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Filmtracks Recommends: Buy it... if a well-executed, but very stereotypical orchestral horror score appeals to your darker side. Avoid it... if the prospect of hearing more slasher cliches, no matter their crisp performance, bores you or wears on your nerves. Filmtracks Editorial Review:
Revell manages to reference the earlier series entries and their scores by simply utilizing nearly every slasher horror cliche in the book. All of the instruments in the ensemble are emphasized throughout the score in their most stereotypical horror performance, but Revell allows that grouping of expected sounds to take on a greater life by pumping up the volume with the full City of Prague Philharmonic ensemble. Revell collectors are accustomed to hearing him incorporate bizarre instrumentation or vocals into his scores --sometimes having nothing to do with the musical genre at hand-- but for Freddy vs. Jason, Revell's creativity is held within the expected boundaries of the genre. A piano rumbles elegantly in that balance between urban comfort and impending doom. Deep bass strings carry motifs ominously as victims are being stalked. A pounding timpani strikes as the villain is coming at you. Loud brass strikes, slurring on the opening edge, accompany a sudden attack. Quivering violins mark the moments when a victim looks around a corner in terror. A solo woodwind swirls in the mist when it looks as though nothing is out there. An electric guitar explodes with power during frightening dream sequences. An array of synthesized, metallic grinding noises, with distorted bells tolling, fills in the underscore. Distorted vocals from both little children and the voices of the villains are mixed into the disharmony, ranging in statement from innocent singing to chants of "die, die, die." When you throw all of these elements together, you have a well-executed horror score. The overall product is enhanced by a generous quantity of action music, accompanying the two villains' battles with each other. Little outward thematic material is presented, however statements from the previous films are referenced (including some Harry Manfredini Friday the 13th material). The opening "Legend" cue, as well as the final battle on the dock, both contain the only harmonious orchestral statements of motifs or themes, and these moments are the highlights. The score album (as opposed to the heavy metal song compilation with no score that was offered in the same month) features a perfect amount of material from the film, ending just before the endless horror cliches fray on the nerves. ***
The insert includes no extra information about the score or film. | ||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
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