Constantine [Original Motion Picture Soundtrack]
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- Released: February 15, 2005
- Originally Released: 2005
- Label: Varese Sarabande
- 1.Destiny - Various Artists
- 2.Cross Over, The - Various Artists
- 3.Meet John Constantine - Various Artists
- 4.Confession - Various Artists
- 5.Deo Et Patri - Various Artists
- 6.Counterweight - Various Artists
- 7.Into The Light - Various Artists
- 8.I Left Her Alone - Various Artists
- 9.Resurrection - Various Artists
- 10.Circle Of Hell - Various Artists
- 11.Last Rites - Various Artists
- 12.Encountering A Twin - Various Artists
- 13.Flight To Ravenscar - Various Artists
- 14.Humanity - Various Artists
- 15.John - Various Artists
- 16.Someone Was Here - Various Artists
- 17.Hell Freeway - Various Artists
- 18.Ether Surfing - Various Artists
- 19.Balance, The - Various Artists
- 20.Absentee Landlords - Various Artists
- 21.John's Solitude - Various Artists
- 22.Lucifer - Various Artists
- 23.Rooftop - Various Artists
- 24.Constantine End Titles - Various Artists
Song previews provided courtesy of iTunes
Composers: Brian Tyler; Klaus Badelt.
Personnel: Susie Stevens Logan, Samela Beasom, Joanna Bushnell, Virenia Lind, Jenny Graham, Diane Freiman Reynolds, Linda Harmon, Sally Stevens, Teri Eiko Koide, Terry Harrington, Elin Carlson (soprano); Rich Logan , Stephen Amerson, John Beeney, Dwayne Condon, Walt Harrah, Agostino Castagnola, Richard Wells , Jonathan Mack (tenor); Jon Joyce , Bob Joyce, Guy Maeda, Mike Geiger, Mark Beasom, John West, Kenneth Knight (baritone, bass voice); Jo Ann Turovsky (harp); Eun Mee Ahn, Al Hershberger, Miran Kojian, Irina Voloshina, Anatoly Rosinsky, Katia Popov, Robin Olson, Aimee Kreston, Ana Landauer, Laurence Greenfield, Ken Yerke, Phillip Levy , Jeanne Skrocki Evans, Julia Ann Gigante, Franklyn D'Antonio, Rene Mandel, Michele Richards, Songa Lee-Kitto, Marc Sazer, Tamara Hatwan, Mario de Le¢n, Sungil Lee, Eric J. Hosler, Norm Hughes, Jay Rosen, Joel Derouin, Kevin Connolly , Lisa Sutton, Sid Page, Richard Altenbach, Jacqueline Brand , Roberto Cani, Bruce Dukov, Clayton Haslop, Peter Kent, Natalie Leggett, Sara Parkins, Sarah Thornblade, Shalini Vijayan, Roger Wilkie, Marina Manukian, Darius Campo, Michael Markman, Liane Mautner, Dimitrie Leivici, Miwako Watanabe, Endre Granat (violin); Dan Neufeld, Shawn Mann, Victoria Miskolczy, Michael Nowak , Andrew Picken, Marlow Fisher, Matthew Funes, Steven Gordon, Cassandra Richburg, Rick Gerding, John Scanlon, Robert Becker, Brian Dembow, Keith Greene, Jennie Hansen, Roland Kato, Simon Oswell, Danny Seidenberg, Dave Walther , Piotr Jandula, Thomas Dienner, Darrin McCann, Samuel Formicola, Denyse Buffum, Shanti Randall, Robert Berg (viola); Martin Tillman (electric cello); Chris Bleth (flute, woodwinds); Louise di Tullio, Heath Clark, Jim Walker , Steve Kujala, Geri Rotella, David Shostac (flute); Steven Roberts, Ralph Williams , Gary Bovyer, James Kanter (clarinet); Michael O'Donovan, David Riddles (bassoon); Alex Iles, Steven Holtman, Phillip Teele, Jon Lewis , Alan Kaplan, Rick Baptist, Warren Luening, William Frank "Bill" Reichenbach Jr. (trumpet); Andrew Malloy (trombone); Fred W. Greene (tuba); Daniel Kelley , Phillip Yao , John A. Reynolds, David Duke , James Thatcher, Kristy Morrell, Elizabeth Cook Shen, Steven Becknell, Brian O'Connor , Mark Adams , Richard Todd , Kurt Snyder (horns); Michael Lang , Randy Kerber (keyboards); Alan Estes, Emil Radocchia, Bob Zimmitti, Steven Schaeffer, Gregory Goodall, George Doering, Peter Limonick, Donald Williams (percussion); Robert Williams & The Groovers (programming).
Audio Mixers: Joel Iwataki; Alan Meyerson.
Recording information: Todd-Ao Studios.
Editors: Daryl Kell; Joe Lisanti; Gary L. Krause.
Arrangers: Wolfram de Marco; Andrew Raiher; Ian Honeyman .
Despite being clich‚d and religiously formulaic, composer Brian Tyler has constructed an appropriately menacing score for the latest DC Comics film adaptation, Constantine. Based on the popular Hellblazer series, it follows a chain-smoking occultist and a skeptical police officer through the streets of Los Angeles in search of clues to a murder. Instead, they find a whole lot of demons and the Gates of Hell, resulting in a lot of spooky choirs, dissonant strings, thunderous percussion, and the obligatory drum'n'bass/electro piece at the end. Tyler does little to branch out from the trappings of the traditional modern thriller soundtrack, but it's serviceable enough that it never interrupts the flow of the film; rather, it barely registers, which depending on your opinion of how a score should interact with its respective piece of celluloid is either a good thing or a bad thing. ~ James Christopher Monger
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