The first time I came across this duo of composers was when they collaborated on the children’s spoof horror film THE LITTLE VAMPIRE, their score for this movie was I thought very good indeed, so when this score was released a few years back I was curious to see how they had developed and progressed within the area of scoring movies. THE THIEF LORD is again a children’s adventure, and the pair of composers have taken the project by the horns and gone hell for leather on writing a dramatic and powerful soundtrack. Similar in many ways to Bruce Broughton’s YOUNG SHERLOCK HOLMES, the score includes all manner of styles, dramatic, romantic, comic, threatening and foreboding. It is a wonderfully melodic work that utilizes all sections of the orchestra effectively and has female voice, children’s choir ,choral support and little snippets of electric guitar rifts throughout. It opens with a lush and highly romantic sounding theme entitled VENICE this is overflowing with a sense of grandeur and is wistful and sweeping it’s sound and ambiance which is created by the string section of the LONDON SYMPHONY ORCHESTRA performing a very strong central theme, their performance is enhanced and supported by brief but effective punctuation’s from the brass section, wordless female voice, delicate sounding woods and a fleeting and sparing use of piano. Track number 2, THIEF LORD THEME AND CHASE, is an excellent cue, where the composers put the orchestra through its paces, initially increasing the tempo and then dropping it back down at the blink of an eye. It is somewhat martial sounding at the off set but then turns into a more dramatic and urgent composition with synths being brought into bolster the already large musical presence of the LSO. Track number 3, BO’S RESCUE, is again an excellent track, somewhat James Bond sounding in its style but very effective and certainly attention grabbing. Track number 4, THE APPARITION is a more threatening sounding cue, with the accent being on the mysterious and dark. Track number 5 THE HARTLIEBS is a short lived but interesting cue, pizzicato strings being its main instrumentation. One of the scores highlights has to be the subtle and poignant sounding BO’S THEME track number 5, again the composers bring to the fore female voice, woods and underlying strings, which occasionally swell into a full blown rendition of the central theme. But to actually attempt to select a stand out track would be very difficult indeed as every cue seems to contain something that catches the ear. This is an interesting and certainly an entertaining score, it has within its running time many styles and numerous haunting compositions, and can I think be compared to the work of composers such as Elfman, Broughton, Morricone, Barry and Kalijbo. This is a score that I recommend you seek out.

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