Composed By: David Buckley

Distributed by: Lakeshore Records

Reviewed by Melissa Minners


            In the suspense thriller Gone, Amanda Seyfried is Jill Parrish, a young woman who survived an abduction, narrowly escaping from a serial killer.  When she returns home from her night shift job and discovers that her sister (Emily Wickersham) is missing, Jill is convinced that she has been abducted by the same serial killer.  Unfortunately, the police donít believe her.  In fact, they think sheís crazy.  Jill is on her own in a mad rush to expose the killerís secrets and find her sister before his deadline - sundown.

            The soundtrack of Gone was created by British composer David Buckley, whose first involvement in film music was as a choirboy on the Peter Gabriel score for The Last Temptation of Christ.  Continuing his musical education at Cambridge University, Buckley eventually moved to London and began a successful career as a composer of commercial and television series musical scores.  In 2006, David Buckley moved to Los Angeles, California and began working with Harry Gregson-Williams as an additional writer for the film scores of Shrek, The Number 23 and more.  He has also provided musical scoring for games like Shrek Forever After and Metal Gear Solid 4 and TV shows like Shrek the Halls and The Good Wife.

            In creating the musical score for Gone, Buckley had a very specific approach: ďThe challenge in scoring Gone was to provide a layer of tension and intrigue, but one that did not get too big or ahead of the story.  A string orchestra and piano feature in many cues, but the filmmakers did not want a traditional score, hence these conventional sounds are used alongside non-standard instrumentation and textures. The score is based around a 5 note motif that at times is used explicitly and elsewhere is twisted and distorted within the musical fabric.  It's a dark score expressing danger, paranoia and fear, but ends with a sense of restrained defiance and victory

            And dark it is, with orchestral tones in the lower registries and quite a bit of electronic sound mixed in.  The Gone Soundtrack, although performed by a traditional orchestra, has a very modern feel to it.  The score gives the listener the impression that the main character is always looking over her shoulder, wondering just where her former abductor is going to come from next.  Some of the more interesting and exciting tracks include Jill Runs for Her Life, Alameda Car Pursuit and Darkness Falls, a track with an underlying beat that could be interpreted as either footsteps or a heartbeat.

            The score for Gone is interesting for its blend of traditional orchestra and modern sound.  The Gone Soundtrack is not lengthy at just over a half hour, but it provides a perfect backdrop for events in the film.  As a stand alone album, it has an interesting style, but Iím not sure itís worth the $17.00US price tag for the CD.  This is one youíre probably better off downloading for the much cheaper price of just under $10.00.


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