Special Notes:

There’s a nice interplay between keyboards and synth chords that give Cry_Wolf (2005) a sleek veneer, as well as a believable emotional core for an ostensible teen slasher film. Michael Wandmacher’s short but delicate theme (“Owen’s Theme”) is very multi-functional because it can evoke sympathy for intended victims, yet with a shift to wooden timbres and the addition of a thick, Moroder bass pulse, it becomes a driving motif for terror and stalking.

Solo violin with extended vibrato conveys a nice dose of sadness (particularly in the lovely-funky “Epilogue”), while a few tracks have a mischievous edge, such as “Walker’s Office,” with watery tones that emote the kind of punchy teen attitude that gets mouthy kids in trouble with a film’s killer. “The Game” is longer and more amusing, with its glassy synth chimes and tongue-in-cheek string bass, and a theme variation that’s very wry and witty.

Wandmacher’s experience with electronics comes in very handy with some refreshing rhythmic effects that aren’t repetitive and droning; metallic percussion kind of glides into woody timbres, and glassy textures are supported by soft synth strings, as well as processed effects that alter pulses to distorted textures.

In spite of the obvious mystery element the score has to support, the album has a decisive narrative that offers an excellent balance of tension and sympathy. Wandmacher maintains a separation of sounds for lighter cues (“Alibi” is particularly dreamy, yet effectively worrisome), and he saves drones and reversed sounds for moments of menace, including a synth snarl that has a retro feel for the vintage slasher films director Jeff Wadlow is drawing from.

Lakeshore’s CD features nearly an hour of music, and the only drawback is the brief finale cue, most likely because a music montage of songs played over the end credits to sell the alternate song CD.

To read an interview with the composer, click HERE.

© 2009 Mark R. Hasan