As producers, Joel Silver and Robert Zemeckis ought to be fed up with the haunted
house routine. Apparently not. As a new composer of some promise introduced
in the 90s, Frizzell ought to be in regular employ on challenging projects.
Donít be fooled by the pricking up of your ears to the superb trombone opening
of "The Juggernaut". The album would appear to have been resequenced
to attempt to make some sense of its many disparate styles and moods. At least
placing this cue first was a good idea. Immediately following, youíll be clued
in to where things are going by the grunging electric guitar and solemn hollow
drones of "Whatís In The Basement?" After these 2, we then
get the "Main Title" full of soothing harp and flute and figures.
And so the hour goes, ranging from the scatterfire of electronic noise beneath
big orchestral shocks (with an unexpected carousel) of "The Jackal
Attacks" to the screeching guitar shocks of "Rafkin Struck
Down" to the tinklingly optimistic "Entering The House".
This is textbook contemporary horror genre stuff, with little thematic core
to latch upon or stylistic coherence to make an album consistently pleasing
to listen to. Itís a genuine shame in Frizzellís case, because as heís show
before (e.g. Alien Resurrection) thereís a struggling writer of worth
trying to be heard amongst all the noise and temp track derivation.
There are moments of excitingly different percussive combinations in "The
Ghosts Escape". Thereís some powerhouse orchestral action writing in
"Junkyard". There are even some impressively romantic string
crescendos in "Gene Returns". Taken as a whole however, itís
as much of a mish-mash as producer Silverís House On Haunted Hill (by