The final tracks show just how strong the score of Brian Tyler is.

Especially if you discover the downright threatening cello work in 'Subversion' and the rising creepy Sphere sound in 'Disinformation' after a while. You see, by now you've realized that The Killing Room is the unique duck in the Brian Tyler pond. The pain and disbelief comes in 'Invocation', a constant on edge string work that alerts the senses and our tastes wonderfully well. First there's nothing wrong and you encounter another Sphere like territorial track, but then suddenly (like the film) out of nowhere comes the shocking sting, and you're left helplessly behind. The real wake up call happens in 'Propaganda'. But the mind sometimes needs a wake up call, and after the meandering 'Liberty' comes the shocking 'Memorium', a track that is heightened by eerie solo vocals, rising string work and disturbing wake up calls. Hear for yourself, in 'Begin' you are lured into a eerie mysterious string section, delving your mind deep into Elliot Goldenthal territory as we wander through scores like Heat and Sphere. A movie about a secret government study, The Killing Room might just deliver you the necessary antidote if you felt a little bit tired after all the typical Dragonballs and Fast & Furious'es.īecause we have to say it, The Killing Room is something different, and change is good. And I think The Killing Room is just the difference you need. Well a pause is out of the question, but a difference might do it for now. Yet sometimes it is easier to slow down, to take a pause, to work on something else instead. You always see him getting work, you always hear him on CD, you always receive the typical effective result. One of the constant returning factors in Brian Tyler's career is work.

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