Review Summary: Murphy helps us realize the fictitious tragic fall of civilization and its struggle.
I’m not sure if I could imagine what it would be like without human contact. The isolation would be damning, the fear of anything out there would be frightening. Mankind is still susceptible to great plagues, diseases, and viruses – even in today’s technological advanced day. The bubonic plague killed millions of Europeans in only a few years of the 1340s. How would a modern day virus that was easily spreadable and had maddening effects be dealt with today? If it was anything like the bubonic plague, sweeping through cities one by one with ease, it would be fairly easy to assume with today’s population it would be disastrous. Much like our protagonist in 28 Days Later I would find myself in disbelief. Unaware and shocked to see deserted cities of nothing, no one…but you. Try to comprehend that for a second. It would be especially eerie to see the empty streets we see today as desolate as nature intended. 28 Days Later takes previous themes of futuristic doomsday dilemmas and mixes thriller more than anything. Sure, there is horror, but it isn’t as graphic as we would expect. The soundtrack for such a project would be glorious. The avenues are open – sadness, disbelief, shocking, I could go on with the same synonyms, but that would just be a waste of time. John Murphy is mostly seen on this soundtrack, with the various contributions of Brian Eno, Granddaddy, and the Blue States.
For a film about the end of modern civilization Murphy doesn’t take a seriously dark route. His balance within the movie’s atmosphere and tense moments are elevated with sorrowful and touching pieces like “Jim’s Parents” and “Taxi (Ave Maria)”. Upbeat and extremely beautiful with their opera-style female lead vocalists, each balances the soundtrack when Murphy’s direction becomes sparse. As stated earlier Murphy doesn’t necessarily take a dark route within the soundtrack, although it is meant to be the music is more energetic in rhythm and massive drone than anything else. “The Tower” like its predecessor “Tower Block” uses massive amounts of electronic, heavy driven based background within its drones. What is most surprising is the use of the contributing artists. Such is Murphy’s stability within the soundtrack of mixing heavy electronic themes with touching and opera-like vocals. His decision to splash a small amount of pop is extremely gratifying. Yes, Grandaddy makes an appearance with the highly infectious A.M. 180 with its keyboard driven background.
Eno’s work as an ambient artist cannot be more admired due to his highly influential work spanning many genres. Modern day artists have been affected by this man’s work for years and his contribution within this soundtrack is exceptional. “An Ending (Ascent)” feels like the peak of satisfaction. The type of feeling you only understand once you’ve accomplished something great. Highly uplifting, its light drones and high pitch background vocals are an astonishment to listen too. “An Ending (Ascent)” is one of those tracks that will surely never become bland or uninspired to the human ear.
Murphy’s mixture of tone and atmosphere within this album keeps it fresh and listenable all the way through. Take “Even More Films” and “In Paradisum”, entirely different in form, yet they alleviate the sense of hopelessness within the film. Murphy does this a lot mixing Eno’s ambient work, Grandaddy’s poppy number, Blue State’s “Season Song” and his female opera vocalists scattered throughout, all along adding the dark dreary texture and atmosphere that is abrasive and drowned in drone. Without a hitch it works significantly for the soundtrack and the film overall. Various instruments and genre swapping is extremely well placed: “Frank’s Death – Soldiers (Requiem in D Minor)” is memorable due to its first classical appearance within the film. Murphy does it with spectacular results making it the soundtrack’s best highlight. What makes it significantly mesmerizing is the mixture of electronic style, gospel themed vocals once again, and finally a violin that has yet to be heard in the entire soundtrack. As soon as Murphy brings in “In Paradisum” with the sense of hope and survival it all comes crashing down with “Frank’s Death – Soldiers (Requiem in D Minor)”; it eventually falls further in despair and eeriness. “The Search For Jim” feels like a modern day horror theme for a new Jason-like character. The subtle chimes pushed by the background wind is chilling. Murphy’s score of the film with the help of only 3 contributing artists is amazing. They mix exceptionally well, not detaching from the overall feeling – it merely enhances the experience. The acoustic guitar like dredge in “In The House – In A Heartbeat” leads up to a massive build up of massive energy, only to subside by a fading piano. Murphy understood what he tried to accomplish: a cold aftermath with the hope and struggle of the human spirit. Even in the aftermath of the virus, the film 28 Days Later has its problems – crime, depression, despair, death, happiness, and most importantly hope. Murphy only helps us realize this.
