August 20, 2014

  • X-Files First Feature Score Expansion

    Shot between seasons four and five, The X-files: Fight the Future (1998) brought Agents Mulder and Scully to the big screen exploring the truth behind a government coverup of alien colonization of Earth.  The popular film was a chance for fans of the series to experience the storyline on a broader canvas while also opening up the series to perhaps grab a new base of curious viewers unfamiliar with the series.  It was intended to appear between seasons five and six to provide a plot connection and arc.  Mark Snow was also able to widen his palette to make full use of the symphonic orchestra to often excellent results.  La-La Land, which has released a great deal of the series' music, is making this score available in an expanded, limited run.

    The opening “Threnody in “X”” begins with just a taste of the series’ theme before moving into a variety of larger orchestral tension scoring before the theme eventually bursts forth in the final moments.  Aleatoric writing, and unique textures (think Ligeti), both electronic and acoustic, all help to provide unique atmospheres that often lead to a great many chills (“B.C. Blood”).  More traditional thriller-action scoring can be heard in “Goop” with almost Herrmann-esque brass swells at times.  The music does an interesting job of moving from big, more traditional orchestral gestures, to more unusual orchestral textures.  The weaving of portions of the main theme also help tie things together as the score progresses.  Tracks like “Soda Pop” do an interesting job of exploring tense dramatic moments while driving forward with a variety of motivic ideas and ostinato patterns to make for interesting dramatic scoring.  “Corn Hives” is one of the more interesting integrations of the theme with an opening percussive sequence that soon moves into the series’ mysterious mode very well in a standout track.  Blending electronic vocals with orchestral and atmospheric electronic ideas is also on nice display best in “Come and Gone”  and “Pod Monster Suite.”  Plenty of suspense is here to go around and it all works quite well, especially when there are hints at the primary title theme.  Even when everything seems to be moving along in more relaxed fashion, there is time for a sudden jolt (“Ice Base”).

    This expanded release presents a good portion of the score.  There are several previously unreleased tracks (“Quitting”, “Crossroads”-the film version; “Space Hole”, and an alternate of “Plague”).  All of this is realized in excellent sound with a nice booklet accompanying the release as well.  It is actually quite good to hear Snow’s orchestral approach in good science fiction thriller territory that should please many fans. The result is an engaging score.