Week of November 8, 2004By Chris Fullman
Posted at November 14, 2004 - 7:39 PM GMT
I've done about 500 Hail Mary's for being late with the review. My video card recently died, and I had to replace it. It was somewhat not-fun, but in the midst of getting back on track, I got the opportunity to listen to a few new albums, which came in greatly with this week's recap.
Though this feature-length episode, heavily advertised in terms of CSI-advertisements, gave the composers a huge opportunity to shine, there was very little material to work with.
There was, however, one part that I felt stuck out, in a wrong way. During the Bank Safe/Window scene, there is this seemingly-misplaced choral piece. While I enjoyed the piece, it really didn't fit with the look and feel of the scene.
Throughout the episode there were hints of vocal themes, as well as a driving techno/bass theme that weaves in and out of the sections.
If you liked this score, you may like: Mission: Impossible - 2, Gladiator, Sheila Chandra
The reoccurring theme throughout this episode would be a jungle theme, with wooden percussion and instruments, such as marimbas, with added piano sections to add to the ambience.
One of my favorite textures is when you take a drumstick and hit a large metal trash bin; every different area will give you a different sound. This was subtly brought into the middle of the episode, and then brought out again.
It's nice to see that there are strong reoccurring themes throughout all of CSI: NY's episodes and this episode shows it.
During the "Key Prints"scene, there is a slight jazz/new age feel that blends perfectly in the background.
There is one thing that I noticed, and I know I've brought it up many times before, but it looks like Hans Zimmer is a great influence for our CSI composers, as I frequently identify his textures, notably from Mission: Impossible - 2, artistically imitated in the recent scores.
If you liked this score, you may like: Mission: Impossible - 2, Sasha: Airdrawndagger
The strong reoccurring theme in this episode gives us a cinematic feel that compliments the episode perfectly. The brooding strings and piano solo's seem to go hand in hand, both playing off each other, taking each other's cues. The slight rhythm in the background of these songs adds a sense of urgency to the score.
During the investigation of Janelle's room, the theme is brought back, first with the solo piano, and then the strings quickly follow suit.
Towards the end of the episode, as answers come to light, the theme is put aside and replaced with a piece that feels like it is filled with air, with heavy reverb.
If you liked this score, you may like: Children of Dune
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Chris Fullman is a regular contributor. For more information, visit his personal site.