ABOUT THE MUSIC
The stylistic approach was inspired by two things. First, the solitude and spiritual sound established the film’s composer Barry De Vorzon. Second, discovering Christopher Young had been hired to replace some or all of De Vorzon’s work. Being a fan of Young’s music and what De Vorzon had created, it felt prudent to take a similar dark, experimental, yet spiritual direction with the music.
All the musical ideas are original and does not use any of De Vorzon’s material nor Tubular Bells in the score itself. However, a bonus track is included that is a Re-imagining of Tubular Bells.
There are three main themes present. A lack of faith theme on warm synth pads, a haunted past theme on celeste slightly detuned bells, and a guardian angel theme on synth choir. For the motifs, there are several. The first is the omnipresent “heartbeat” motif heard ticking away during the entire score as a reminder that time is running out. The second motif is the “investigation motif” which plays over moments of clues and revelations made during the investigation. To represent Evil, a sound design approach was taken to represent the cold, methodical, “machine” like quality of how Evil was executing its plans.
ABOUT THE RELEASE
This release presents the complete 60-minute score. These tracks are in film order. The Digital Album only featured about 40 minutes and the tracks were reordered for a different listening experience. Two bonus tracks were created which extends the CD running time to 67 minutes. The first is a further development of the “investigation” motif and the “guardian angel” theme. It was originally intended for the End Credits but was not right tonally to end the score with this track. The other track is my own “re-imagining” of Tubular Bells. This version is much, much darker than any other renditions before it and it sounds like a tribal celebration heard straight out of hell.
NOTE: Names with an * were NOT on original Digital Album release.