Composing duo TOMANDANDY ( Tom Hajdu and Andy Milburn) have over the past few years contributed many scores to movies that have mainly been within the horror or sci fi genres, MOTHMAN PROPHECIES, THE HILLS HAVE EYES, KILLING ZOE and THE COVENANT among them, all of which benefitted from the atmospheric and at times virulent sounds that they have created. Their latest offering is from the shark infested underwater thriller 47 METERS DOWN. This is a movie that follows in the footsteps of JAWS and its many imitators or at least big screen incarnations of blood thirsty killer sharks that would tear your arm off if given a chance, the movie is one of those oh my god I cant watch please tell me what’s happening films, and then you realise the person you are watching it with are also covering their eyes. The score is like the bulk of the works of TOMANDANDY electronic or synthesised, however although I am not a fan of sounds rather than music being utilised on a soundtrack to enhance or underline the action or create the tension required I do like several of the past works of this composing duo, and there are certain electronic scores or soundtracks that have not only serviced the movies that were written for well, but have also managed to gain popularity away from the images, I suppose it’s down to individual taste when it comes to film music, you either like synthetic scores or you don’t. Recently they worked on ONCE UPON which contained a score that again was dominated by synthetics but contained some beguiling and haunting melodies which emanated from and around a rather unsettling four note music box theme. 47 METERS DOWN is somewhat different, these are sounds or is it a soundscape? Rather than actual melodies, but in a way they are just as riveting and alluring as the melodic content of WISH UPON, of course miles apart musically speaking, because 47 METERS DOWN is forebodingly dark and tantalisingly tense with cues that are slow burning affairs that build into full blown dramatic filled pieces, which create an atmosphere that is at times chaotic and frenzied, it is a soundtrack that also contains its quieter moments, but even these interludes which are few and far between are thrown into disarray without any warning by an invasion of heart arresting jagged crashes and collisions of sounds that certainly grab the attention of the listener, It is a soundtrack that is quite cleverly written, as I say the quieter moments are torn apart and basically attacked by searing and aggressive sounding stabs and crashes, much like a shark would attack without warning and at great speed.
It is a score for a horror movie, so I was not expecting any lush strings or melancholy themes at all, it is also a soundtrack that enhances and supports the action, horror and adds much to the atmospherics of the film. If, however, you are looking for John Williams or anything remotely melodious or pleasantly lilting tone poems, boy have you got a surprise. Atonal, stressful and disturbing. The final cue of the soundtrack ACCENT, is probably the less tense example of the score, it is kind of uplifting and gives one a feeling or sense that the danger is gone the horror could be over and we are seeing the light at the end of the proverbial tunnel.