I tend not to hear much love for this Carpenter score, but I find the mix of the piano motif of this score and the synth accompaniment to be the perfect representation of both the malignant peril of the town’s population and the sadness of the inhabitants of the fog and the murkiness of the fog itself. Creepy and eerie, it’s a great example of Carpenter’s grasp of what’s needed for an effective score.
There’s some great action scoring in this orchestral score. This particular track, however, is low-key with lots of plucked strings – including some humorous rhythms in these pizzicato strings (that are supported by light-hearted woodwinds). The latter moments of the track gives up hints of a brass fanfare for the action to follow.
This 5-minute track comes across essentially a study for acoustic guitar, wordless male voice and an unusual percussion instrument that sounds like a number of wooden blocks or poles. Bertzea appears to be a short French film set in remote mountains and the music seems to be ideal for what seems like such a remotely set film.
I first came across Erdmann’s work when I heard the impressive Russland: Im Reich der Tiger, Bären und Vulkane. This track from Abenteuer Nordsee is a short track featuring wordless female vocals that’s quite mysterious in tone.
This is a score that I don’t listen to often but looking at how many cues I have in my “favourites” list I should really listen to it more often! The strings on this cue sound quite synthy, but the drama of the cue makes this forgiveable.
This particular track is a particular highlight from this score. I particularly like the main sting line that has the meandering, ever-changing counterpoint of subtle, low strings playing in the background.
On the strength of this score I am surprised I haven’t heard more from this composer. Some great-sounding choir (male and female) and dramatic orchestral music make this sound very Russian in style. A great track!
This is a great theme from early in Chris Young’s scoring career. I tend to play the sequel to this more often but the theme spans both scores and this title track starts the whole musical world off.
I like the electronic soundscape of this track and the ominous undertones that can be heard. Jones’ work on this series isn’t something I readily enjoy and there are only a handful of episodes where I like his music. Luckily, these scores could be bought as separate digital downloads rather than the FSM boxed set and so I could pick and choose the ones I liked.
I never saw this BBC series but I got the impression that it was set in a similar period to the likes of Pride and Prejudice but the behaviour of the “lads” was more akin to current standards and behaviours. Daniel Pemberton’s music sort of confirms my latter idea because the music is of a style that is very modern, with modern rhythms played by what sounds like a standard drum kit. An eclectic mix of modern (rhythms and instrumentation) and period (select instrumentation).