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I actually put my copy in the player this afternoon but then got interrupted by a work call not long after.
The first few cues I did hear had a eerie, unsettling air which reminded me a bit of Elliot Goldenthal and also an exotic island vibe.
I will reconvene with it sometime tomorrow.
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My 'exotic island' comment above stems from the opening cue, which features flutes and percussion/gong-like effects which put me in mind of the opening of FAREWELL TO THE KING by Basil Poledouris (although it sounds nothing like FTTK overall).
The 'modern classical' vibe also recalls some stuff by Nico Muhly to me, but mainly in instrumentation and atmosphere.
There's also some weird female vocal phrasing, alongside violin/cello, including a creepy 'ssssssssss' vocal noise that actually conjures memories of IMAGES by John Williams*.
And some moments that reminded me of HAUNTED SUMMER & FLOWERS IN THE ATTIC by Christopher Young.
Also, a chamber orchestra feel to some of the tracks.
I want to stress that OVERWHELM THE SKY sounds nothing like those scores I've mentioned above, but they acted as sign-posts while I was listening to it.
It's not a score you're likely to fall in love with, especially on first listen, but it certainly is a revelation when compared to the modern-day chugga-chugga sound of most contemporary film scores, especially in Hollywood.
I think it's a score wherein you put some effort in, you will reap the rewards.
I will return with my thoughts on the 3 part movement from the score TORCH.
*edit...I've just noticed Chris Avis already compared it to Williams' IMAGES above, re the unsettling sounds and techniques on display.
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I keep giving this a go. So far I just can't get into it.
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Yeah, it is quite challenging and lacking a 'in', thematically speaking, to aid the listener.
It's like a collection of 'instrumental/orchestral' challenges that have been set before the players.
It's quite similar to the more 'weird/atonal' scores by Christopher Young overall, playing within the modern classical arena.
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Thinking further on this one - and what Damian says above - I think what the OTS score is largely missing is a Main Theme or hook to hang something on.
When I recall scores of a similar ilk (challenging orchestral experimental style) like IMAGES (JW) or ALTERED STATES (JC) or JOSHUA (Nico Muhly), they all have a haunting main melody or melancholy love theme which supports the more atonal material.
I haven't seen the film (OTS) so I don't know if such an approach would support it, but it's what I feel is missing (mainly) from the 40 minutes available on the CD.
TORCH is a much more accessible score with some nice thematic material on display, although still containing some orchestral turmoil and/or dissonance.
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