Bäckström (season 2)

Eric Rosse

" A new element of great power; a Russian Fabergé music box in the form of Pinocchio. "

Written by Joep de Bruijn - Review of the download only release

Bäckström (season 2) is a Swedish television series released in 2022, further expanding on the character of inspector Bäckström, with various characters, storylines and other aspects returning for the second season, and evolving, aided by a new element of great power; a Russian Fabergé music box in the form of Pinocchio. It is a great representable object to connect all possible themes the season has to offer.

Eric Rosse composed the music, with some contributions by Natali Felicia, more present in the first than the second season, basically wordless vocal contributions that mix with the musical design by Rosse, muffled and ethereal, quite varied, and sometimes more upfront, more clearly heard, alongside some piano, strings and electronics by Rosse. But her singing in English, is too distracting, and presumably meant to connect more with its audience, but is merely disappointing. The second season is incoherent in what music to use for its opening and end credits, sometimes using the music box, other times, the already existing main theme, or a track sung by Felicia.

A variety of series believe that this is necessary to have an actual song to open or close the series, but they rarely provide the same feeling connected with the overall feel, which is better expressed by an actual scoring cue. All things said, it kind of describes the whole score of the first and second series, with a main theme for a piano that embodies Backstrom as a person, who besides being corrupt, also is a person of heartfelt, nostalgia and some mixed feelings of emotions in extent, supported by a hybrid mix of strings and electronics, and some generic writing.

The second season does keep the musical design quite intact, but now introduces the music box theme. They have this unique, intriguing effect when being utilized by a composer to connect a variety of things scriptwise and characterwise. The theme is very good and passes by in many different shapes and forms; from intimate ones, intertwined with electronic and acoustic elements, more direct and bold, or atmospheric in approach, with our without the influence of Felicia's voice, alludes to scenes explaining its historical ownership... Also, there's the imminent threat through the Pinocchio music box, perhaps best expressed by the use of the theme whenever a cursed character receives a telephone message that includes an audio file of the theme, marking them for death, unless they do as they are told, within a short period of time.

It also focuses much more on allowing the comic elements come more to live through some tongue in cheek cues supporting them, not included on the digital release of the score.

The score Eric Rosse composed for the first season barely exceeds its primary dramatic function, while the second season score is slightly better, but only because of the splendid music box theme and how it is a great representative of so many things.

1. Pinocchio Theme 2:18
2. Titles 0:38
3. Tina and the Tsar 1:44
4. Pinocchio and the Lie 2:34
5. The Tsar's Palace 1:49
6. Underwater (Natali Felicia) 3:25
7. Nike and Eriksson 2:13
8. Boris 1:23
9. Body Fall 2:05
10. The Curse 2:31
11. Lies (Natali Felicia) 1:58

Total duration: 22:37

(written 03-06-2022)
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(total of 2 votes - average 2.25/5)

Released by

Eric Rosse (download only release 2022)