[REC] 4

Composed by: Arnau Bataller

Distributed by:
MovieScore Media

Reviewed by Melissa Minners


                In the fourth and final installment of the Spanish horror franchise, Manuela Velasco reprises her role as reporter ┴ngela Vidal.  A direct sequel to [REC] 2, [REC] 4 finds ┴ngela waking up in a lab on a boat.  She can't remember what has happened to her and is quite distressed about that.  Though she is told she is safe, she soon learns that she is anything but.  An infected test subject has escaped during a blackout on board and begins infecting others aboard.  But that's just the beginning of ┴ngela's nightmares.

The musical score of [REC] 4 was created by Spanish composer Arnau Bataller whose original musical path began with studying the violin.  Receiving a degree in the instrument in 1998, Bataller suddenly changed paths, deciding to take up film scoring at the University of Southern California.  Since graduating in 2002, Bataller has composed a number of film scores for both American and Spanish film, including The Valdemar Legacy series and The Brotherhood.   Working on [REC] 3: Genesis as an orchestrator gives Arnau Bataller some familiarity with the horror franchise.

Based on the subject matter, one would expect to listen to a score featuring a great deal of action and suspense and Bataller delivers.  The action-based theme introduced in the very first track, Countdown, features fast-paced strings and percussion and dark, ominous horns.  This theme offers up both a sense of urgency and extreme danger and can be found interspersed throughout tracks on the entire album.  Screeching strings and loud blasts of music let you know that the infected are attacking.  Quiet moments in between these loud blasts cause you to jump in your seat as you listen to the score and you just know that, added to the special effects on screen, the score enhances that fright factor by fifty percent.

Unlike some horror scores that rely on strange sounds and electronic elements, Bataller's score of [REC] 4 uses orchestral sound to achieve that goal, never letting go of the fact that a score should contain music and not just a bunch of scary sounds.  Kudos, Mr. Bataller, for a job well done!


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