Overview

Kaos Studios' Frontlines: Fuel of War is a first-person shooter set at the outbreak of a third World War. The in-house composer at the developer, Matthew Harwood, made his major video game debut on this title. Aware of the stagnation of military orchestral scores, he decided to incorporate some experimental approaches to his score. Following an incomplete physical release, a 25 track digital soundtrack was made available for the game.

Body

Matthew Harwood quite effectively represents the scenario of the game with the "Main Theme". The composer captures the military tone of the soundtrack with typical staples like serious strings and heroic brass. He hybridises these orchestral samples with moody electronic beats that reflect the futuristic setting. While this combination is fitting and skilfully handled, it has been done to death in other cinematic scores. Thankfully, the creativity of this otherwise vanilla theme is lifted by the late addition of ethereal chorus and thrashing rock riffs. Such additions give a taste of the deviant stylings that come to dominate the score.

It's with the more atmospheric tracks that Harwood starts to express a unique voice on the soundtrack. Most notably, "Heat" rejects all orchestral instruments in favour of cutting-edge beats and percussive forces. Harwood still manages to hook listeners with a web of polyrhythms, while creating a raw and immersive environment in the game. In fact, it reminds me somewhat of Amon Tobin, but it is a bit less wild. Though somewhat misplaced at the centre of the track, "Main Menu" is also excellent as a secondary theme on the soundtrack. During its three minute development, Harwood elegantly mixes orchestra samples and electronics, bright and reflective parts to subtly immersive effect. The final result is quite an encompassing and refreshing theme.

Among the action tracks, Harwood continues to reflect his talent for dramatic electro-orchestral scoring on "On the Offensive" and "Armored Cavalry". Both combine the trademarks features of other military soundtracks with aspects representing the detailed scenario and Harwood's personal fingerprints. Of the more transient entries, "Road Block" is also exciting with its use of fast-paced beats and disorientating panning, while "Industry" takes the distortion and percussion up a notch. There are also a few orchestral action tracks, "Temper" and "Jumping In", used during the most intense scenes in the game. While they don't quite parallel those of Homefront, they're still enthralling listens and the brass melody, in particular, achieves amazing heights in the former.

There are also two lyrical songs present on this release. A collaboration between Matthew Harwood and Scott Cresswell, "Closer to Home" is an original rock anthem to capture the commitment of a soldier. The vocal parts emphasise the a major contrast between the soft and contemplative verse, with the heavy and motivating chorus. Some may also enjoy the social commentary, which is still relevant for today. The other track, "Solid Objects", is by brotherly duo Skunk Tux. It's a motivating rock song with heavier instrumentals and a greater country influence. However, it is less tailored for the game itself and seems more inspired by the band's life in Texas. It will be an enjoyable addition to the soundtrack for most nonetheless.

Summary

Overall, Harwood's soundtrack for Frontlines: Fuel of War manages to offer a solid mixture of typical military influences with experimental electronic stylings. It isn't quite as encompassing or well-produced as Homefront, but it is a mostly an entertaining and fulfilling listen. Still available through THQ and Sumthing Else, this digital release is worth a listen for those looking for a mix of old and new.

Overview

Kaos Studios' Frontlines: Fuel of War is a first-person shooter set at the outbreak of a third World War. The in-house composer at the developer, Matthew Harwood, made his major video game debut on this title. Aware of the stagnation of military orchestral scores, he decided to incorporate some experimental approaches to his score. A 17 track soundtrack was released with the special edition of the game ahead of a more complete digital release.

Body

Two lyrical songs headline the special edition soundtrack for Frontlines: Fuel of War. A collaboration between Matthew Harwood and Scott Cresswell, "Closer to Home" is an original rock anthem to capture the commitment of a soldier. The vocal parts emphasise the a major contrast between the soft and contemplative verse, with the heavy and motivating chorus. Some may also enjoy the social commentary, which is still relevant for today. The other track, "Solid Objects", is by brotherly duo Skunk Tux. It's a motivating rock song with heavier instrumentals and a greater country influence. However, it is less tailored for the game itself and seems more inspired by the band's life in Texas. It will be an enjoyable addition to the soundtrack for most nonetheless.

Moving to the instrumental tracks, the selections are hampered by a number of major omissions, including the "Main Theme" present on the full release. Instead the "Main Menu" themes serves as an encompassing theme to capture the tone of the soundtrack. During its three minute development, Harwood elegantly mixes orchestra samples and electronics, bright and reflective parts to subtly immersive effect. The final result is quite refreshing, given it combines familiar staples of military soundtracks with more creative sounds tailored towards the scenario.

Among the more atmospheric tracks, "Heat" rejects all orchestral instruments in favour of cutting-edge beats and percussive forces. Harwood still manages to hook listeners with a web of polyrhythms, while creating a raw and immersive environment in the game. In fact, it reminds me somewhat of Amon Tobin, but it is a bit less wild. "K.I.A." and "Hindsight" are also excellent examples of electronic underscoring. They won't appeal to everyone on a stand-alone basis, but they're certainly more creative and interesting than most ambience out there.

Harwood continues to reflect his talent for dramatic electro-orchestral scoring on "On the Offensive" and "Armored Cavalry". Both combine the trademarks features of other military soundtracks with aspects representing the detailed scenario and Harwood's personal fingerprints. Among the action tracks, Of the more transient entries, "Road Block" is also exciting with its use of fast-paced beats and disorientating panning, while "Industry" takes the distortion and percussion up a notch. There are also a few orchestral action tracks, "Temper" and "Jumping In", used during the most intense scenes in the game. While they don't quite parallel those of Homefront, they're still enthralling listens and the brass melody, in particular, achieves amazing heights in the former.

Summary

Overall, Harwood's soundtrack for Frontlines: Fuel of War manages to offer a solid mixture of typical military influences with experimental electronic stylings. It isn't quite as encompassing or well-produced as Homefront, but it is a mostly an entertaining and fulfilling listen. That said, this disc isn't a great bonus with the special edition of the game, as it features numerous omissions. It is better to purchase the more widely accessible digital version of the soundtrack isntead.