until the film's release, no doubt because of Shore's work on Seven and The Game.
The score that The Dust Brothers wrote worked well in the filmfrom the loud opening title sequence, all the way to the somewhat unsatisfying ending. (I did enjoy the movie, though - I just felt that the ending left me wanting more of a conclusion.)
The score mainly consists of a large bass rhythm, techno percussion beat, and some interesting keyboard and guitar effects that have been altered to lend a very interesting tone. There is also a lot of large brass section music that has been sampled and altered. Much of this music works great in the film, but as a separate listening experience, there really isn't a lot that makes this album stand out. A lot of the tracks come across as a little harsh or abrasive, but some, like the main title track, "Stealing Fat," (which was also used in the trailer to the film) have great rhythm and energy. This cue worked very well for Digital Domain's complex cellular pullback visual effect shot, but on it's own it sounds a bit more like a head banger's nightmare.
The album runs one hour long, and probably has about 15 minutes of truly listenable music. That opinion might vary from person to person, but I believe that in the end, we can all agree on one thing: the score to Fight Club is one of those scores that works well in the film-but doesn't stand on its own.
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