This album is dedicated to one of my favorite film composers whose music inspired me as an artist for many years - Christopher Young. Now that i am turning to composing for media projects myself, this "concept album" in particular is done in a style reminiscent of Christopher Young's style in the late 80s and early 90s.
Continuing with my love of horror movies and creating an alternate musical score for them I bring you volume 2 of Horror Re-Imagined.
The film chosen for volume two is also one of my personal favorites – “The Exorcist III”. Besides having a great murder mystery story entangled with the supernatural elements, this film has some of the best dialogue and there “lots” of it, making it more challenging for a composer to figure out how to work in and around it musically. The original score by Barry De Vorzon consisting of processed and synth drone voices along with an array of growls and grumblings was a great solution to not detract from all that dialogue.
So, what would I do different? After learning of Chris Young having been brought onboard to replace De Vorzon’s score (but was eventually let go after Blatty’s win to keep it), I knew what I was going to do. My approach would be an homage to Chris’s style of the late 1980s and early 1990s. Volume two would be my dedication to Chris Young for being an inspiration to me all these years.
For my score, I created a backstory with the music that connects the stories of Kinderman, Karris, and the mystery around The Gemini Killer while addressing the spiritual and supernatural elements as well as address the innocent victims murdered by an unseen killer. As a sweetener, I felt it only befitting to also create a bonus track featuring a rendition of “Tubular Bells” in the same style and tone of the score that precedes it.
See how the music works in the film. I have created a clip of the Main Title Sequence from The Exorcist 3 and laid in my Main Titles cue as intended.
I use transparent writing and a small ensemble of instruments that include synth choral voices, synth bells and chimes, warm synth pads for strings, an array of drums and metallic percussion sounds and a hollow ambient synth. The opening track introduces all the thematic material that will be featured throughout the score and come together in a spectacular collage of sound by the climax of the film. I mixed each instrument track separately on every cue as there was necessary audio effects processing that was not possible to apply in the composing software I use.
ABOUT THE PROGRAM ORDER:
This digital album release is only a 41 minute representation of my compete score to the film. The cues are also not in chronological film order. I re-arranged the playing order to create a different listening experience. The full score run-time is just over 60 minutes. The music featured on this digital download showcases the stronger pieces that play more into the narrative of the film.
UPCOMING LIMITED RUN SPECIAL COLLECTOR's EDITION:
I will be releasing on CD only a very short, limited run of the complete score that I composed to the film. The music will be presented in film order. The run-time is at 1 hour and 7 minutes. That is roughly 25 minutes of additional music of which two cues were specially composed as bonus tracks - one being a rendition of Tubular Bells in the style of the score and the other a more fully realized version of the main theme to the film. Additionally, The SCE release will have liner notes that discuss my approach more to the score and a summarized break-down of the tracks and what scenes they went to.