Like the previous score, the narrative's ambience shifts to rather drab suspense by the middle portions, extended synth and orchestral haze occupying long cues like "Pillow Talk." A fuller action mode returns in "Find Her!," and light female choral puffing in "I've Got Your Back" is added for comedic parody effect. Generally, though, you're getting roughly the same score in expanded variations, which isn't necessarily a net negative if you're looking for additional performances of the catchy main theme. That primary idea for Another Simple Favor returns wholesale from the predecessor, including the underlying rhythmic formations on electric bass that are more pronounced in Alexandre Desplat fashion here. Its dancing electronic xylophone sound (part music box, celeste, and vibraphone) persists, and the progressions actually fit this score better because of their inherent Italian tone. Most importantly, it's still a very playful identity overall, reminding at times of Nathan Johnson's Glass Onion: A Knives Out Mystery, to which much of this score aspires. It also exudes hints of early John Ottman creativity. The idea's introductory, falling four-note phrase is accessed heavily in this score for the criminal aspect of the tale, and the quirky main melody isn't quite as frequently stated this time, which is disappointing. But it reprises its primary duties in "Stalking Emily" before dancing around the edges in "The Biggest Grudge," becoming tentative on higher celeste shades in "Surprise Guests," and gaining some momentum with varied string layers in "Problem Solver." The theme returns to full form with ambition for a moment in "Background Check," explodes with spirit and its flowery flute accents in "On the Move," attempts some flighty innocence in "We Belong Together," and exits in a little more determined but restrained volume to mostly synthetic contributions in "Tapper." The theme's intro phrase of nefarious intent, meanwhile, becomes melodramatic in "I Know Who You Are" and opens "Another Simple Favor" in its fullest form to maximize intrigue. Expect to hear it deconstructed throughout the work's darker half.

A separate mystery motif carries over to this sequel as well, consisting of descending pairs of notes left unresolved. It returns several times in "The Faceless Blonde" along with the buzzing effect that more clearly now represents the shifting identities of a certain family of characters. This motif stalks in "The Biggest Grudge," emerges in fragments in the latter half of "Rubbed Out," twists to a reversed, ascending version over the buzzing effect in "Charity," and augments the building panic several times in "Cliffside Showdown." It quiets to more dramatic levels in "We Belong Together" and haunts the last minute of "Another Simple Favor" as the story continues for another sequel. Shapiro's most interesting new theme for Another Simple Favor addresses the Capri/Italy location, extending out of the mystery motif with a falling progression amusingly similar to Alexander Courage's famous theme for the original "Star Trek" television series. Introduced briefly on whimsical strings during "Into the Lion's Den," this idea slows for a more pronounced performance over the main theme's thumps in "Rehearsal Dinner." From there, it is appropriately deconstructed as everything goes to hell, slight in the suspense late in "Surprise Guests," informing the horror early in "Rubbed Out," and in slight agony during the middle of "I Know Who You Are." A few other secondary themes grace moments in the score, including one of slight, sad romance on strings in "Fire of Love" that otherwise goes underexplored, a variant of the main theme and its descending variants conveyed in "Triple Delivery," and a compelling moment on strings late in "Cute Beard." The second half of the score for Another Simple Favor follows the lead of the prior entry in that the main theme doesn't get quite as much attention as one would hope, leaving the rather nondescript suspense to dominate the experience in the end. On the upside, though, the mere existence of this sequel means that listeners can now combine the performances of that catchy and attractive theme from both scores into a longer suite. Otherwise, the 59-minute album will pass without much notice, aside from the annoying buzzing effect. Shapiro provides perfectly serviceable music for this franchise, and the main theme keeps it moderately recommended.  ***   @Amazon.com: CD or Download