While the bonus disc release mostly focused on these exercises in chilly mood-setting, this expanded album includes a much greater number of beat-driven tracks that prevent the soundtrack from wallowing too much in future-noir introspection. The results on “Opening Credits” and “And Away We Go” are predictable but atmospheric enough, due to the tracks’ pleasing harmonies and subdued but infectious beats. Of course, these technology-minded rhythmic devices reach back to scoring conventions for futuristic movie soundtracks, most recently Tron Legacy. The resulting melancholy that characterises “Main Menu” is combined on “Opening Credit” and “And Away We Go” with equally familiar-sounding soft electronic pulses and string ostinati which provide some some forward motion. You’ll hear measured, sometimes majestic melodies which through their detached demeanour underline man’s struggle to not vanish in the glass-and-steel jungle of a megalopolis. Cue glacial synth layers that still seem to be the quickest way to musically convey an urban, not-too-distant future. The foundation of the score is its electronic side, whose stylistic trademarks will be familiar to anybody who’s heard the music for a cyperpunk-themed game or film (yes, think Vangelis and Blade Runner). ‘Transhumanism’ might sound like a lofty term, but McCann finds some intriguing ways to give the concept a shape that’s both emotionally and intellectually satisfying. This review refers to the expanded release. Three months later, the game’s music was graced with a much more generous 67-minute release in both physical and digital form. At first, these ambitions only found a limited outlet when Human Revolution’s soundtrack hit stores as a 29-minute bonus disc of the game’s special editions. According to McCann, this “definite struggle between the natural and the technological” would be represented in his score through “the duality between acoustic and electronic instrumentation”, with both sides “always fighting for priority”. McCann approach for Human Revolution certainly didn’t lack ambition, as his aim was to mirror the theme around which the whole game evolved: ‘transhumanism’, in McCann’s words “the use of technology to push humanity beyond our physical and mental limitations”. Instead, electronic musician Michael McCann was brought on board to score Human Revolution, with his biggest gaming-related credit to date being his soundtrack for Tom Clancy’s Splinter Cell: Double Agent. While Deux Ex composer Alexander Brandon had returned for the sequel, he wouldn’t be involved in Human Revolution, nor would his co-composer Todd Simmons. The game was greeted with strong reviews, but only time will tell if it will be as fondly remembered as the original. Or to be more precise, it tells its prologue, as Human Revolution? turned out to be a prequel to Deus Ex. And so, seven years later, Deus Ex: Human Revolution continues the cyperpunk saga under Square Enix. But of course, that’s no reason for a business-minded publisher to let a once established property lie dormant. As so often, the inevitable sequel - in this case called Deus Ex: Invisible War - was somewhat of a letdown and seemed to stop the burgeoning franchise dead in its tracks. The first Deus Ex game, released back in 2000, was hailed as an instant classic and one of the best computer games of the decade. Deus Ex -Human Revolution- Original Soundtrackĭeus Ex -Human Revolution- Collector’s Edition Soundtrack
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