What people search:
 | Title : Frank Herbert's Children of Dune (Original Television Soundtrack)
Author : Brian Tyler
Release Date : 20030318
Binding : Audio CD
Regular Price : $17.98
Amazon.com Price : $13.49
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Buyer Reviews :
Get beyond the bland cover art (why ignore the mini-series key art?) and you have a truly gorgeous score that's got it all - big theme ('Summon The Worms', 'The Revolution', 'The Jihad'), and full-tilt action scoring ( 'Rya Wolves', 'Fear Is The Mind Killer'), balanced with 'ethnic' percussion and woodwinds ('Trap The Worm', 'Exiles', 'My Skin Is Not My Own') and ethereal solo vocals ('Dune Messiah', 'Inaaama Nushif (Montage)' - the closing cue from part one of the series).
Despite the score having a whopping main theme, which is unleashed with great intensity in the opening track, 'Summon The Worms' and reprised with as much vigor in 'The Jihad', Brian Tyler doesn't automatically stamp it into his score over and over again. Instead, it's split up, disguised and manipulated. You'll hear it via beautiful and soft female solo in 'Dune Messiah', and on brass in the majestic 'Main Title (House Atreides)'. There's also an epic quality in Children Of Dune that has been lacking in previous Dune scores. You'll find it in the attractive 'The Arrival of Lady Jessica', with soft-choral samples and regal brass fanfares. An album highlight, 'Inama Nushif (Montage)', is also a showcase for the strong female vocal component of the score. Written appropriately in Fremen and performed over a slow-groove of percussion, brass and strings, the track has strong pop elements. After a major album highlight, 'The Jihad', which reprises the main theme with great passion, the second half of the disc settles into a more ambient mode, but not at the expense of melody or interest. Moments to look out for include 'The Throne Of Alia', with it's tenuous duet of duduk and solo female voice, 'My Skin Is Not My Own' which unleashes an arsenal of percussion and grooves.
With the Children Of Dune mini-series clocking in at over three hours, the score has been distilled into one album, making a surprisingly cohesive package, one where there's always something interesting transpiring -- which is important, because this album runs north of sixty-seven minutes (i.e., a long time). Scores that mesh as many elements as this one make distinctive listening experiences, and are good for multiple repeat spins.
(by cinemusic)
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