The Kindred
David Newman
" The Kindred isn't exactly one of his best "Written by Thomas Glorieux - Review of the limited release
The Varèse Club Release paid a tribute to a composer that doesn’t get the treatment he deserves. Namely David Newman! And it was fair to say, it didn't matter which score it was, it would have been sold out all too quickly. The Kindred was only limited to a 1000 copies and the chance of hearing one of the first of David was a chance many didn't want to miss. Sadly, David Newman's The Kindred isn't exactly his best.
Of course at that time, David Newman was still a young inexperienced composer in the B-movie horror franchise. And it isn’t forgettable due to the anxious tension or the shrill suspense. But basically I wanted more in general.
The score starts strangely enough with something that has for me nothing to do with the rest of the music. Anyway "Lullaby" in the begin and end consist of brief piano led vocal parts. While they are the sole soft pieces on the disc, they don't interest me as well.
"Main Title" did capture my interest, despite its short length. Merely synthesized it captures the atmospheric mood of Critters (same year) as Humanoids from the Deep. And later on you realize that there are a lot of similarities between The Kindred and Humanoids from the Deep. The same moody pieces, the same uninteresting sound in general. It needs your focus too much to pay attention to it and that is never a good thing.
With "Hart Attack" you receive a moody piece while "Epilogue" is one of the first attacking horror pieces. "Transformation" is more dissonant with wicked brass, atonal flutes, electronic effects and a brief Aliens tone, making it in fact unbearable. And the more you get this on your way, the more you suddenly forget you’re listening to music at all. "Harry's Van" caught my interest due to the racing strings ala The Omen, "Harry's Creatures" due to the tense strings and "La Mort du Chien" due to the glassy effects. The better to appreciate brass building in "Melissa's Jars" and a brief piano in "Melissa and Dr. Lloyd" make them even the best tracks of the score.
The moody Humanoids from the Deep string effect (even the bells share the feeling) are what finalize "End Title".
Comparable with Critters of the same year and having the same moody moments ala Humanoids from the Deep, The Kindred is equally uninteresting in these parts. For a Varèse Club release, its limited appeal is nicely enticing, its rareness interesting and its composer status appealing. But The Kindred as a whole lacks points that make a score memorable and good. And while a horror score doesn't need to be good, it needs to be interesting and effective. The effective part is firmly present, but effective doesn’t always enthral. Who knows if it will kindle you as well?
Tracklisting
1. Lullaby (0.44)
2. Main Title (3.17)
3. Hart Attack (3.02)
4. John Goes Home (1.19)
5. Epilogue (4.48)
6. Transformation (4.50)
7. John's Revelation (2.36)
8. Harry's Van (0.51)
9. Harry's Creatures (1.27)
10. Amanda and John (1.15)
11. Hart Escapes (0.39)
12. La Mort du Chien (0.43)
13. Melissa's Jars (3.29)
14. Amanda Dies (1.11)
15. Nell's Death (1.39)
16. Lab Reveal (0.40)
17. Melissa and Dr. Lloyd (0.37)
18. Lullaby (0.43)
19. End Title (2.33)
Total Length: 36.42
Of course at that time, David Newman was still a young inexperienced composer in the B-movie horror franchise. And it isn’t forgettable due to the anxious tension or the shrill suspense. But basically I wanted more in general.
The score starts strangely enough with something that has for me nothing to do with the rest of the music. Anyway "Lullaby" in the begin and end consist of brief piano led vocal parts. While they are the sole soft pieces on the disc, they don't interest me as well.
"Main Title" did capture my interest, despite its short length. Merely synthesized it captures the atmospheric mood of Critters (same year) as Humanoids from the Deep. And later on you realize that there are a lot of similarities between The Kindred and Humanoids from the Deep. The same moody pieces, the same uninteresting sound in general. It needs your focus too much to pay attention to it and that is never a good thing.
With "Hart Attack" you receive a moody piece while "Epilogue" is one of the first attacking horror pieces. "Transformation" is more dissonant with wicked brass, atonal flutes, electronic effects and a brief Aliens tone, making it in fact unbearable. And the more you get this on your way, the more you suddenly forget you’re listening to music at all. "Harry's Van" caught my interest due to the racing strings ala The Omen, "Harry's Creatures" due to the tense strings and "La Mort du Chien" due to the glassy effects. The better to appreciate brass building in "Melissa's Jars" and a brief piano in "Melissa and Dr. Lloyd" make them even the best tracks of the score.
The moody Humanoids from the Deep string effect (even the bells share the feeling) are what finalize "End Title".
Comparable with Critters of the same year and having the same moody moments ala Humanoids from the Deep, The Kindred is equally uninteresting in these parts. For a Varèse Club release, its limited appeal is nicely enticing, its rareness interesting and its composer status appealing. But The Kindred as a whole lacks points that make a score memorable and good. And while a horror score doesn't need to be good, it needs to be interesting and effective. The effective part is firmly present, but effective doesn’t always enthral. Who knows if it will kindle you as well?
Tracklisting
1. Lullaby (0.44)
2. Main Title (3.17)
3. Hart Attack (3.02)
4. John Goes Home (1.19)
5. Epilogue (4.48)
6. Transformation (4.50)
7. John's Revelation (2.36)
8. Harry's Van (0.51)
9. Harry's Creatures (1.27)
10. Amanda and John (1.15)
11. Hart Escapes (0.39)
12. La Mort du Chien (0.43)
13. Melissa's Jars (3.29)
14. Amanda Dies (1.11)
15. Nell's Death (1.39)
16. Lab Reveal (0.40)
17. Melissa and Dr. Lloyd (0.37)
18. Lullaby (0.43)
19. End Title (2.33)
Total Length: 36.42