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Filmtracks Recommends: Buy it... if you want to hear a propulsive, orchestrally dynamic horror score that reminds of classic Hollywood horror orchestration. Avoid it... if anything remotely resembling waltz-like carnival rhythms unsettles you beyond your tolerance for unpleasant music. Filmtracks Editorial Review:
Indeed, Beal's return to traditional attention to high class details in The Funhouse makes it more timeless than the film could ever be. For the largely symphonic score, the depth and range of the performing group is surprisingly crisp, even with its somewhat advanced age. An aggressive score from the start to finish, Beal makes no attempt to hide the suspense. After a wickedly striking opening cue, during which an innocent flute is struck down by orchestral hits and violin slashing of yesteryear, Beal continues to tighten the score's grip as it progresses. A slightly waltz-like rhythm (always appropriate for a carnival atmosphere) slowly churns in early cues and eventually explodes with all of its ominous force realized in the final two cues. The depth of the string section in the recording for The Funhouse is a defining element, with lofty, full performances of meandering, strangely melodic ideas weaving constantly throughout. A heightened sense of unique orchestration is also present, with non-traditional instrumental sounds employed to tingle your nerves. A slight electronic presence in the bass region is employed, but not relied upon. The score is edgy in its rhythmic progression, never hesitating to take the opportunity to reach a cymbal-crashing crescendo when a monster is sighted on screen. A few cliche slashes of strings owing form to Bernard Herrmann are forgivable in The Funhouse because they are typically only one layer of horror upon many that Beal constantly strikes you with. The thematic structures are primitive but effective, and the score resists resorting to blatant carousel organ-types of rhythms until the very last (end credit) cue. The propulsive nature of the music, along with the surprising size and sound quality, make The Funhouse a much better-than-average effort in its genre. A strong mastering/mixing and a balanced presentation on album will thrill any Christopher Young enthusiast, and the label that has brought so much of Young's music to album also is responsible for The Funhouse. While the 1998 album is a promotional one rather than a normal Intrada Records album, the folks at Intrada should be thanked for digging up this nearly forgotten, but refreshingly dynamic horror score. ****
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