Category Archives: Reviews

SOUNDTRACK SUPPLEMENT TWENTY TWO.

Coming on the 6th November from Silva Screen records is the affecting and enticing musical score for LITTLE DRUMMER GIRL by composer, Cho Young Wuk, it is taken from the up and coming BBC series that is based upon the writings of John Le Carre and his 1983 novel of the same name. This is an alluring soundtrack, inventive as well as being original. The composer creating tense and dramatic interludes that are apprehensive yet compelling.

The composer also fashions lilting and mesmeric themes throughout the work, but it is the tense and somewhat understated cues that for me held the attraction. I thought that it evoked the music written for so many shady and intriguing tales such as THE IPCRESS FILE and has to it a haunting, mysterious and sinister style, similar to another John Barry score SÉANCE ON A WET AFTERNOON,  it is as if the music is actually stalking the listener, it conveys a thick and threatening persona, with the composer weaving a musical web of the uncertain that also manifests an atmosphere that is claustrophobic and alarming in places. But, although the score is a fraught and uneasy one, there are within the work numerous moments of thematic examples, I would also liken the style and sound of this soundtrack to the dark and foreboding music of Bernard Herrmann.  It is a brooding and at times sombre sounding score, which although contains lighter moments never really allows itself to become fully melodic. I have said many times before that I am a fan of these types of scores, them being understated, subtle and non-intrusive but at the same time highly supportive of the scenarios on screen. For the most part it is a symphonic work, but there are supporting electronics that help to create the dark and chilling side to the work. Well worth a listen when it is released.

ROBIN HOOD PRINCE OF THIEVES was a rip roaring adventure, or so they told us, but it had so many faults and was filled with some really hammy acting or at least attempts at acting, Costner was totally miscast, and so for that matter were the majority of the cast, maybe with the exception of Alan Rickman. The only saving grace from this Hollywood hatchet job on a noble British legend was the musical score, but even this I had reservations about at the time of the films release. I did feel it was lacking in most areas, but after a while and now years afterwards I feel that maybe I was unfair, and maybe a little inpatient and wanting to hear something more Korngold. But we can’t always have what we want, and Michael Kamen’s score for the movie is I think well written and also suitably noble sounding and filled with drama and adventure. A four disc set is now available from Intrada records of the score and it includes many extras from the work, it beggars belief that there could be so much music written for one movie, but this is a set that I think you must have, it shines new light upon this score and also has made me think of it in a more favourable way.

The rousing theme penned by Kamen still resonates and excites setting the scene for the sweeping, romantic and driving score that is to follow. So, thank you Intrada for this release, and also for waking me up to what I had obviously missed many years ago when I first heard it.  On listening to the music through including the extras and formerly unreleased material, I am no of the opinion that this is an epic work, awork that is overflowing with themes and robust sounding compositions, an entertaining soundtrack, which has been given a new lease of life via this four CD set.  

John Addison is a composer who I grew up with, his score for THE CHARGE OF THE LIGHT BRIGADE, was a favourite of mine. He was an abundantly talented composer, and worked on many movies throughout the 1960’s and 1970’s. In 1976 he scored the mystery thriller, THE SEVEN PERCENT SOLUTION, which was directed by film maker Herbert Ross, it starred Nicol Williamson as Sherlock Holmes, Robert Duvall as Dr Watson, Alan Arkin as Sigmund Freud and Sir Laurence Olivier as Holmes’s nemesis James Moriarty. With a strong supporting cast that included Joel Grey, Jeremy Kemp, Samantha Egger and Charles Gray. At last this charming and sweeping soundtrack is available via Spanish label Quartet, who have made a really good job of the re-mastering and the presentation of the release.

Although at times one can identify little quirks of orchestration and stylistic traits of Addison, it is not straight away evident that it a score by this eminent composer. It is probably one of the most rewarding listens that I have heard in recent years, I was familiar with some of the themes via a few cover versions that I have heard, but this original score is most welcomed, it is an entertaining score and also an inventive one, the release contains the original score composed and conducted by Addison plus alternative and additional music.  Well done Quartet, maybe more John Addison soon?

I am a little late with news on the next release, coming from Intrada, it contains two scores, one from Bill Conti the other from Dominic Frontiere, THE STUNTMAN is a soundtrack that I have had on my list of wants for many years, I remember seeing the LP record in a local store and passing on buying it, never to see it again, until recently online. Thank goodness for Intrada, and thanks to them for releasing not only Frontiere’s THE STUNTMAN but Bill Conti’s AN UNMARRIED WOMAN on one CD. I had the privilege of meeting Dominic Frontiere many years ago back in around 1977 when he was in London at the Martini rooms, which is an encounter I have never forgotten.

He is or was sadly because he passed away in  2017, a very underatted composer of film scores, he is probably best known for HANG EM HIGH and also THE TRAIN ROBBERS and BRANNIGAN, amongst others, and his music for the television series THE INVADERS and THE OUTER LIMITS is now iconic. His score for THE STUNTMAN is such a varied and entertaining work which also includes a song BITS AND PIECES performed by Dusty Springfield, which I felt had a kind of James Bond title song vibe to it. With the composer providing an orchestral version of the song, which certainly has Barry-esque connotations. The score is luxurious in places, jaunty and also romantically melancholy. The cue IN TRAINING is a vibrant and quirky piece, with a kind of 1920’s sound to it, purveying an atmosphere that is comedic and slightly madcap. The actual central theme of the score or MAIN THEME is beautiful, with the composer employing solo piano that conveys a style and atmosphere that is initially one of solitude, it is then joined by a scattering of strings and breathy woodwind, but the mood alters into a darker and more sombre musical affair, with tense strings being enlisted, this then changes to something more romantically laced and a luxurious theme which is performed by the string section that are supporting piano.  I have to say that the only reason I have this compact disc in my collection now is for the Frontiere score, the Conti soundtrack being kind of surplus to my requirements. Certainly, one to look out for as it is now becoming very scarce.

Its Dominic Frontiere I go to next also, for THE QUINN MARTIN COLLECTION VOLUME 2, as I have already said, the music for THE INVADERS is now iconic, and a classic piece of TV scoring, the show was for many essential viewing, and the theme became instantly recognisable, Frontiere’s use of a three note motif striking terror into the hearts of many, but also telling us that the show was about to start, inventive orchestration made the music for the series attractive and also uniquely menacing. This is a collection that is a must have for not only fans of the composer and the series, but also for any self-respecting collector of film and TV music. Thanks to LA LA LAND records we are treated to Seventy-nine tracks of tantalising and vibrant music with a running time of one hundred and forty-nine minutes, well presented and re-mastered to perfection. An essential purchase.

Conrad Pope is a vastly underatted composer in my opinion, why this composer is not right up there with the likes of Williams, Zimmer and others is beyond me. But we as collectors know how talented and versatile, this composer is dont we. Dragons Domain records have released THE CONRAD POPE COLLECTION volume 1, which is a compilation of music from four original scores,  GHOST SHIP, METAL BEAST, TEMPTATION and UNDER THE MOON, all four scores are excellent, and I mean excellent, they are rich and sumptuous, filled with attractive themes, lush strings and absorbing melodies, this is a perfect introduction to the music of this composer, if you have not already encountered it.

Also from Dragons Domain records comes Pope’s score for LLOYD, again the composer displaying his evident ability within the film music arena, in many ways this sounds so much like a Jerry Goldsmith score, its filled with an inventive use of strings and brass and is just an entertaining listen, so while you are checking out THE CONRAD POPE COLLECTION volume 1, why not pick up a copy of LLOYD as well, you will not be disappointed.

Also, from Dragons Domain comes two scores on one CD from British composer Howard Blake, THE CANTERVILLE GHOST and THE AMITYVILLE HORROR 3D, both of which are excellent, but are both very different stylistically. I think I have to say I prefer THE CANTERVILLE GHOST, it is more of a magical sounding and romantic score, wheres as THE AMITYVILLE soundtrack is rather more atonal and certainly far more sinister and darker. But, to have two scores by Blake on one disc displays perfectly his versatility and his adaptability. THE CANTERVILLE GHOST was a TV movie released in 1986 and directed by Paul Bogart.  For me personally there is an almost James Bernard Hammer feel to the soundtrack, I am thinking of scores such as FRANKENSTEIN CREATED WOMAN when I state this, rather than the early Hammer productions as scored by Bernard, the music is tense but at the same time has a romantic and wistful air. Fully symphonic and overflowing with a rich sense of the dramatic, it is an appealing work, and one that I know you will return to many times. Blake creates a anthem like theme with bold brass and wistful woods that are underlined and supported by strings and subtle use of percussion.

AMITYVILLE 3D is more dramatic and has to it a menacing and somewhat chilling atmosphere, the composer utilising low woods in combination with female voice to create an eerie and sinister mood. Spikey strings, with underlying percussive elements fashion a powerful and malevolent sound, the composer also utilises a spooky sounding music box effect that is combined with an Ondes Martenot sound, that is most effective. Adding depth and giving the work a sense of dread. Both scores are well worth adding to your collection.

Last but certainly in no way least from Dragons Domain again, we have an excellent work from another underatted composer, Don Davis. SPACE ODYSSEY-VOYAGE TO THE PLANETS has been released as THE DON DAVIS COLLECTION,VOLUME 1, which sounds great because this means that there is going to be a volume 2, we hope. The score for SPACE ODYSSEY VOYAGE TO THE PLANETS has never been released before now, and it is a triumph of a soundtrack, filled to bursting with proud sounding interludes and bristling with patriotic and vibrant themes.  All I can say is think THE RIGHT STUFF meets CAPRICORN ONE and STAR TREK THE MOTION PICTURE, what more could you ask for. Highly recommended.  

SOUNDTRACK SUPPLEMENT TWENTY ONE.

Its been a couple of years since we last heard from MONDO SANGUE, but at last they have released a new album. As you probably are aware MONDO SANGUE produce albums which I suppose could be referred to as concept albums or music for imaginary films. Their latest is what I would say is a tribute or homage to music from Sci-Fi movies and TV series, VEGA 5 AVVENTURE NEL COSMO, is a collection of themes that I would most certainly say are evocative of the music from both German and Italian science fiction movies from the 1960’s and 1970’s.  There are definite references within the duration of the album to the styles of Ennio Morricone, Peter Thomas and other composers such as Gianni Ferrio and Marcello Giombini.

Plus, there is a style and sound that we nowadays associate with Vangelis. There are also passages performed by female voice and the work contains a song, which sounds like it’s taken from a spaghetti western in space. This is an interesting project that has melodic and haunting themes, and will I am sure be attractive to fans of Italian and German film music. 

From a concept album back to film scores and one which I think is dark and powerfully foreboding, DEUTSCHLAND 89, has a score penned by composer, performer, and producer Reinhold Heil. This the third time that the composer has returned to work on the series, DEUTSCHLAND 83 and 86 being the other occasions. There are similarities between all three scores, but this is good continuity in my opinion, I say similarities, but DEUTSCHLAND 89, is for me a greater developed work, it just seems to have the edge thematically, the composer possibly being more inventive on this outing. The soundtrack will be available on all digital platforms as of October 1st 2020.

David Buckley’s, GREENLAND is an affecting work, even if it is mostly electronic, but this is how things seem to be going in recent months, the use of synths and samples have certainly increased during the pandemic, I am not saying that this is a totally electronic work as I can hear sections that are possibly performed by conventional instruments, that add a certain depth and give the work a far deeper atmosphere and meaningful persona. I do like the score, there are some beautifully lilting moments, and also dramatic and darker sections too, check it out.

The last time I heard anything by composer Cyrille Marchesseau was on GLOOMY EYES which I have to say I liked a lot. One of his more recent scores is UN BARQUE SUR L’OCEAN, this is a delightful score, and one that I have to admit to listening to through about three times, not because I was finding it hard to be immersed and appreciate it, No, but because I liked it so much.

The composer makes effective and emotive use of solo violin and cello, piano and delicately placed harp, which are interweaved with more strings and given support from subtle synthetic quarters, the use of female voice too, is affecting and ingratiating. The haunting wordless vocals, becoming difficult to not hear even when the track has ceased to play, combine this with poignant solo violin and a lush and mesmerising string section and there is very little you can do to resist it. This is a charming work, that at times evokes the lighter moments from Chris Youngs, THE HAUNTED SUMMER, certainly one to add to your collection.

 ALL AGAINST ALL, is a score that I think many Morricone fans may be attracted to, the music is by Kristian Sensi, and has to it a dark and commanding air, the thick and steamy sounds becoming alluring and unsettling both at the same time. The composer creates a tense and nervous atmosphere via solo piano and strings and adds to these guitar and percussion. It is a taught and unsettling work at times but then the composer produces moments that are thematically magical but at the same time managing to keep them slightly dark and ominous. With FRANTA’S THEME being my preferred cue on the soundtrack.  Worth a listen.  Available from Kronos records and on various digital platforms.  

George Kallis is a composer that I admire greatly, his scores are always filled with haunting themes and beautiful melodies, he is a composer who is multi-talented and also one that has the ability to adapt and tailor his music to every scenario and genre. SADAN HANIM is one of the Maestros most recent releases, and it like his other scores has to it an elegant and highly alluring air, the sound achieved is rich, romantic, delicate, and overflowing with melancholy. The music purveys a fragility a beauty and a totally consuming persona, that is difficult to get out of one’s head once heard. The film or feature length documentary deals with the subject of Alzheimer’s disease, Which, is a terrible and heart-breaking condition. But it does this sympathetically and with dignity. The musical score is in a word OUTSTANDING. It contains a wonderfully emotive and delicate style, and is touching to the point of upsetting, the music complimenting the movie without getting in the way or ever overpowering. Instead it laces and weaves its ever-graceful style and sound throughout the documentary. I think that we will be looking at this score again when Awards season comes around, but it is a work that I for one am content to just sit and listen to over and over, each time noticing little nuances and poignant passages that are overwhelmingly emotive and ingratiating. It evoked at times the music of John Barry and Zbigniew Preisner, with the composer combining heart melting solo piano and fragile strings, at times these being underlined or enhanced with moody faraway sounding brass, this is definitely one for your collection, it is stunning. Recommended, yes most certainly.

Jesse Harlin has penned an interesting and power soundtrack for MAFIA THE DEFINITIVE EDITION which is for a video game, the score is commanding and theme laden, the dark and ominous work is one of those soundtracks that one cannot stop listening to because you are thinking how good the track is you are listening to and at the same time wondering I wonder whats in store for me as it proceeds. Symphonic sounding but again these days we can never be sure, but it certainly sounds that way. The themes here are many and relentless, the composer developing them and adding new material as the score moves forward. Video games nowadays are in the forefront of soundtrack releases, the composers that work on them have been creating and fashioning scores that seem to be including more themes and also having more symphonic elements than actual feature film scores, if that makes any sense. So, another one that you must check out.

THE LAST LAUGH has been described as SCREAM meets SUSPIRIA, A stand-up comedian on the verge of breakout success, is forced to make a terrible choice when he discovers a murderer is on the loose in the theatre where he’s about to perform his biggest show. The score is an affecting one, the composer Jon Bash, has treated us to a wonderfully atmospheric soundtrack, it is apprehensive and nerve jangling, the composer utilising mainly synthetic attributes and elements to create an eerie and tense sounding work. I am a fan of this style of score, its dark and malevolent musical colours dominating and conjuring up dread and fearful moods. There is however still thematic material within the work, its not all slicing strings rasping brass and booming percussion. Listen to track number, four PANTAGES, there is richness here and subdued poignancy, and a music box theme that is both calming and unnerving. Again, available on digital platforms for you to investigate.

Finally, two scores by Stephen Warbeck, one from 2019 entitled, MA FAMILLE ET LA LOUP andfrom 2020 THE MAN IN THE HAT, both different but delightful scores from one composer, suffice to say you will not be disappointed with either. Warbeck is a composer of immense talent and has been responsible for creating numerous memorable scores. One only has to listen to SHAKESPEARE IN LOVE or CAPTAIN CORELLI’S MANDOLIN to realise this, and the two titles I have mentioned will I am sure cement even more one’s admiration of this composer. So till next time, happy listening.  

ANGELICA.

I have always been attracted to the music of composer Zbigniew Preisner, his scores for FAIRYTALE A TRUE STORY, WHEN A MAN LOVES A WOMAN attributes of Ennio Morricone, I think it was THE SECRET GARDEN that was the first score of his I ever heard by the composer, it was a film that was shown on channel 4 in the UK and was introduced by David Puttnam, who did refer to the composer as the new Morricone. THE SECRET GARDEN for me at times evoke the fragility and the melodic artistry of Morricone in places, but then we hear a style and a sound that can only be that of Preisner. It is a distinct an alluring sound that the Maestro weaves and also one that after listening to lingers long within your sub-conscious.

Caldera records are about to release the composers score for the 2015 movie ANGELICA, as we many of his other scores we can hear a lightness and also a overwhelming sense of emotion and poignancy, but this is tale that is dark and chilling, and the composer brings into play a suitably ominous sound that creates foreboding and unsettling atmospheres. Directed by Michael Lichtenstein, ANGELICA is based upon the novel by author Arthur Phillips which was first published in 2007. The story is set in Victorian England and conveys the tale of a young woman Constance who falls in love with a successful scientist. After they marry and eventually have a baby girl, who they name Angelica. During the birth Constance comes close to death and is told by her doctor that she can no longer have sex and risk having another child because she would most certainly die and leave her daughter without a Mother. Constance becomes depressed and falls into darkness and despondency. As she becomes more and more on a downward path with this depression Constance becomes even more protective of her daughter, attempting to shield her from a sinister ghostly predator that begins to make its way through the house late at night. ANGELICA is a mesmerising ghost story which deals with, desire, repression and all the consequences that both entails. Preisner’s, score is not filled with themes for each individual character, instead the composer charts the story and supports the unfolding drama and underscores it with various themes that are effective and affecting.

The score has to within it’s make up dark sounding passages, which although melodic are chilling and unnerving, there is also  a tense but melodic mood that lingers throughout, the music is at times sophisticated and graceful underlining and supporting the period in which the story is set. There is a simple and delicate sound to this score, which is attractive, mysterious and beguiling. The compact disc is the 38th Caldera release, and it is a release that you should own.

THE LAST FULL MEASURE.

THE LAST FULL MEASURE is a movie that is based on true events and tells the story of American serviceman that was forgotten. William H. Pitsenbarger was a United States Air Force Pararescue Jumper who served as a medic in the Vietnam War.  In the April of 1966, he entered a battle area and stayed with injured men, tending to them and awaiting their evacuation from the area by helicopter. After a furious onslaught from the Viet Cong the last helicopter was forced to leave for fear of it being hit. Airman Pitsenbarger chose to stay with the wounded infantrymen and continued to help fight off overwhelming Viet Cong troops. He stood steadfast even after being wounded several times himself, he continued to treat others in any way he could as well as distributing ammunition to those who could still resist before ultimately losing his life. The battle was one of the fiercest of the war with American forces taking heavy losses, but because of the actions Pitsenbarger took and his courageous acts at least 9 men were able to return home alive.

For his bravery and selfless initiative, Pitsenbarger was awarded the Air Force Cross. The film follows the efforts of the men he saved, his parents, andan initially reluctant Department of Defence staff member Scott Huffman (Sebastian Stan) to see him recognized with the Medal of Honour. The movie is a moving and emotional watch and contains a score by composer Philip Klein. There is a sound and style to the opening track that can be likened to composers such as Jerry Goldsmith, John Williams and Richard Stone when he scored the movie MEDAL OF HONOUR back in the 1990’s.  The opening cue, is filled with a proud and highly emotive air, and evoked for me shades of both SAVING PRIVATE RYAN and BORN ON THE FOURTH OF JULY, the composer utilises a slightly subdued trumpet solo, which sets the scene perfectly for much of the score that follows, although this is not your normal martial sounding march totting war movie score, there is far more depth and emotion to Klein’s music. It actually takes on the persona of the American troops and enhances their story and also gives the storyline a greater atmosphere and poignancy. There are some touching and fragile sounding moments within the work, where Klein utilises both piano, solo violin and sombre and melancholy sounding woods, which manifest within the cue I KNEW WHAT HE WAS THINKING, the violin and piano returning in HE NEVER SAYS ANYTHING and re-kindling the emotions to a greater degree. The composer also employs a rich and vibrant sound in cues such as THESE THINGS WE DO SO OTHERS MAY LIVE, which is the end credits for the movie, strings, brass and shimmering percussive elements are joined by choir to create a highly emotive and affecting sound. The same instrumentation being used in the track THE LAST FULL MEASURE, which is a proud and triumphant sounding piece. This is a score I recommend, seek it out but make sure you have some tissues.   

SOUNDTRACK SUPPLEMENT TWENTY.

The emergence of channels such as Apple TV, Netflix, Disney plus, and other such places to watch new and old shows, films and documentaries, has shaken up the entertainment world a little. The resistance to Netflix in particular was evident when it first began to produce its own movies, but in the past three years or so these productions whether they be feature films or mini-series etc, have become in my opinion essential viewing, and along with these productions inevitably comes the scores and the soundtracks that accompany them.

So, it probably fitting that this soundtrack supplement contains a mention of one or two. With the corona virus still rampaging through the world I wonder if we will really actually return to anything like things were before the pandemic, we cannot seem to put a stop to this vile disease and the way in which we have turned to streaming and things like the aforementioned channels has been swift and now seems like a normal way of watching anything. NETFLIX I have to commend for the top quality shows and films that they have produced recently, and also I have to say that the composers and the scores and soundtracks that they have produced are also in many cases outstanding. One production which I have found compelling is THE DEVIL ALL THE TIME, which is a two hour feature, I have to say that most of the attraction of this movie has been because of (1) the brilliant performance of Robert Pattinson and (2) the atmospheric musical score.  The music is the work of two composers, Saunder Jurriaans and Danny Bensi, who together create a malevolent and chilling musical landscape that works wonderfully for the production.

The soundtrack also contains a fair amount of songs which are mainly vintage tracks, from the 1950’s or maybe 1960’s. But it’s the score I am concerned with and although the original music cues are outnumbered by songs, there are so many beautifully crafted and suitably apprehensive and melancholy music cues on the release to make it worthwhile having a listen. The music is mostly downbeat and the film is sparsely but at the same time powerfully scored, the saying less is more certainly applying to this work, I personally love scores such as this that underline the scenarios on screen subtly but effectively. The score however is not all darkness and brooding, the composers fashion so delicate and touching pieces in the form of the cue UP UP UP,  for example which opens initially as a lullaby slanted piece, but after a while sinewy strings are added which bring uncertainty and a sinister air to the proceedings, the cue DELUSIONS too begins with something that the listener may identify as being lighter fare, but the atmosphere of the cue soon alters bringing a more pronounced sound of menace to it.

The opening track KNOCKEMSTIFF.OHIO, has to it a style and mood that sets the scene for much of what is to follow, there is a melodic persona within this cue but all the time the composers are feeding in a more threatening or foreboding musical aura, which is unsettling and alluring at the same time. I think at times the music evokes the style of Christopher Young as it is melodic and attractive but also has to it a rippling and reoccurring sense of the unknown and malevolent.

Certainly, worth a listen. Another series that caught my eyes and ears is FORT SALEM music courtesy of Brandon Roberts whos music for the movie UNBROKEN-PATH TO REDEMTION I thought was amazingly good. Roberts has collaborated with the likes of Marco Beltrami and Buck Sanders recently on THE WAY I SEE IT, the composers music for FORT SALEM is edgy and dramatic, it is also atonal in places but still purveys a thematic persona throughout. Again, at times subtle and minimal but also affecting and commanding because of this approach. I am not ging to say that this is a fully symphonic score because it is obvious right from the off that the composer enlists the support of electronic or synthetic instrumentation, but he fuses these with conventional elements to fashion a score that is effective within the series and also entertaining to listen too. I think inventive is the phrasing that best suits the score, with cues such as BALOONS being a mix of the dramatic and driving but still retaining hints of themes.  The composer employing frantic percussive elements alongside drone like sounds and searing punctuation to fashion an affecting and forceful sound. Then we have the track MOTHER AND DAUGHTER which is just the opposite, being more emotive and poignant. Worth checking out.

 HOMECOMING was an interesting first season that aired in 2018/2019, with season two now becoming just as irresistible, the music is in my opinion wonderful, composer Emile Mosseri has penned a set of themes and beautiful delicate pieces that are more than pleasing to listen to as just music, the score also supporting and assisting the series greatly, this is a soundtrack that boasts a plethora of rich and lyrical music, beautifully crafted to enhance and adorn each scenario where it is employed.

The composer has also recently scored the film KAJILLIONAIRE, again this is a superbly romantic and thematic work, with piano taking the lead in the majority of cues, it is I know a new score but posses a sound and style that I associate with the golden age of film music as in it has a classical and concerto like persona. The themes are ravishingly attractive, the composer adding his music to the film as an artist adds colour to a canvas. The use of wordless female voice within the work is striking and evokes the romantic sounds of Italian film scores from the 1960’s, which is dominant in cues such as INFINITE LOVE and LOVE THEME, the composer also utilises voices or synth voices as I cannot be sure which they are within the score to great effect.

I really love this soundtrack, its one that took me by surprise, it is also one that I have listened to over and over in less than a week. It is dark in places, but these moments are short lived, most of the scores running time being filled with an abundance of melodies that are hauntingly alluring. The score also contains two songs MR LONELY which I think was originally recorded by Bobby Vincent, is performed by Angel Olsen and is a particularly attractive and interesting arrangement of the song. The composer also provided the score for THE LAST BLACK MAN IN SAN FRANSICO in 2019. So, take a minute or three to check out his music.

Back to a NETFLIX series for the next score, AWAY is a series that stars Hilary Swank, who plays an American astronaut who struggles with leaving her husband and daughter behind to embark on a dangerous mission with an international space crew. The music for the series is by composer Will Bates, the score or scores for this series are serviceable and work in the show very well, its part symphonic, art synthetic samples etc, but to be fair the composer seamlessly combines both mediums and produces a work that is suitably dramatic and emotive.

I enjoyed the music a lot, with the inventive and creative sounds that Bates brings to the show. The composer at times layering hints of themes and then building these into a crescendo like finish, building and building the momentum until it finally reaches a climax. Another one to check out, like all the other scores mentioned here so far it is available on digital platforms.

 Also, on Spotify you will find, DEPRAVED which Bates scored in 2019, the movie which is an update of sorts of Mary Shelley’s FRANKENSTEIN, contains a largely electronic score, and as one would imagine is dark, mostly atonal and foreboding.

Its also good to see the score for ELOISE AT THE PLAZA by Bruce Broughton on digital platforms as well as, BLACKBIRD by Peter Gregson, and WILDFLOWER by Dara Taylor.