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Composed, Conducted, and Produced by:
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Joel McNeely
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Orchestrated by:
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David Slonaker
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Performances by:
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Judd Miller
Ron Aston
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Release Date:
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January 12th, 1999
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Availability:
Regular U.S. release.
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Filmtracks Editorial Review:
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| | McNeely | |
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Virus: (Joel McNeely) Much has been said about the similarities
between McNeely's score for Virus and the Alien scores
(Horner's in particular). While there are a few sections that are
reminiscent of Aliens, there are also darker portions of this
score that remind me of Elliot Goldenthal's (Alien 3) styles;
ironically, it was music from Dante's Peak that was used in the
Virus trailers (and even though James Newton Howard's theme was
featured, it was John Frizzell --composer of Alien
Resurrection fame-- who composed the rest of Dante's Peak).
But even if there exists such a complex collection
of ties between this and the Alien scores/composers, Virus
stands alone as an effectively scary sci-fi horror score. Instead of using the
similarities between cues as reason to degrade McNeely, I'd rather like to think
of them as an appropriate salute to the Alien scores --given the parallel
subject matter of Virus.
As with The Avengers and Soldier last year, McNeely utilizes a
fully orchestral sound, sometimes with a grand effect. Although containing
lengthy sections of dark, almost inaudible underscore, McNeely balances the
score with five or six tracks of bombastic, but sometimes highly enjoyable,
orchestral outbursts. Tracks two and eight both contain full brass and string
cues, and when combined with pounding timpani and snare, they produce
frighteningly exciting and intense music. The main theme of Virus retains
some of trademark french horn and trombone styles that can be heard in other
McNeely themes, however, this one is decidedly darker, with hints of the minor
key influences that flourish in horror scores by John Debney and Christopher
Young. This tragically heroic theme is much more satisfying than the one for
Soldier, although it only blesses the opening and final tracks. The end
credit suite is a fabulous highlight; a Russian choir performs a military march,
which came as a great surprise upon first listen. The choir had existed in cues
throughout the score previously --whether synthesized or real-- and there are
deep male choral portions that would no doubt please any Hans Zimmer fan.
This album is the first major and current score release for the new Hip-O
division of Universal's MCA Records, and I'm proud to report that the sound
quality of this release is superb; the timpani will rock your listening room. I
was expecting this score to be a mutation along the lines of Deep Rising,
and even though the chase and killing music is somewhat similar in orchestration
and intent, McNeely's fresh themes for Virus place this score one step
ahead. The fully orchestral performances of these themes in the first two tracks
and finale will not disappoint you --they compensate well for the mundane
underscore that occupies much of the middle of the album. As for the continued
allegations that McNeely plagiarizes other established composers, I find this to
be suspect. And even if it partially true, I doubt if it is of any relevance.
McNeely is slowly, but surely beginning to establish his own orchestrally rich
style as a composer, and I like where he's headed. ***
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Viewer Ratings and Comments:
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• 1. Volkov and the Mir (2:14)
• 2. Typhoon Leah (6:19)
• 3. Another Ship (4:17)
• 4. Anchor's Away (2:16)
• 5. Squeaky Gets Greased (2:11)
• 6. Nadia Runs (1:10)
• 7. Nadua's Story (3:17)
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• 8. Seven Footer Chase (3:31)
• 9. Turkey Hunting (2:58)
• 10. We Can Kill This Thing (3:59)
• 11. Robo-Captain (5:14)
• 12. Interrogation (2:49)
• 13. Sinking the Ship (4:21)
• 14. End Credits (5:42)
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Insert includes no extra information about the score or film.
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