THE DARKEST MINDS.

 

DARK NIND

 

Benjamin Wallfisch is most certainly a composer of many talents and one who employs a varied selection of styles, colours and textures within his film scores. THE DARKEST MINDS is no exception and benefits from the Wallfisch treatment. The movie which is action led and science fiction, contains a soundtrack that overflows with a rich and wonderfully thematic content. Wallfisch has created a score that is a combination of both symphonic and electronic, but it is a movie that I think called for a score that was a combination of the two mediums, because of its ingenious and somewhat disturbing storyline. The thing is I also believe THE DARKEST MINDS is essentially a love story and this too is reflected in the romantic and emotive writing of Wallfisch, who manages to meld and fashion symphonic and electronic to bring forth a beautiful and at times bitter sweet soundtrack. The composer also makes effective use of female wordless voice in a very similar fashion to that of Morricone in some of his earlier soundtracks. The melancholy, the emotion and the wonderfully poignant atmosphere shines through in almost every cue and I have to say it is a quality work and one that I listened to three maybe four times in a row when I first heard it. This is another great soundtrack from this now highly respected film music Maestro, just one complaint there are a couple of cues which maybe have been influenced by certain composers who are working in movies today and composers that Wallfisch has worked with in recent months, and although effective within the film the cues do tend to be repetitive and fairly un-inspired, having no real fabric or development, but rather just crashing along without much direction but saying this there are other action cues which work extremely well both in the movie and away from it.  Apart from this I think that THE DARKEST MINDS will be a soundtrack that collectors will savour, enjoy and return to, tracks such as ZU’s DREAM is a fusion of the symphonic and the synthetic, but in this case it does work and builds the tension and creates an atmosphere and mood which is dark and fraught with danger. But, then you have tracks like HOME, this is a poignant and highly emotional piece, performed by strings and piano, it is one of those cues that one knows is going to be good as it begins. Lilting piano underlined by strings, open the proceedings, but the string section soon come into their own the core theme of the piece beginning to swell and become a dominant feature within the composition, it them fades back to low and more down tempo strings that are joined by piano, which punctuates as the track moves along. In many ways this is the style I prefer to hear from the composer, it is so mesmerising and tantalizing that it renders the listener somewhat helpless and silent, simply because the music is so tender, sweet and attractive. THE DARKEST MINDS is a soundtrack I will recommend, but for the romantic and more melancholy parts as opposed to the harsh sounding synthetic action cues that I mentioned.