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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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