In previous situations of similarly challenging horror assignments, Ottman has been able to at least infuse some interesting instrumental or melodic element, often in the form of a palatable primary theme a la Christopher Young. For The Resident, there's really nothing of value from start to finish, regardless of the composer's attempts to adhere to some his basic formulas. The ensemble does include the fictitious "Menegroth Philharmonic," which could damn well consist completely of samples and make little difference. Strings are the most common representation of fleeting warmth in the score, though occasional clarinet and oboe sounds are employed. No Ottman score would be complete without some keyboarded element as well, the piano heard sometimes in this work but often replaced by creepier tones. And then there's the sound design, and a truck load of it exists in The Resident. Ottman doesn't typically go the route of pure sound design, but he dabbles in it here, and the results are so obnoxious that they're actually laughable in a few cues. Manipulation of sounds is really the primary identity of this score, vague plucking, thumping, clanking, and other unpleasant noises (including the strings) manipulated and presented in continuous layers of dreadful atmosphere. When these sounds bumble along most aggressively in their bed of dissonant haze, the score actually becomes unintentionally funny. Both "Weak Man" and "Nail Gun" have smirk-inducing noises in them, but "Dinner Date" could actually make a listener suffer a giggle-fit. It will remind any former class clown of those days as a kid when such funny noises were perfect for disrupting the classroom. For those not interested in wackier stabs at sound design from Ottman, then you'll have far more difficulty appreciating his theme for the movie. The series of desolate, paired notes, usually in formations of four, is typically performed lifelessly on keyboard in its few appearances, though a somewhat rowdy rendition on strings in "End Titles" represents an overdue infusion of attitude into the wayward score. Summarizing the idea well is "Theme From The Resident" at the outset of the album, though the tentative and troubled nature of the melody won't make it a candidate for inclusion on an Ottman horror theme playlist. The best option from The Resident for such inclusion is the actual "Main Titles," which adds some deliberate bass thumping and string chops for the score's only truly interesting passage. There are times later in the work where Ottman tries to insert some convincing orchestral tonality, especially in "Erection Dejection," but all too often, the score devolves into a wasteland of ambient muck. Some of the wacky, twisted noises that the composer conjures are admirably discomforting, but you know something's wrong when they yield outright laughter.  *   @Amazon.com: CD or Download