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Posted: |
Nov 24, 2014 - 11:44 AM
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By: |
bobbengan
(Member)
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Have listened through this twice today, and to be honest, it didn't live up the expectations set by DREAM HOUSE.
How odd, too - By all accounts there's so much more for Debney to be inspired by here than in that insipid ghost yarn... Gothic setting, insanity, tragedy, etc.
It's interesting that bass woodwinds (contrabass clarinet or contra bassoon, I honestly have a hard time telling them apart) play a prominent role in the score, as it seem director Brad Anderson is infatuated with their sound - A number of scores for his films post-MACHINIST have used them prominently as well, despite differing composers. Due to their infrequent use these days, I can only imagine this is a specific request on Anderson's part, and it always puts a smile on my face when a solo from this wonderfully sinister instrument appears!
The solo string bits are very nice, and the whole thing is performed and recorded with the requisite aplomb you'd expect from the LSO and Abbey Road's generous recording space (more or less the exact ingredients provided on DREAM HOUSE, I might add).
The themes, for me, didn't resonate with the same memorability or grandiose, surging drama that DREAM HOUSE's finest moments did, however, and the dissonance, which is abundant, just isn't as interesting as, say, Banos' EVIL DEAD or the like. It sounds just like the same dissonant techniques Debney has been employing as far back as EYE OF THE PANTHER 25 years ago.
Some of the action music had a serviceable momentum, almost akin to that lengthy breakneck finale cue from DH, but never soaring to the same heights of melodrama.
All the ingredients for a successfully macabre, occasionally romantic gothic horror score, but as is frequently the case with Debney's music, something feels like it fell a tad short of what the raw ingredients promised.
A few moments of quasi-mickey-mousing felt odd and out of place, but then again I don't have any on-screen context really.
Any other thoughts? I'll give it a few more listens, perhaps it will grow on me this week.
The exhausting 79 minute runtime does the score no favors, by the way...
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Posted: |
Nov 24, 2014 - 11:45 AM
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By: |
bobbengan
(Member)
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Have listened through this twice today, and to be honest, it didn't live up the expectations set by DREAM HOUSE.
How odd, too - By all accounts there's so much more for Debney to be inspired by here than in that insipid ghost yarn... Gothic setting, insanity, tragedy, etc.
It's interesting that bass woodwinds (contrabass clarinet or contra bassoon, I honestly have a hard time telling them apart) play a prominent role in the score, as it seem director Brad Anderson is infatuated with their sound - A number of scores for his films post-MACHINIST have used them prominently as well, despite differing composers. Due to their infrequent use these days, I can only imagine this is a specific request on Anderson's part, and it always puts a smile on my face when a solo from this wonderfully sinister instrument appears!
The solo string bits are very nice, and the whole thing is performed and recorded with the requisite aplomb you'd expect from the LSO and Abbey Road's generous recording space (more or less the exact ingredients provided on DREAM HOUSE, I might add).
The themes, for me, didn't resonate with the same memorability or grandiose, surging drama that DREAM HOUSE's finest moments did, however, and the dissonance, which is abundant, just isn't as interesting as, say, Banos' EVIL DEAD or the like. It sounds just like the same dissonant techniques Debney has been employing as far back as EYE OF THE PANTHER 25 years ago.
Some of the action music had a serviceable momentum, almost akin to that lengthy breakneck finale cue from DH, but never soaring to the same heights of melodrama.
All the ingredients for a successfully macabre, occasionally romantic gothic horror score, but as is frequently the case with Debney's music, something feels like it fell a tad short of what the raw ingredients promised.
A few moments of quasi-mickey-mousing felt odd and out of place, but then again I don't have any on-screen context really.
Any other thoughts? I'll give it a few more listens, perhaps it will grow on me this week.
The exhausting 79 minute runtime does the score no favors, by the way...
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