Remastered original score for the Big Finish Dr Who play Seasons of Fear, starring Paul McGann.
"Jane Elphinstone's score for Season of Fear was really scary, that big, primitive drumbeat as the shockwave's chasing the Doctor and Charley makes me shiver just thinking about it ] ... [ and it's reminding me of several musical periods in Doctor Who, actually. Stories like The Web Planet, but also the Eighties stories. It also, appropriately, has little flourishes that are like Embrace the Darkness. That repeated refrain for Grayle is very evocative of the first time I listened to it. I haven't heard the story for quite a few years, but I remember the imagery being really strong. The shockwave scene is one of my fondest memories, and the music for this section is staggering. It generates a primal scariness – there's a moment at the beginning of the original Clash of the Titans where Acrisius lifts off his helmet, and there's a short "sting" that encapsulates the dangerous and primitive world we're seeing. This theme does the same, and I think the genius of the story was mixing the archaic and futuristic worlds together, such as Grayle's men harvesting plutonium. This still feels like a golden era of Doctor Who to me, and the music always played a strong part in that." - "Renewed" on Gallifrey Base forum.
Front & back CD art is available as a bonus item.
Source cues are available free as a bonus item here:
released January 6, 2013
This score was comissioned at the same time as Project Twilight, the first time I’ve ever been asked to score something I didn’t edit first since the early days of Audio Visuals, where it tended to happen a lot. Jane and I took one score each - but our credits were mixed up. Hence I got credited for Seasons while she got credited for Twilight. At the time we were working in the same room; my PC on the left and her Mac on the right of a big wobbling stack of hardware balanced on wooden shelves separated by piles of bricks, the whole kit and kaboodle balanced on a dining room table and a wooden door mounted on two keyboard stands. Talk about high tech. Mrs B, Jane’s amazing cockatiel (whose wings flaping formed a substantial part of the angel sound design in The Rapture), pretty soon got curious about all the bricks and strange boxes with lots of delicious wooden parts. Pretty soon after that she started to nibble the bricks and wooden end cheeks of my synths. I didn’t notice for a while, though I did wonder where the little piles of brick dust were coming from, and why the end cheeks seemed gradually to be shrinking... To be fair Mrs B was an equal-opportunity nibbler: she also ate plastic video cases, book jackets, old photographs and once when she was feeling particularly left -out the buttons off my Sky remote control (something which, as calculated by handling time, I clearly loved as much as her, which of course was not allowed). We didn’t have much time to complete the mission, so it was a bit of a factory floor job, with Jane creating sounds using C-Sound, metasynth and writing score using Sibelius notator to drive the EMU hardware samplers we had (Jane recently sold hers on ebay to a guy from Ultravox - how cool is that?) Having rendered the individual parts, these were then edited on the PC into a final score. Later I re-rendered stereo mixes of each cue, and then assembled them into a suite. A shorter version was edited for the BF music collection. This LP contains the full score. And mighty fine it is too - because Jane is a much better composer than me!
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