If you find yourself saying that 'this score sounds like Hans Zimmer but what do you mean it's not Hans Zimmer', don't worry, that has been most everyone's reaction. Face/Off is composed by another composer walking in the shadow of the master of electronic scores. And, likewise, it doesn't quite achieve the level of excellence that Zimmer's scores have set, but it's not to far off.
It encompasses a main theme, that has promise but by following it with loud crashes and riffs from an electric guitar it loses some of its effect. While in some cases that type of music is effective, it is more effective to use a single orchestral or instrumental passage, similar to what Jerry Goldsmith has done on occasion in the past few years. Even in Crimson Tide, which pretty much set the standard for such music, sudden moments of action were marked by the climax of a male chorus or even an electric cello.
In regards to Face/Off, its theme is there, and it's quite good but it isn't as much as it could have been. Instead, there are a variety of themes to listen to. Most of the music contained on the soundtrack was not readily listenable while watching the movie for the simple reason that there was so much action going on on screen that it was impossible to distinguish a gunshot from the score. While a pretty good soundtrack nonetheless, it still doesn't capture the feel of the film to the full extent it could have but it is still good. Following up the standards set by such popular composers as Hans Zimmer is an unenviable task but Powell follows the path fairly well. A little more practice and he'll be driving down the road in the center and not weaving so much.
Total time: 41:43
1: Face On (4:57) **
2: 80 Proof Rock (4:29)
3: Furniture (7:12)
4: The Golden Section Derma Lift (3:15)
5: This Ridiculous Chin (6:52)
6: No More Drugs for that Man (7:28) *
7: Hans' Loft (3:37) *
8: Ready for the Big Ride, Bubba (3:54)