There is only one thing wrong with this album, and that's having the "Lighthouse" cue (an Overture-like end titles) as the 1st track. The other re-arrangements to chronological order make no odds musically, but by having something with so many of the score's eggs in a basket this early on, a lot of the joy in being surprised by this extraordinary new voice from Wiseman is spoiled. Then again - considering the nature of the horrific film - maybe it's just as well to get the big shock to the system out the way. You can forget the romance of Wilde or Haunted. This is a full on-assault to the senses. No opportunity for crescendo or sting is missed with an ear-shattering use of anvil and crashing samples. Brass plays an enormously domineering role that places the stylistic frame of reference toward the Herrmannesque. That carries through into the score's structure, with lots of repeat phrases blocked into cells recalling the Master's handiwork. For sheer exuberance the cue "Showdown" has to be singled out. For 5 minutes it seems the most nightmarish scenario must be building up to detonation (and sure enough, this is the literally 'hair-raising' psycho chase denouement). There is some respite along the way - a solo violin toying with childish memories - but these moments don't last. It's not often you hear so radically different a sound from a composer. Certainly not one so well entrenched stylistically in their career. So prepare yourself. Play late and night on your own for maximum effect… Reviewer Paul Tonks	Reviewer Paul Tonks Reviews from previous months Reviews carry sales links but you can also purchase from:
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