by SBD on 8/17/2000
favorite track: 7
 
The last three tracks of Alan Silvestri's fine score to The Abyss (a masterpiece of orchestral and choral music) are usually held in highest regard whenever this CD is reviewed. The first ten tracks, however, are not as respected, which is unfortunate, seeing as most of them are quite enjoyable.

The first track, "Main Title", is a great cue, utilizing militaristic and choral elements. It ably serves as a taste of things to come.

The synth-based tracks, "Search the Montana" (wonderous), "The Fight" (tense and driving) and "Bud's Big Dive" (meandering) may intrigue or repel you, depending on your mood.

"The Manta Ship" and "The Pseudopod" are what can best be called "exploration" cues - quiet cues that express the mysteries of the deep, and this combined 12 minute of music (which also includes synths and a choir) is terrific.

The action cues are, in my opinion, the highlight of the album. "The Crane" and "Sub Battle" show Silvestri's incredible talent for action scoring, not unlike something from Predator.

"Lindsey Drowns" is an excellent dramatic cue written for synths, strings and tympani that would be a perfect accompaniment to a funeral (there are none in the film, however). The synth-pounding at the end (reminiscent of Morricone's The Thing) would later serve as the "revenge motif" in Silvestri's Ricochet score.

In "Resurrection", we hear the full main theme for the first time. It is a quiet cue heralding Lindsey's revival.

Granted, the last three tracks are breathtaking, but, please, give the first ten tracks a chance.