laurent pic



I recently interviewed Laurent Perez Del Mar, and within the interview one of his recent scores I KILL GIANTS was mentioned, I thought it only right that I should review the score. It will be available on Varese Sarabande records this month, (March 2018). The score is a mix of both electronic and symphonic, which the composers always does so well, each of the elements whether they be conventional instrumentation or synthesised fuse and support each other. The electronic never overwhelms or dampens the symphonic colours and textures, the combination of the two mediums is carried out flawlessly and the composer creates a magical, delicate and also fearsome work. There is an other-worldly sound and atmosphere about the score, it is a delicate and emotive work that is supported and punctuated throughout by action cues and vibrant sounding motifs.



I KILL GIANTS, faithfully transfers the story taken from the graphic novel, converting it into a powerful and convincing coming-of-age movie that successfully manages to fuse mystical realism with highly emotional drama. The film tells the tale of a young girl, Barbara played by Madison Wolfe, Barbara is a something of an outsider at school, and spends most of her time Killing Giants that she is convinced threaten her home in a small town. She sets up a complex set of alarms around the town and becomes obsessed with checking these every day to ensure that they have not been deactivated, she also sets herself the task of watching for the Giants or at least signs that they are around. Barbara becomes focused on this one task and has little time for anything else in her life apart from DUNGEONS AND DRAGONS and a few old VHS tapes of Baseball games. Thus, she blocks out what is happening in her own family and has even less time for her older Sister. The musical score for I KILL GIANTS is stunning and mesmerizingly beautiful, the composer also employing to great effect the rich sound of soaring strings and a haunting Soprano solo that literally beguiles and captivates the listener. The Soprano is underlined by delicate harp and the string section which is subtle and unobtrusive,  giving the right amount of enhancement.

The action led pieces are fast and ferocious with brass and thundering percussion creating a furious sounding foundation on which the composer builds more tension and apprehension via utilisation of strings that swirl and drive onwards at pace. But even the hard and fast action pieces are given lulls and become less menacing with the composers use of fragile and emotive piano, cello and poignant strings. The composers mix of choir, soprano, symphonic and synthetic is finely and superbly balanced, and the combination of all of these components makes for an entertaining and rewarding listen. This is a score that I have been looking forward too, and I am glad to tell you, it is everything I could have hoped for. Theme laden and epic sounding with rich and lush passages that ooze dark and commanding musical statements alongside menacing and tense stabs. Recommended.