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Rating: This review is a bit atypical; the material I turn to examine is indeed The Odyssey, a sort of suite (in 4 movements) composed by Martin O'Donnell and Michael Salvatori. The two are known for composing the soundtracks for Bungie Studios video games, particularly known for that masterpiece which goes by the name of Halo and brought a breath of fresh innovation into the entertaining yet stale world of shooters.
Now, my visceral passion for the Halo saga is one of my flaws. Indeed, while playing Halo 2, I noticed a particularly effective melody in the track that at that moment accompanied the apocalyptic massacre unfolding before my eyes. Thus, intrigued, I decided to get the soundtrack.
Now, in my very personal opinion, soundtracks should be appreciated and therefore listened to as soundtracks, so I do not intend to review it. However, while reading through the tracklist, among names clearly referencing the video game and the track Blow Me Away played by Breaking Benjamin (a piece of which, by the way, there is a review on Debaser), these 4 movements stood out, The Odyssey, indeed, played by none other than Incubus, whose nu-post-funky-blabla phase I greatly appreciated. Therefore, I decided to gather the 4 tracks, which indeed are part of a single organic composition.
The first movement lasts four minutes, has an additional name - Follow - and is practically a song in itself, complete with vocals. A choir and an arpeggio introduce the main musical theme of Halo (which I love, by the way) then leave room for the track; what emerges more vigorously is the intense guitar phrasing, which, in full post-songwriting, represents the base on which the track is built, only to then reintroduce more rarefied atmospheres. The contrast between phrased parts, a sung and accelerated chorus, and more atmospheric parts constitutes the greatest point of interest of the track, which, despite the verse-chorus structure and a rhythm section perhaps a bit too low, is appreciated without problems.
The following movements see the total abandonment of vocals in favor of greater compositional openness, of a notably progressive mold. The electronics, never excessive and perfectly incorporated, form the fundamental sound carpet on which the guitar melody gently rests. However, certainties are never certain (eheh) and indeed the evolution of the track brings back to the foreground the phrasing of good Mike Einziger and an overwhelming rhythm section that then immerses itself in jazz, funk moments, which are notably interesting.
The third movement, introduced by electronics and saxophone, then brings to the forefront the excellent melodies interwoven by guitar and bass, allowing a rhythm beat that crescendos into the rhythmic/percussion/electr(on)ic orgy of the fourth movement, complete with a Floydian reference (clear memories of On the Run).
In conclusion, this suite represents in itself an entire musical microcosm, capable of great touches of style and ideas of notable caliber. The dominant theme is the sonic syncretism, ranging from electronics and post-punk to jazz and funk. A worthy soundtrack for a video game work that shows equal depth and profundity, as well as great taste for fun.
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