> I've missed these!

Thanks!

> I like the cohesion of this style, especialy since only the scores with bigger stories are getting the most lines over, let's say, Luther

I suppose I could've tried giving a blurb to each score, but that would've required listening to Luther a second time. One can only take so much despair. I am curious if Paul Englishby, who scored the full series, was even invited back though.

> (even though I think Tetris warranted a few more lines!)

It does! Remarkably effective score in context for a very fun film. I believe I've said this before, but it bears repeating - when the villain is bellowing 'Get me Tetris!' and you're not laughing out loud, that's movie magic.

Holding it back from more commentary on my part is a) I was trying to keep the word count down and b) there aren't much in the way of public comments on it. Lorne mentioned pulling in a few folks from electronic bands of the era, but otherwise what I already highlighted seems to be the only mention of it anywhere. I'd venture that the interview-palooza that Lorne and Matthew Vaughn are doing for Argylle right now has probably unearthed a few more comments, but I haven't heard any of those yet.

The Tetris score does have some challenges on album. It is not a terribly - or at least obviously - thematic score, seeming to play more like a synth-pop concept album at times, and it does also play like a grab-bag of styles in a way; the chances that the composing team didn't get asked at one point to emulate Switched-On Bach seems unlikely. And the splitting up of score tracks between albums remains a (pun not intended) puzzle...I'm assuming the ones on the soundtrack album are demo ideas, but I have no factual support for this.