THE DEVIL'S REJECTS
Music composed by Tyler Bates
Label: La-La Land
Catalog: LLLCD 1035

Year: 2005
Tracks:

1. Tiny and His Girl/Police 
2. Ten Cars Twenty Five Pigs 
3. Shootout 
4. Mama Pulls the Trigger 
5. Ride the Horse 
6. Driving to the Khaki Palms 
7. Unwanted Guests 
8. Official Clown Business 
9. Dirty Knees 
10. See You In Hell 
11. Yellow Brick Road 
12. Another Failed Escape 
13. Adam's Face 
14. The Rejects Were Here 
15. Road Kill 
16. Brother George/I Found Your Guy 
17. Holy Guacamole 
18. Hand Sandwich 
19. Joyride 
20. Staples 
21. You Feeling It, Brother? 
22. Run Baby Girl 
23. Tiny Snaps Wydell 
24. We'll Come Back for You

Total Time: 59:28
Rating:


Reviewed by
Jorge Saldanha

 

For the sequel of his cult classic Night of 1000 Corpses, rock star/filmmaker Rob Zombie hired composer Tyler Bates to write the score. Bates credits includes such films like Universal's remake of Dawn of The Dead, Emilio Estevez's Rated X, Stephen Kay's Get Carter and Mario Van Peebles's Baad Asssss!. Both live rock performers, Zombie and Bates enjoy an unique camadarie, that naturally developed in this current partnership.

The Devil's Rejects is one part horror film, one part western, a story of madness, murder and revenge that continues the story of the Dr. Satan cult murders. Bates choose to capitalize on the bloodlust, fear, and frenzy of writer/director Zombie's terrifying story. As result we have an unprecedent creepy work by Tyler Bates, plenty of exquisite dissonance and scary chords. The orchestration is creative, traditional brass become distorted.

Besides the brass section, conducted by Tim Williams, the composer utilizes an eclectic ensemble of percussion, guitars (played by himself), voices, bass, synthesizers and mellotron. Additionally, in search of a timeless sensibility, he employs industrial sounds created from machinery, vehicles, appliances, whatnot. However, is the massive percussion section and the menacing orchestration that sets the tone for the ominous hunts, desperate escapes and violent confrontations. Sometimes the result is very exciting, sometimes... just very noisy.

Apart from the film, The Devil's Rejects's score is far from be an easy listening experience. The funky / bluesy "Ride The Horse" and the vocalized "We'll Come Back for You" are the only melodic concessions in the score album (and there's "Holy Guacamole", a carnival source tune). If you are looking for melody this is the wrong soundtrack, since most of the music is designed with the only purpose to provoque primal, sometimes visceral reactions on the listener.

The music's sense of menace is almost constant, definitively adequate for the movie. But exactly for this reason this is not a score for all film music fans. Zombie asked to Bates a "fucking scary and fucked up" score, and that's what the composer delivered. So, if you're not a "fucked up" music fan... it's better to run for your life! 

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