Possible Music Soundtracks

Taken from various non-copyrighted music websites, various tracks have been uploaded unto the blog in order for the group to leave their individual opinions on each track, in addition to a rating out of 10.

Bipolar:

Oliver Fitch: 4/10, This soundtrack is far too overpowering any other sound in the opening and it's lack of subtlety would undermine attempts to build a chilling atmosphere. I also find it to meancing for a thriller film this type of soundtrack you would associate with the horror genre as it creates a very threatening tone. It contains some elements of modern music combined with a very strong classical feel, that almost over powers the modern music. The advantage of this is that it slightly diverts expectations.

Joesph Lawrence: 2/10. Lacks any sort of subtlety or finesse, and would ruin the mood of the film entirely. The inclusion of modern programmed drum beats is a nice touch, but sounds very cliche and stock. Sounds more like it would be included on the soundtrack of a CBBC childrens adventure story,or a Wesley Snipes film, than that of an intelligent and mysterious thriller.

Peter McLaughlin: 1/10 This music sound track does not suit the thriller genre in any sense, it has me reminiscing on past infiltrations in the 1st and 2nd world war. 

Timothy McNiven: 5/10, Perhaps too overtly menacing, it would overpower any other sound in the opening and it's lack of subtlety would undermine attempts to build a chilling atmosphere. It does have element of modern music combined the classical feel , this does have the advantage of subtly diverting expectations. In the opening section of 28 Day's later it slowly builds up, by contrasting the beginning to the end it creates a more epic quality.

Fang:

Oliver Fitch: 7/10, The classical use of the harp used is this sound track suggests mistery and creates tension. The pauses in between in the opening seconds is very cleverly used and the build-up followed by the silence would be perfect for our thriller purposes. This however would be more affective in an crime thriller for example as the tone of the soundtrack creates a great sense of mistery if someone had been killed for example.

Joesph Lawrence: 5/10. Whilst slightly more well thought out in its composition, this piece of music is of no more use to us than the first. It doesn't allow time to build a mood before the main section comes in, and so would either have to be heavily edited to create a more subtle build up, or not be used at all.

Peter McLaughlin: 6/10 i feel that this is quite successful due to the dramatic pauses. However i feel that if we were to use this piece it should be more subtle then it already is. 

Timothy McNiven: 8/10, the pauses in between in the opening seconds is very effective and the build-up followed by silence would be perfectly apt for our purposes. It's classical feel fits into what the viewer wants from a Thriller.

Tragic Moment:

Oliver Fitch: 5/10, Similarly to 'Bipolar' it's an improvment because the fact that it is not so over powering. However I still find this sound track too menacing for a thriller genre and would better suit a horror genre. I think that this sound track doesn't build up enough as much as I would like, this would influence the narrative of the opening and how it was treated.

Joeseph Lawrence: 5/10. Whilst this is probably the most subtle and relevant composition we have looked into, I still find it to be very predictable in it's use of layering and melody. This piece would work well with something more action orientated, but as our thriller is largely driven by dialogue and the use of mystery, music like this would cause a distraction to the viewer, as well as changing the mood of the sequence from that of mysterious tension to something more fast paced.

Peter McLaughlin: 6/10 I feel that this would be misplaced if used in our thriller, it gives me first impressions listening to it the notion that it is music for a costume drama of sorts related to crime and feels to dated to be incorporated into our piece of work

Timothy McNiven: 6/10, In compassion to 'Bipolar' it's an improvement but the exact opposite with the opposite problems. Whilst it has the necessary subtly it doesn't build up as much I would like, this would influence the narrative of the opening and how it was treated.

Gates To Adis:

Oliver Fitch: 9/10, this is my favourite out of the four it sets a amazing atmosphere. It is constantly building up and the use of classical intruments makes the audience truly feel the tension. It is a very dramatic piece of music and would be an excellent choice for the opening of our thriller.

Joeseph Lawrence: 3/10. Whilst useful if we were looking to destroy a ring in the fires from whence it came, or rescue a damsel in the distress, this piece is totally irrelevant to a slow burning, dark thriller such as ours. The piece has no subtlety, build up, mystery or structure to it, and feels more like somebody has hastely thrown it together with free MIDI software than spent careful time slowly scoring a piece of music. Wonderful if we were looking to make film unicorns and the like, but unfortunately, we aren't making a fantasy film.

Peter McLuaghlin: 7/10, sets a great tone and atmosphere but too long, would have to be edited/condensed to be incorporated in our project sucessfully. However this piece is definately worth considering.

Timothy McNiven: 9/10, By far my favourite, it's use of classical instruments makes it feel grand and earnest, yet it subverts the average cliche' which would give a distinct tone to our opening.

IN CONCLUSION....

Joseph Lawrence: In conclusion, I feel that whilst these pieces are useful in certain applications (video games, films with a different feel to ours), they are unusable for our thriller. For example, I imagine a track such as Gates To Adis to be used in a film along the lines of Ridley Scott's Legend, a fantasy film made in 1985. Luckily, it is 2009, and we are making a thriller. A good example of use of music for an edgy film is the use of Godspeed You! Black Emperor's "East Hastings" in the opening sequence of Danny Boyle's 28 Days Later. A piece of music with this sort of tone, subtlety and careful arrangement allows the director a tool which he or she can use to further enhance the mood of the sequence they apply it too.