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The music by the group SubVision (which consists of Chris Neal, Braedy Neal, and Toby Neal) is an awkward cross between the styles of Chris Franke and experimental world composer Mychael Danna, merging harsh electronic loops and motifs with an almost East Indian or occasionally Arabic tilt and thus producing a sharper, more exotic sound. The music by Australian Guy Gross, starting in the second season of the show, represents a more standard use of electronics, resulting in a combination of Mark Snow's ambient underscores and Don Davis' synthesized action music for small budget films. Gross' contribution to the franchise would become dominant through the later years of its run, and he would eventually push to gain a budget for orchestral recordings when the spin-off "Farscape: The Peacekeeper Wars" series debuted several years later. Especially in context with those later scores, the music from the first two seasons of "Farscape" is difficult to appreciate in retrospect. The title theme, while simplistic, has a great sense of attitude and is by far the most interesting single track on the initial GNP Crescendo album of 2000. The SubVision cues from the first season often break into nonsensical electric guitar ramblings that do not form any cohesive whole, and the Gross cues, while highly listenable, are more subdued material that lack the bite that made the first season, at the very least, intriguing. As such, the GNP album remains a fragmented experience, with only the material by Gross appealing outside of the title theme. If you've never seen the series, then there's no reason to pursue the album. Fans of the franchise, however, embraced it thoroughly at the time. The album itself is very well arranged, with suites from a significant number of episodes and superior packaging. For fans of "Farscape," this would be the only early album to come down the pipes, and unfortunately, with the failure of the GNP label in the near future, the product became out of print and very difficult to find (sometimes fetching prices as high as $50). The La-La Land releases for the franchise in 2004 are a worthy alternative and offer, arguably, superior music. For non-fanatics, the music on this album will seem like just another fringe element in the spectrum of modern, cost-effective television scoring.  **   @Amazon.com: CD or Download

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