The title play the tough character Dredds and the merciless world right again. Firstly, make sure good baselines, on the other hand turn electric guitar interludes. There are, in turn, titles that are created melancholically quiet, eg No. 5 or 21. I feel this title as melancholic as it thought-provoking. For me, absolutely successful title to represent the urban madness, but in a peaceful way.
Who then wants to become the uncompromising Haudrauf types from thinking back, for example, just click on title 1 or. 3
The transition between the right to the respective soundtrack titles emotions is correspondingly versatile.
Now the problem. Some titles are (as Dredd) bass line provided from the outset with an extreme, all songs destroy. It is bass that can be a really bad because the frequency is changed from high to low and is often repeated. Although I like to have bass music, the bass is at individual Dredd titles just too much (for example, Title 2) and mercilessly skipped and avoided me. It may be that there is still good passages can be found in the course of the title, but that's not worth the trouble for me to always make the unpleasant bass lines on quietly. Maybe there people who are in such a bass, but I do not belong. My advice in any case, who Dredd buys to exercise caution on some titles and adjust the volume first on low / medium. For some titles, the bass is very nice, but for some it is as mentioned above. The composer should be here in the future more sensitivity exercise, what is acceptable and what is not.
All in all, receives the soundtrack of my 4V5 stars because the messed up bass on some titles take a bit of fun, which is loosely but compensated by other titles. By the approach of the composer a good successful exotic, which fits perfectly with Dredd and his world.