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| This is a comments thread about FSM CD: Nightwatch/Killer by Night |
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Posted: |
Jan 29, 2012 - 11:54 AM
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By: |
Rollin Hand
(Member)
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The Quincy hasn't really provoked much response, although Thomas (Member) was very positive about it on another part of the board. It's a pity that it seems to have gone underappreciated, because it really is a very fine effort from a great composer. But God I only really "got" it after all the nurturing. Sometimes I'd be thinking "Hey, there's a groove starting up" only to be disappointed when it changed tone after a few moments and went all dark and murky again. But I blasted it through my headphones at nine o'clock this morning, still giddy from last night's partying, and it was fabulous. It IS fabulous! It's not in-your-face fabulous, but it is darkly seductive and works its magic in a subtle way. The beauty of it is in its endlessly inventive instrumentation. Just when you're thinking that it's a standard TV suspense cue playing, you sit up and go "What did he just do with that guitar?" Or that muted horn, or that grunting harmonica or that waterchime... Deceptive, this one. There's actually something of interest going on throughout. The work of a genius, I'd say - even if it's a minor work in the Quincy canon.
KILLER BY NIGHT is a complexe score with many layers of musical types and directions.
I enjoy the way you describe the score: "The beauty of it is in its endlessly inventive instrumentation." Bulleyes!
The level of complexity remind Jerry Fielding but their music is completely different.
The Seventies reached a peak in terms of dense compositions.
KILLER BY NIGHT is designed for an audience of demanding persons.
This is not an emotional score but a cerebral one.
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Do so Kev, or be forever undemanding and uncerebral!
(And glad you agree with me, Thomas - it can get lonely here sometimes)
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Yes, I love that little nod to the "Ironside" theme (it's like the dramatic opening motif from the show repeated three or four times). It doesn't really call attention to itself in a pastiche way - I imagine it was just a coincidence and part of the composer's harmonic sound, although who knows? Overall I think the score in general reminds me of the more dramatically potent cues from IN THE HEAT OF THE NIGHT.
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