KISS THE DEVIL

I hope that like some collectors I am not blinkered or anti when it comes to new composers, after all if we did not listen to the likes of Brian Tyler, John Ottman and others of this generation where would film music be now. I am always pleased to see a new release from Movie Score Media or their Scream works label as it invariably will be by a lesser known composer or a completely new one. The Screamworks latest release is KISS THE DEVIL IN THE DARK, music by Austrian born composer Gerrit Wunder. Wunder studied classical composition and also jazz composition at the University of Vienna where he also studied, music technology and film music. He has written music for a number of major European and American film productions and also writes for TV stations and commercials. He worked with veteran composer Mike Post in the States on LAW AND ORDER and also collaborated with Rupert-Gregson Williams on POSTMAN PAT-THE MOVIE and is now involved in scoring a new western TV mini series DEAD MEN. The score for KISS THE DEVIL IN THE DARK, is not your typical horror score, yes it is dark and at times sinewy, gothic sounding and creepy but it also holds within it a more romantic and richly melodic side. The composer utilising strings, brass, percussion and also choir to great effect, there is also a slightly upbeat and hauntingly affecting side to this work with solo violin creating an off beat and rather unsettling mood. I love the way in which the composer creates a dark and somewhat foreboding atmosphere but alongside this he intermingles a melodic and reassuring musical persona. This for me is a score that evokes the works of past Horror score masters such as Les Baxter, James Bernard and to a degree Harry Robinson, by this I mean yes it is a horror score but it also contains a lushness and a lavishly romantic sound that is fragile and delicate. In some ways it also reminds me of the early works of composer Christopher Young as in HELLRAISER and also HAUNTED SUMMER.  I can also hear a style that is not dissimilar to the one employed by  Daniel Licht  on CHILDREN OF THE NIGHT. Wunder also utilises  harpsichord giving the score a chill and a spidery sounding effect which sends shudders up ones back when listening to it. There are tender and subtle tone poems interwoven into the score which appear as is from nowhere, adding mystery and an atmosphere of mysticism to it. The end theme is particularly attractive again Les Baxter comes to mind with a lilting theme performed over a slightly upbeat backing.  An accomplished work and one which I highly recommend, this is a must for any self respecting soundtrack collector.

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