Doom Patrol (Season 1), by Colin Towns
Label: WaterTower Music
September 2020
WaterTower Music releases the Original Television Soundtrack to Doom Patrol: Season One. The DC comic books characters are reimagined in a popular TV series. Robotman – aka Cliff Steele, Negative Man – aka Larry Trainor, Elasti-Woman – aka Rita Farr, Cyborg – aka Victor Stone, and Crazy Jane are perhaps the most bizarre group of superheroes ever. Horrible accidents gave them their abilities, but also left them scarred and disfigured. Consequently, they are seldom celebrated for the good they do. The group is led by mad scientist Niles Caulder – aka The Chief (played by Timothy Dalton). The soundtrack comes from two sought after composers: Award-winning, Golden Globe and Grammy-nominated film composer Clint Mansell (Black Swan, The Fountain), and multiple Emmy Nominee Kevin Kiner (Star Wars: The Clone Wars, Narcos: Mexico). The score is available for download...
We begin with the 'Main Titles' which consist of a nice electronic Pop/Rock vibe. There is a heavy moderate beat and dragging sound, along with a trebly guitar. Sadly, it’s far too short. 'Aftermath in Cloverton' maintains the Electronica. A deep rumbling with slamming percussion and bubbling synthesiser. A very nice theme takes over. This should really be the main title music. It settles down to simple notes and cut-off sounds. It abruptly changes to an electronic African tribal-like beat with acoustic and electronic percussion. 'Robotman and His Daughter' has plaintive ringing piano sounds surrounded by weird noise. A basic electronic beat is introduced. Then an echoing multi-sound briefly makes an entrance before a whistling plays over a repeating mottled theme. 'Longing For Their Daughters' has keys sounding like dripping water washed over with a warm sound. Reverb plays a big part in this one, which is rather melancholy in its feel. Quite long and sleepy. 'Mr Nobody and Willoughby's thick synthesiser piece introduces a rumbling undertone. A moderate metal slamming surrounded by noises is overtaken by an eight note piece, which changes just as quickly to a wood and clicking arrangement, and once again we’re in fantasy land territory. This becomes dark in atmosphere and somewhat spooky. A Vangelis clattering breaks-through and becomes low and ambiguous in its direction. It’s at times jaunty, and then heavy and oppressive.
For 'Vic and His Traumas' similar sounds are utilised. This time a repeating piano piece is hounded by a stomping beat, before toning-down to atmospherics with a throbbing pulse. 'Larry and His Spirit' is another plaintive melancholy sound with a slow, bell-like melody. All the while there is an encompassing fluttering. 'Rita and Her Troubles' incorporates a slow and heart-felt beginning, which emerges into a rumbling beat and back again. 'Jane and the Underground' has a fast-moving fluttering, scraping which belongs in a nightclub. There are a few diverse sounds inherent, before it returns to a wide film score sound and segues into a sort of alien music feel. 'Nile’s Tales' brings back the slamming Electronica, before becoming a wide and spacious landscape. It’s something that at times wouldn’t be out of place in a nature documentary or study of Shaolin Monks.
'The Bureau of Normalcy' has a bass rumbling and scraping take-off into full-blown Electronica, which reminds me of Pink Floyd’s 'On The Run', from The Dark Side of the Moon. There is a creepiness to this, as well as a science fiction quality. This is a strong piece, certainly the best since track 2. Most of 'Silas Knows the Truth' is low-key, but it bursts forth from the chrysalis like it means business right near the end. 'The First Doom Patrol' has a light, jaunty tune which becomes something significantly more sinister, before changing back again to a moderate light beat. 'Vermin Patrol' is a fairly long piece. Strangely, the opening sounds like the score to a silent horror movie. A fuller mechanical sound encroaches and the whole metamorphoses into an off-kilter melody. It then repeats the whole cycle with subtle differences. 'End Credits (Doom Patrol)' is like a dance music version of 'The Main Titles'. I would love to hear a much longer version of this, which would really end the soundtrack on a significant high.
I’m intrigued by the premise of this series, and will certainly give it a look at some stage. This soundtrack unquestionably holds-up on its own merit, because until I’ve watched the series I have no idea whether or not it suits the mood. I love the use of Electronica in film and TV scores, as it is extremely versatile and can be easily layered. This is an impressive collection of soundscape tracks, marred only by a couple of similarly slow, melancholy and overly-long suites.
The Deceived, by Hannah Peel
Label: Silva Screen Records
August 2020
Silva Screen Records releases for digital download the soundtrack for the 4-part Channel 5 psychological thriller The Deceived. Created and written by Lisa McGee and Tobias Beer, the drama stars Emily Reid and Emmett J. Scanlan and follows an English student who falls in love with her lecturer. A tragic death draws her into a tangled web of lust, manipulation and betrayal. Hannah Peel is a producer, composer and artist from Northern Ireland. She primarily utilises electronic synthesiser music, but includes sound design and classical scores linking nature and science. She has previously worked on Game of Thrones, and The Last Watch – as well as for music artists John Foxx and The Maths, and The Magnetic North. She is Emmy Award Nominated and an RTS Winner...
This is a difficult one to quantify. It’s a competent and varied score, but it’s only diverse within the parameters of its genre and pace. Strings are dominant, but a hint of electronica gradually increases in balance the further we progress through the music. There are 24 tracks and, although they’re far from being only seconds in length, I’m certain that several of these could have been edited together for the sake of continuity – especially as so many of them are similar in terms of tone.
The idea seems to be to portray a sense of atmospheric mood, plaintive and sad melodies, and melancholia. A third of the way through a darkness intercedes, with low fluttering, discordant piano, rumbling electronica, a menacing throbbing/whispering, and a general sense of off-kilter madness – and even one or two horror/thriller screeches. Although these sounds are incorporated it fails to ratchet-up the suspense; in other words, these emotions fail to drag you along for the ride, instead falling rather flat. I’m sure it fits the TV drama very well, but doesn’t make enough of an impact for a stand-alone soundtrack.
There is an over-abundance of strings, and yet the synthesiser doesn’t ever quite intercede enough to make an impression. I don’t wish to criticise this too much, because it’s a solid composition. There is a church feel, a marching effect, an almost John Carpenter-like beat with a Morse Code tapping, a fiddle and a music box – so a lot of thought has obviously gone into this. The problem, I believe, is with the balance. The most cohesive piece is 'Listen to Your Mother', which incorporates jaunty keys with electronica, fluttering and rumbling coming in around the edges, which then turns to classical strings and piano.
Antichrist, by Kristian Eidnes Andersen
Label: Cold Spring Records
September 2019
Cold Spring Records releases the Original Motion Picture Soundtrack to Antichrist – an English language Danish horror film from 2009, shot in Germany – composed by Lars Von Trier. In the movie, starring Willem Dafoe and Charlotte Gainsbourg, a couple grieving from the death of their child travel to a cabin retreat in the woods in an attempt to save their marriage. But Nature here is Satan’s Church, and when their surroundings turn evil it doesn’t bode well. The score is presented as a Limited Edition ‘Eden Olive’ and Black Etched Vinyl. The tracks are: 'Intro'; 'Lascia Ch’io Pianga Prologue'; 'Train'; 'Foetus; Attic'; 'Lascia Ch’io Pianga Epilogue'; 'Credits Part 1'; and 'Credits Part 2'...
There isn’t very much to say about this one, apart from the fact it’s very dull to listen to as an isolated soundtrack. To a degree, it doesn’t matter how well the product looks aesthetically; what works as incidental music or atmospheric mood pieces doesn’t always maintain its identity once removed from its mothership. In other words, this work was designed specifically to work in conjunction with the film. All bar two of these pieces are just natural sounds and internal body recordings (I can’t wait for ‘Tummy Rumbling’ - The 12” disco Remix!). There is an alternative sombre performance of Handel’s 'Lascia Ch’io Pianga', recorded in Kastelskirken church in Copenhagen, which is very nice. However, if you want to savour original classical music then surely you go to the source.
It's interesting to note that the press release blurb lists favourable quotes about the movie itself, rather than the soundtrack.
Apparition, by Ben Worley
Label: Plaza Mayor Company Ltd
April 2020
Plaza Mayor Company Ltd releases the Original Motion Picture Soundtrack to the horror movie Apparition. Directed by Waymon Boone, whose previous projects include The Devil’s in the Details, and Sunrise in Heaven – the film is about an app that connects the living with the dead. Young people are lured to an abandoned castle which has a dark past tied to each of the people present. The music is composed by Ben Worley, who has turned in soundtracks for Pizza Time, Willing to Lie, and Red Water. This was his first feature film. He thoroughly enjoyed working on it but, by his own admission, wasn’t paid very much. As a consequence of being brought in late to the project, Ben only had a fortnight to complete the score. He had only just moved to Los Angeles and so the remit was simple instrumentation. These limitations were extended to keeping motion throughout the piece, and not to allow the audience a moment to relax.
Having knowledge of the backstory to writing and composing the score, the big question we need to ask is has he succeeded in his intentions against the odds? Well, no, not really. I can understand that time was pretty much of the essence, and working from his apartment reduced his options (what? – he couldn’t fit the Royal Philharmonic Orchestra in there?) – but there isn’t even any music present. Nothing to latch on to; no suites or musical interludes. The entire score consists of noises. No, let’s be kind and call them soundscapes. Across ten tracks we get a standard format of strings, discordant piano and intermittent screeching – accompanied by a throbbing beat, often reminiscent of Red Indian drums.
If anything, the composer shows his hand too early, throwing all of his available tricks into the first couple of tracks, so that those thereafter sound dull and repetitive. I’m certain that this could have incorporated more variation through use of easily attainable music samples. Just throwing in some oddities like electronica, guitars, pan pipes or any number of instruments would have made this much more interesting. Whilst appreciating that this is here solely to enhance the emotions of the film, as an isolated soundtrack it achieves nothing of real interest – not even a main theme for the movie. I couldn’t use a lot of the notes I made while listening to the score, because they consisted primarily of descriptive words such as rumbling, screeching, throbbing, rattling and thudding. The only track with any continuity to the sound is '#contact', which resembles complaining neighbours banging on the wall! This score proves to be a disappointment after so many excellent examples which I’ve had the pleasure of reviewing: Killer Klowns From Outer Space, and Ruin Me – to name but two.
Clickbait, by Night Kisses
Label: Plaza Mayor Company Ltd
February 2019
Plaza Mayor releases the Original Motion Picture soundtrack to Clickbait on digital CD and download. In the film, directed by Sophia Cacciola and Michael J. Epstein, Bailey is a popular ‘flogger’ who loses status to another person who is diagnosed with cancer. Bailey regains her popularity when she is stalked on a regular basis. For obvious reasons she is reluctant to report the crime. That is until she is kidnapped by a fan and has to rely on an uncaring roommate to save her. The music is by Night Kisses featuring Catherine Capozzi, Michael J. Epstein and Sophia Cacciola...
This is a mixed bag but on the whole pleasing collection of 23 tracks where the emphasis is on the 1980s synthesiser sound, but much more refined than many of that decade’s John Carpenter wannabes. It begins with 'Broken Heart', which has a nice, smooth bass beat, but the electronics turn the vocals whiny. However, it still manages to be both a Pop and Rock song. 'Laura, Who is Dying of Cancer', has strings and bass, though it follows the chords of the previous song. 'I Lost My Key', is a nice synthesiser tune which transports you back to the emergence of New Romantics. This track should really have been longer. 'Froot in Every Toot!' brings to mind Toot Sweets from Chitty Chitty Bang Bang. 'Bailey Has a Stalker', is a menacing, atmospheric mood piece with strings. 'A Rose From Chase', is a filler incorporating a jaunty, very short solo horn tune. 'Thanks For Your Bravery', starts like a great electronic pop song, but abruptly ends the moment it begins.
Now we get to what is by far the best track on the collection. 'The Stalker Part I', has heavy breathing and a great bass synth riff. It’s both atmospheric and funny, using drum rolls and discordant noises. It seems to fill in more of the sound as it goes on. 'It Was So Cute!' Is a jaunty circus-like filler. 'Emma Gets a Closer Look' is just a few seconds of Psycho slashes. 'Chase Loves Toot Strudels!' is somewhat similar to track 4. 'The Day Stalker' is like 'The Stalker Part 1', but with different sound effects surrounding the riff – and much shorter. I love the deep synth sound with voice-like notes in 'Brayden Loves Stomping on Things!' 'A New Cycle' has church-type heavenly music which becomes muffled. It’s slow, becoming more mysterious and hinting at menace. 'The Favourite Snack of Night Creepers Everywhere!' is a sort of amalgamation of 'The Stalker' theme and the 'Toots' advert. 'The Stalker Part II', begins with electronic monk voices. It becomes an alternative version of 'The Stalker Part 1'. Nice drums and sound effects.
'I Even Thought You Were a Suspect', is another obvious mixing of 'The Stalker' theme with the 'Toot' tune. 'Lair of the Stalker', has bass drum beats, heaving breathing, with the chords and subdued music of 'The Stalker'. 'The Do-Not-Call List' is only the high pitched phone ring-tone of 'The Stalker'. 'The Greatest Lives in the History of The Stalker'; a rumbling is followed by a synth version over a few bars. 'The Reflexes of the Elephant', is like an approaching storm, with rumbling and reverb. 'Beautiful Dreamer' is done in a childlike carousel manner. We finish with 'Up Above, Down Below'. This is a Rock/Punk song which is far too short.
I realise they are cues for scenes, but many of the little, few-second snippets could have been dispensed with in favour of longer and more varied suites. I love the electronica of this soundtrack; it’s just that certain ideas are returned to a few times. As mentioned 'The Stalker' has much potential and you kind of want it to be longer and more diverse. Nevertheless, this is a solid enough score.
The Farm, by Sergei Stern
Label: ScreamWorks Records
January 2019
Screamworks Records releases the Original Motion Picture Soundtrack to The Farm. Written and directed by Hans Stjernsward, the film follows a young couple who are kidnapped when they stop at a roadside diner to eat meat. Their ordeal is to endure everything an animal has to go through before being put on someone’s plate. Composer Sergei Stern’s plan was to incorporate live instruments, human voice and organic sound design – built on unconventional harmonics and unpredictable counterpoint. Stern has scored seven feature films and more than 80 short films. This is his soundtrack release debut...
The 'Main Title' is great, as you just can’t quite get a handle on it. There is percussion and some course sound effects, with music that teases on the edge of melody whilst establishing an atmosphere of weirdness and uncertainty. 'The Farm' has an old fashioned, positively pagan quality produced with strings. Uncertainty is the key word. 'Killing and Feeding' has lots of what might be described as cutting sounds, chains, knocking and dripping which turns this eerie music into a passive assault on the senses. 'Under' plays a waiting game, before strings and the occasional keys join forces with some unsettling sound effects. 'Ken Baby' features creepy, atmospheric noises which really don’t belong in the real world, and so prove unnerving. Just the slightest hint of soundscape music accompany them.
'Alec' has a throbbing pulse (I’m sure he has!), with a sound that hints at sawing phasing in and out, and becoming more electronic and fluttering. Stomping and a sort of horn-like roar takes over. 'Milk Cows' serves as a floating atmospheric piece. 'Wake Up' brings back the menace, with a number of prominent and underlying sound effects. 'Last Supper' incorporates chanting, off-kilter and ultra-low singing, and then vague music carrying a faint beat, fluttering, and the return of horror film strings and keys – but in a most original mad celebration of psychotica. 'On My Land' is an original pagan folk song written and performed by the composer. Whilst traditional in style, it still manages to sound like it’s from another time. This is heard playing through a radio in the film.
Although this is a relatively short soundtrack, it makes quite an impression and proves much more original than many longer scores. It’s very different in places to the overused techniques of the average horror piece. This one places you in an environment which is ‘not quite right’ through sound alone… and that’s no mean feat.
I Am Vengeance, by Greenhaus
Label: Silva Screen Records
July 2020
Silva Screen Records releases the Original Motion Picture Soundtrack to I Am Vengeance, directed by Ross Boyask. In the film starring Stu Bennett, Kevin Leslie, Gary Daniels and Anna Shaffer, John Gold is a mercenary who uncovers a conspiracy while investigating the murder of his best friend. The music score is by Greenhaus, an Electronic Rock band formed in 1999. The band consists of Steve Bellamy, Anthony Neale, Warren Farr and Ian Medany. It is available for Digital Download...
We begin with 'Second Chance', a nice slow and eerie piece with female vocals expands into moderate-paced Electronica, with drums and a ringing guitar sound holding the centre. There are nice weird noises for the outro. 'Vengeance' is a great track which owes a lot to the master of this type of film music – John Carpenter. The repeated melody becomes warmer and introduces some washing in and out sounds to it, before becoming more controlled. It reduces down to a throbbing beat and ghostly sound effects… before returning again. Very nice! 'Lost Brother' has an introspective start, which slowly introduces more elements to the number until bottle-sound Electronica – a quick backing – becomes more prominent. 'Devotion' incorporates a more chilling atmosphere. A gradual off-key fade-in produces a ticking beat with menacing surrounding elements. This is grand, wide music. A main thudding beat enters the fray at the 4-minute mark of a 12 minute track, and becomes more of a drumbeat throbbing. A fantastic background piece. The drums and deep throbbing synth sounds of 'Saving Rose' remind me instantly of Carpenter’s Ghosts of Mars. That train chugging vibe.
A ticking, rumbling on 'Interrogation' opens a short dramatic, atmospheric number. Sounds of foreboding precede a strange buzzing. 'One by One' has a Christine-like opening but which then adds a heavy but moderate feel. Complicated drum patterns jump in and the synth rides over the top or rumbles underneath. 'Second Chance (Reprise)' is the opening track returned to. 'Laid to Rest' is a piece of retrospection, with slight straining sounds struggling to be heard becoming more prominent. 'Hatcher Versus Gold' has a central theme which is crashed upon by great drums and simple but effective chord changes. Bits of guitar and odd sound effects surround it. 'The Stand Off (Part 4)' has an electronic piano sound with wind-like atmospherics and a fading tapping. A deep bass synth makes its presence known before vanishing almost before it starts. 'The Barn Assault' incorporates a throbbing melody with wider sounds which come and go. It builds to a fast beat which wouldn’t be out of place in certain nightclubs.
'Fix' has a threatening low tone which turns to a fluttering and eerie surrounding noises. This is nice but probably too long for what it is. 'Silhouette' rounds up the proceedings with a nice up-beat electronic Pop/Rock song with male vocals. Having two tracks with vocals places this release with one foot firmly in the mainstream pop category. Although this owes much to the original styles of John Carpenter (lets call it a homage), for a soundtrack this music is driving, melodic and uncommon in its direction. It’s everything you might want from a soundtrack. Of course, it helps if you like Electronica.
Lucifer, by Jeff Russo & Ben Dectter
Label: WaterTower Music
July 2020
WaterTower Music (Warner Media) releases Lucifer: Original Television Soundtrack to Seasons 1 to 5. The popular Netflix show, starring Tom Ellis, follows the Fallen Angel after he leaves his throne and teams-up with an L.A. detective to help punish criminals. But there are some unscrupulous individuals who seek to bring forth Lucifer’s true nature and tap into his power. The series is based on DC characters created by home grown writer Neil Gaiman and others. The music is composed by Emmy Award-winning Jeff Russo – whose previous work includes Fargo, Lucy in the Sky, Mile 22, Star Trek: Picard, Star Trek: Discovery, and Cursed – and Emmy Award-winning Ben Decter, whose work includes CSI: Cyber, We Live in Public, Lethal Weapon, Operation Homecoming, and Shut Eye...
This is a collection of thirteen songs – or snippets of songs – ranging from seven seconds (yes, you read that correctly) to just over three minutes. The well-known songs covered – or I should say, emulated – are 'Sinnerman'; 'Heart and Soul'; 'All Along the Watchtower'; 'Eternal Flame'; 'Fever'; 'Luck Be a Lady'; 'I Will Survive'; 'My Way'; 'Creep'; 'Wonderwall'; 'Someone to Watch Over Me'; 'I Want to be Evil'; and 'Crime Solving Devil'. The genres undertaken here are quite diverse, ranging from Easy Listening, Jazz, Nightclub, Soul, through to Blues and Indie Rock. The songs are sung by the series stars Tom Ellis, Lauren German and Lesley Ann-Brandt – as well as guest star Lindsey Gort, and performer Skye Townsend.
This is a bizarre idea, and I must say I don’t know what to think about the concept. The big question is why? All that has happened here is a bunch of other people’s songs have been sold on the weight of the TV series Lucifer, using the gimmick of having some of the actors sing (and I use the word advisedly, because most of these are average at best). Some great songs have been utilised, but they are not strong renditions. Having tastes leaning heavily into Rock and Metal, I fully expected to enjoy 'All Along the Watchtower' (by Jimi Hendrix) and 'Wonderwall' (by Oasis), but 'Fever' and 'Creep' were stronger. The latter, by Radiohead, is a great song and displays voice versatility and control. This version sung by Tom Ellis is not perfect, but at least he has a go.
I know a couple of people who absolutely love the show. They are among many others, so it’s a sad indictment to short change the fans when it’s really only them who will consider purchasing this collection – a release short on both running time and ideas.
Music From The Avengers Movies
Composer: Various. Performed by London Music Works
Label: Silva Screen Records
November 2019
Silva Screen Records Ltd releases Music From The Avengers Movies, Performed by London Music Works from music composed by Alan Silvestri, Danny Elfman and Brian Tyler. Not to be confused with the British Avengers serials from the 1960s and 1970s, this covers the Marvel Studios superhero movies Avengers Assemble, Avengers: Age of Ultron, Avengers: Infinity War, and Avengers: Endgame. The music is available for download...
We begin with the 'Marvel Studios Fanfare', which is the by now instantly recognisable opening for Marvel film titles. As this is only 36 seconds long, it would have been nice to have heard an expanded version. Tracks 2 to 5 explore music from Avengers Assemble. 'Avengers' has a military-like beat with accompanying fanfare, a theme often returned to in other Marvel superhero films. 'One Way Trip' has sadness and drama hand-in-hand for the first half before, suddenly, it’s action stations with heavy beats and building strings and brass. 'A Promise' is an acoustic guitar and strings piece, which has a sensitive and mild build-up. This incorporates the main Avengers theme from track 2.
On to The Age of Ultron. The 'Title' sequence is short and dramatic, whereas 'Heroes' has a horn-oriented drive which then returns to the main Avengers theme. 'Avengers Unite' includes nice variations on the dramatic score, but it’s too short. 'New Avengers' (no, not the Steed, Purdy and Gambit one) has an almost incidental start but soon turns into one of the nicest short suites, definitely a favourite. On to Infinity War. 'Help Arrives' begins with the Avengers main theme, but this is longer and incorporates several atmospheres enveloped by a major suite. It’s the first time that we hear the lighter side, and it’s very welcome in order to inject a little change in tempo. 'Even For You' carries emotion, but somewhat slaps you round the face with it. 'Forge' features a nice building of suspense piece. 'Infinity War' handles the emotion in the music really well, although it’s really short and could have been expanded to cover the devastating events portrayed at the conclusion of the film.
We finally arrive at Endgame – essentially the second half of the Infinity War saga. 'One Shot' returns to that military beat of the Avengers and S.H.I.EL.D. theme, offering us a slightly fuller version. Even 'Portals' contains the Avengers theme, which is well over-cooked on this collection. 'The Real Hero' is a nice introspective suite, which also carries a lot of inherent emotion. With all the bombastic elements in mind, this clever soul-tearing track is easily the most atmospheric of the bunch. 'Main on End' wraps things up to great dramatic effect.
The music compositions are great. There’s no doubting that. They suitably accompany and even enhance the action and drama on the screen. So, I have to ask myself what is missing. Why isn’t this knocking my socks off? It can only be that it isn’t produced by the same orchestra of instrumentalists as the impactful original. But it’s not just that. It’s missing that dynamic high quality sound we have come to expect. To me, this comes across as a little flat, a second-rate copy. It’s a huge disappointment, because I was expecting so much. Had a little more time and expense been spent on the final recording and editing product I’m sure this could have been close to the original. Another improvement would have been to offer a cross-section of Marvel film music which would surely have proved more diverse in terms of style and content.
Track listing:
01 - Marvel Studios Fanfare - Michael Giacchino
02 - Avengers (From "The Avengers") - Alan Silvestri
03 - Assemble (From "The Avengers") - Alan Silvestri
04 - One Way Trip (From "The Avengers") - Alan Silvestri
05 - A Promise (From "The Avengers") - Alan Silvestri
06 - Avengers Age of Ultron Title (From "Avengers: Age of Ultron") - Brian Tyler
07 - Heroes (From "Avengers: Age of Ultron") - Danny Elfman
08 - Avengers Unite (From "Avengers: Age of Ultron") - Danny Elfman
09 - New Avengers - Avengers Age of Ultron (From "Avengers: Age of Ultron") - Danny Elfman
10 - Help Arrives (From "Avengers: Infinity War") - Alan Silvestri
11 - Even for You (From "Avengers: Infinity War") - Alan Silvestri
12 - Forge (From "Avengers: Infinity War") - Alan Silvestri
13 - Infinity War (From "Avengers: Infinity War") - Alan Silvestri
14 - One Shot (From "Avengers: End Game") - Alan Silvestri
15 - Portals (From "Avengers: End Game") - Alan Silvestri
16 - The Real Hero (From "Avengers: End Game") - Alan Silvestri
17 - Main on End (From "Avengers: End Game") - Alan Silvestri
The Prodigy, by Joseph Bishara
Label: Sony Classical
February 2019
Sony Music Masterworks releases the original motion picture soundtrack to the psychological horror film The Prodigy. Directed by Nicholas McCarthy, the movie has Taylor Schilling playing a mother, Sarah, whose young son Miles is suspected through his behaviour of being possessed by an evil entity. She is caught between the instinct to protect her son and seek help. Deciding to delve into the past, she begins to lose touch with reality. The composer Joseph Bishara has previously worked on the scores for The Conjuring 1 & 2, Annabelle, Insidious 1, 2 & 3, and The Other Side of the Door...
I must say that, based on Bishara’s prolific background of recent prominent horror scores and the fact he uses influences of Classical, Punk and Industrial noise, I was expecting much from this release. Apparently, this was his “opportunity to explore the multi-life patterns of a soul’s journey, and bridging that connection into the real world where the struggle for survival takes place.” Hmm... This release is a little disappointing, to say the least. I was anticipating longer and more melodic suites; definitely something more exciting and varied. I realise that much of this is incidental music, meant to enhance the action and emotion on the screen, but as a separate listening experience it’s severely lacking.
I think this approach attempts soundscapes interspersed with surprises, but in doing so somewhat restricts itself. For example, 'Took My Hand' (track 2) jumps straight into horror territory with sudden jolts and slams, pauses and further jolts. This seems to be the order of the day. There are quiet piano and strings, with occasional woodwind and percussion, and the odd keyboard breaks. Only the final track, 'Hands Are Calling', offers up an entire orchestral moment – accompanied by a brief hummed voice.
Looking back at my notes, there seems to be one repeated process. I have written words such as ‘screeching’, ‘knife-like slashes’, ‘jolts’, etc. This probably makes my point that the soundtrack is sadly more about effect than substance. I have reviewed so many strong scores recently, which is undoubtedly why this one comes across as such a let-down.
Rawhead Rex, by Colin Towns
Label: Silva Screen Records
October 2020
Silva Screen Records releases the Original Motion Picture Soundtrack to Rawhead Rex, written by classic British horror author Clive Barker – most famous for creating Pinhead in Hellraiser. Directed by George Pavlou, the movie from 1986 is about an ageless demon still alive in 1980s rural Ireland, which escapes the trappings of hell to be unleashed on a local farming community. It is up to an historian to find a way to bring a halt to Rawhead’s bloody rampage. The music is composed by Colin Towns, who is also a pianist, songwriter, arranger, producer and collaborator. His previous work includes Full Circle, The Puppet Masters, Maybe Baby – and for TV, Foyle’s War, Doc Martin, and Pie in the Sky. For this one Towns visited the film set to take in the atmosphere, and met the actors. The score was recorded at CTS in London, and incorporated a sixty-piece orchestra and electronics. The format is available on vinyl, CD, and for Digital Download...
Rawhead Rex was one of the short stories which made up Clive Barker’s original Books of Blood. It was one of many of his tales which were converted for the big screen, but was not everything it could have been. The music is quite varied, though there exists a theme of peace and tranquillity interrupted by harsh and dramatic discordance. The 'Rawhead Rex Main Theme' has elements of Jaws from the outset. A piano is trumpeted over by a brass orchestral sound – loud and threatening. It turns into a nervy march. 'Welcome to Ireland' has jaunty flourishes. It’s not quite a melody. The orchestra builds but doesn’t really go anywhere. Only near the end does it sort itself out from the confusion. 'Rawhead Appears' allows taunting distant horns to introduce the high pitches common to horror. A running up and down of the scale and the stomping pace of bass drums precede a short roar. 'Nicholson’s Farm' has a distant ring come and go, before the kettle drums return to a two-tone screeching.
'Just You Wait' includes a raw noise and a low electronic bass, which is joined by a piercing ringing. The interlude of a singing choir boy fades in and just as quickly out. This one goes through several phases – mostly with disconcerting sounds and rumbling, teased by lighter moments. A diverse array of electronic sounds are utilised here. 'Boy Runs For His Life Through the Wood' incorporates wet, flickering and rasping noises, accompanied by a thick synth sound. The ringing and shrieking returns. There is a dark portentous pursuit sound. 'Minty Gotta Pee' produces a country freedom flourish, with harp, pipe and piano. A feeling that all is not right enters halfway through, and it all becomes darker and more oppressive. 'The Vicarage' has innocent church music become rumbling and threatening. 'The Family is Leaving' has a piano and string piece become grand and celebratory but with foreboding undertones. It flicks between light and shade.
'Gussing Opens Book' is a dark movement, with tone and electronic atmospheres. 'Howard Discovers a Strange Glass Window in the Church' has light sounds lure us into a false sense of security, before hitting us with clicking and rattling soared over by heavy rumbling and a weird beat. A sound like a colony of screeching bats is taken over by a harrowing cacophony of angry sounds. 'Declan Goes Wild in the Church' issues a machine-like sound, and a backbeat is joined by a thriller-type pacing with orchestra and electronica. 'Howard Discovers the Power of the Stone' has a heavy stomping pace. 'Rawhead Rex End Credits' is similar to the 'Main Theme'. We end bizarrely, with a boy soprano rendition of 'There is a Green Hill Far Away'.
With fifteen mostly long tracks, you couldn’t complain about not getting your money’s worth here. Whilst not being the best soundtrack I’ve reviewed, it is a competent and pretty solid music score outing. I found it strangely soothing. I fell asleep whilst listening and had to backtrack. There are no full suites as such, but the whole creates all the pertinent moods you would want from a horror film without being too cliched. I found it to be great background music.
She Dies Tomorrow, by Mondo Boys
Label: Milan Records
August 2020
Milan Records (Sony Music) releases Neon’s Original Motion Picture Soundtrack to the darkly comedic psychological thriller She Dies Tomorrow. In the movie directed by Amy Seimetz (who also writes, produces and acts), Amy wakes up convinced she is going to die the next day. Her life begins to unravel as her delusions become contagious to those around her, and they all descend into tantalising madness. The score is composed by Mondo Boys, who knew the score had to handle the depth of an existential crisis without omitting the subtle comedy. They liaised with Amy and went for an indulgent dark opera. She was so impressed by one of their tracks that it became an inspiration for filming the rest of the movie...
We begin with 'Le Portail Ouvre', an angelic opening full of hope and aspiration, with the hint of brief choral voices. 'Requiem, K.626 Lacrimosa' in main encompasses a well-known operatic classical piece by Wolfgang Amadeus Mozart. It reminds me of the music used in Endeavour, the TV series about a young Morse. 'Desert Through the Door' has a Celtic feel to it, with stark wood-knocking sounds and angelic voices. 'Le Portail I' is a melancholy, atmospheric piece – again with the voices. 'Desert from the Car' incorporates a simple theme with pagan percussion noises. 'Le Portail II' has a simple bass sound, but is the first track to apply any real drama to the proceedings. 'Desert from a Dune Buggy' is so similar to 'Desert Through the Door' that it’s by definition unnoteworthy. 'The Morning After' includes a clock-like regulator with a three-note repeated sequence. We conclude with 'Requiem, K.626 Lacrimosa (Reprise)', another section of track 2’s Mozart music.
I have to wonder why the two main pieces which feature Mozart have not been edited together as a longer suite. All of these tracks are pretty short and, as I’ve mentioned in a couple of other soundtrack reviews, it would have been nice to have had the composers restructure some of the similar excerpts into lengthier music which has continuity for the soundtrack and can be appreciated as a completed whole. As it stands, this score has some nice little samples but comes across as having no real substance. It’s very similar at each point, with only slight variations or sound effects. I’m intrigued by the film itself, which sounds like my sort of thing; however, the lack of variation and length here leaves the release found wanting.
Skeleton, by John Carpenter
Label: Sacred Bones Records
August 2020
Sacred Bones Records releases the single 'Skeleton' b/w 'Unclean Spirit', by John Carpenter. It is available on vinyl, to download or Stream. John Carpenter is a film director who has written and performed the music soundtracks to the vast majority of his movies – including Assault on Precinct 13 (1976), Halloween (1978), The Fog (1980), Escape From New York (1981), They Live (1988), In the Mouth of Madness (1994), Halloween (2018), and many more. He has also released two CDs of film-style music: Lost Themes (2015), and Lost Themes II (2016)...
I am a long-time big fan of John Carpenter. He is my favourite film director of all time, by a long way. What he has managed to achieve, mostly on a very restricted budget, is truly remarkable – especially as he has written or co-written the majority of the scripts, and produced the scores. It is tantamount to his skill and proficiency that none of them have ever failed to make a profit at the box office and, furthermore, Halloween was the biggest grossing independent film for many years. Even were he not famous for his filmmaking, he would be notable for his music mood prowess, which enhances his movies further still and make them identifiable purely by their main themes.
I could bore the hind legs off a donkey with what I know and love about John Carpenter (I have all the soundtracks and the films on different formats), but let’s concentrate on the new non-movie theme, 'Skeleton'. Carpenter sticks to what he is best at – and certainly recognised for – electronica and synthesiser music, latterly injected with electric guitar for added impact. A trademark rattling, throbbing is washed over by a warm synth sound. It is joined by a beat, a subtle ringing and electric guitar noise. The second time around it’s slightly different, being led by piano. The whole piece builds and has constant movement. In that respect it has some similarities to the Main Theme from Ghosts of Mars. However, if anything it’s better, and refuses to outstay its welcome with a duration of approximately three minutes.
'Unclean Spirit' is quite different, in that it is low and foreboding but strangely melancholy, too. The groundwork is sprinkled with atmospheric sounds, and is joined by electric piano. The central piece begins reasonably high and emerges much lower, injecting a couple of sequenced "Ah, Ah’s". It’s hard to do significant justice to work like this. There are lots of intrinsic eccentricities which fit perfectly but are difficult to describe. Let me simply opine that the great man has lost none of his prowess in ‘feeling’ a piece – even when there is no film to inspire the mood or direction.
This release is a taster for Carpenter’s next CD, Lost Themes III: Alive After Death, released in February 2021. Do yourself a favour: if you haven’t heard any of his music, try the Anthology album of his film music, or Escape From New York for its diversity (although I prefer The Fog for its creeping malaise). For original non-film music, the first Lost Themes album is particularly good, as it’s original but at different points puts in short teasers for the fans to recognise (“Hey, that little bit is from his Prince of Darkness score!). I have seen John Carpenter and his band live on two separate visits to London, playing his themes to screened montages, as well as promoting the Lost Themes albums. The guy is 72 years old now, but let me tell you he can still rock with the best of them. Can’t wait for the new album.
Stargirl: Season 1 TV Soundtrack, by Pinar Toprak
Label: WaterTower Music
August 2020
WaterTower Music (Warner Media) releases Stargirl: Season 1: Original Television Soundtrack. From the DC Comics beginning in 1991, Stargirl portrays the first superhero team, Justice Society of America, and in particular High School student Courtney Whitmore, as she inspires others to confront villains from the past. The character is inspired by creator Geoff Johns’ sister, who sadly died in a plane explosion. Composer Pinar Toprak – originally from Turkey before moving to America – has previously scored the movie Captain Marvel, the Superman prequel series Krypton, and mega-selling video game Fortnite, among others. She has won various awards for her music and been shortlisted for an Emmy and Academy Award.
'The Justice League of America' kicks-off the proceedings with a pacey short piece. 'Pat Was Right' has a sad string section, with a pattering sound that turns into an Avengers like teaser of a full-blown theme, before easing-off again into piano tinkling. 'Rescuing Starman' is dramatic and incorporates hints of voices. I particularly like the little weird background noises.
'Friendly Folks' is a light interlude with a simple but effective melody. 'JSA Files' has a tentative start with much going on in the background. The first hint of an orchestral score. The music of 'The Cosmic Staff' fits the piece perfectly, easing under the narrative of the story. It knows exactly when and how to pick up the pace slightly, becoming more human and feeling. Music to make a person believe in themselves. 'Brainwave Calls Icicle' incorporates sad strings once more, with dark moments. 'Pat Reviews Files' has an edgy espionage-type sound, with dark rumblings and a light conclusion.
'Brainwave Threatens Courtney' includes fluttering strings and a melody inspiring intrigue. There is dark rumbling and a portentous heaviness. 'Leave Blue Valley' is another feeling string moment of melancholy. 'Elegy For Joey' has the sad strings, but in some ways becomes something close to a Western theme. 'Rex and Wendi Leave' portrays a galloping building of tension, which again switches to melancholy strings, before the drama ensues. 'Rick Wears the Hourglass' is piano and strings. 'Beth Meets Chuck' is a jaunty piece, whereas 'JSA Vs. ISA' has a moody, throbbing sound which evolves into a Holst-like dramatic moment.
'I’m not Stargirl' is a slow, melancholy piece. Keys and touches of electronica make this a simple but heartfelt number, with a late rumble of dark foreboding. 'Henry Vs. Henry' is a continuation of 'I’m not Stargirl', but soon takes-off with a searching horn melody and fluttering accompaniment. 'Fighting Sportsmaster & Tigress' – is an up-tempo beat which can’t help but make you connect with other heartfelt superhero battle scenes.
'ISA Manifesto' includes sounds which switch between mild strings and piano to off-kilter uncertainty, through to a mood of danger. 'Justin Needs Help' is a horror mood: dramatic with monk voices and religious aria undertones. 'The Christmas Gift' is a short linking piece. We wrap-up with 'Stargirl Destroys the Transmitter', which has dramatic themes in keeping with the superhero genre.
There is much to admire here but, for me, it’s missing a longer and more coherent suite of the main themes. This could quite easily have been done with the last track, the action and emotion playing-out at length to leave a lasting impression. Overall though, it’s a better than average score.