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From Inside by Brett Smith

From Inside

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From Inside (Soundtrack) by Brett Smith
From Inside (Soundtrack) by Brett Smith
 

 

 

 

 

 

 

 

 

 

From Inside (Soundtrack) by Brett Smith

From Inside
Composed by Brett Smith
Lakeshore Records (2012)

Rating: 3/10

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“BRETT SMITH’S score for FROM INSIDE is one that forces a first impression upon the listener with great immediacy and that first impression is unlikely to transform in any way by the time the music whirrs, grinds, and finally stomps to a close.”

Hard Score to Score
Review by Richard Buxton

 

In a way, a score such as that of FROM INSIDE may be the hardest to score. A score that resides firmly in the territory of atmospheres conflicts with many of the traits one would associate with proficient film composing. More often than not film score lovers, in their early discovery years within the genre, would find themselves being whisked away by the more thematic-heavy scores out there as opposed to the brooding atmospheres and creeping soundscapes. As a result it could be argued that opposing the idea of a theme or melody goes against the very nature of a film composer, yet some tasks require exactly that, and FROM INSIDE is one of them.

BRETT SMITH’S score for FROM INSIDE is one that forces a first impression upon the listener with great immediacy and that first impression is unlikely to transform in any way by the time the music whirrs, grinds, and finally stomps to a close. Most modern scores in the genres of Thriller/Horror/Drama are likely to include one or two obligatory atmospheric tracks, perhaps acting as a stopgap within the track list of the score release. FROM INSIDE however, is almost like a compilation of such stopgaps and as a result becomes very monotonous, very quickly. FROM INSIDE is at its limited best when a rhythm enters the fray, but otherwise is an exercise in patience. There are no detectable threads throughout the score, beyond the relentless humming, contemplating and grating. The occasional track, “Empty Hands” (8) for example, could be mistaken for demonstrations in how quiet a piece of music can be without being totally silent. Others, “From Inside” (21) being the next example, are displays of how a rhythmic device can be rendered obsolete if it is not accompanied by some sort of melody, or something as simple as musical conviction. Conviction is a key word in describing what is missing throughout this score. Most composers would struggle to fill half a score with engaging ambience, but the lack of conviction conveyed through the music results in FROM INSIDE losing any potency within the first few tracks. First and foremost this is a film score and therefore has to serve the director’s vision on screen. Despite this, one would be hard pressed to find anything within this score as an attractive listening prospect.

Fittingly, “A New Life” (17) is the highlight of the score, as the all-too brief piano opening breathes fresh identity into the score. The opening moments of the piece could be likened to surfacing for air, having crawled through the murky waters of the previous 16 tracks. In any other circumstances, this piano melody would serve as nothing other than wallpaper, but in this context is like the opening of the clouds, albeit a momentary opening.

There is very little positive to say about FROM INSIDE, other than its admirable commitment to the source material. Otherwise there is almost nothing of note.

 

Rating: 3/10


Track

Track Title Track Time  Rating
1 Wasteland 3:07  **
2 Boiler Room 2:06  *
3 Rad Rain 2:28  **
4 Sea of Blood 5:51  *
5 Leaving 2:39  **
6 The Music Box 2:20  *
7 Bodies 2:46  *
8 Empty Hands 1:37  *
9 Pain 2:14  **
10 Slaughter 2:36  *
11 Passengers 2:22  **
12 Tunnel 3:08  *
13 The Little Fire Engine 3:11  **
14 Wall of Debris 2:21  *
15 Leviathan 4:09  *
16 Hell 3:17  *
17 A New Life 3:04  **
18 Falling 1:53  *
19 I Remember 3:53  *
20 Wreckage 3:57  **
21 From Inside 3:05  **
  Total Running Time (approx) 63 minutes  

 

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