Silva Screen, out now

 

Neil Gaiman’s TV adaptation of his and Terry Pratchett’s comedy horror novel is underscored by a glorious soundtrack by Bond and Sherlock composer David Arnold, but be warned that you’ll be humming that infectious main theme for some time yet!

I first interviewed David in 1998 shortly after he’d scored Roland Emmerich’s Godzilla and I’ve followed his work with interest ever since. And it’s that long term investment in his scores that inevitably leads to the odd ‘oh, that’s a little bit Tomorrow Never Dies’ or ‘how very Sherlock.’ But while I have this affinity towards his output – familiarity leads to being content – even I was caught off-guard by his really simple main theme, which straps on nuclear missiles before launching into your ear canals and taking up permanent residency.

I say ‘simple’, but then that’s how clever it is – it gives the impression of simplicity, but was possibly a tougher nut to crack than that. When the opening credits to the show were previewed a few weeks ago I was immediately enchanted by the spirited Eastern European polka that bounces the animated characters (in the titles) from left to right. And because it’s such a basic theme, it lends itself to variations across the show’s six episodes, from the ominous blockbuster take to the spaghetti western Morricone version.

Silva’s generous release offers us 62 tracks across two discs, clocking in at 90 minutes of music. Thankfully the tracks have been sequenced chronologically, meaning that you can listen to it in the same order as the episodes, which also reflects the way that the thematic material develops. But this is no one-theme wonder, with supporting characters Adam, Anathema, Pulsifer – even long-dead Agnes – getting their own motifs.

You won’t find the selection of Queen songs here that were woven memorably into the episodes – their Greatest Hits albums should solve that if you’re wanting. There is however End Titles: The Theme That Got Left in the Car – the Queen-iest of tracks that they never wrote. And Tori Amos’ beautiful A Nightingale Sang in Berkeley Square finishes the listening experience on a high, by which time you’ll probably be smiling, wiping away a tear, or both.

Verdict: In a word – joy. An hour-and-a-half of fun that will whip you straight back into the world of flaming swords, green duck-faced aliens and chattering nuns. I really hope that David includes this in his Settling the Score concert this October – a worthy addition to his musical arsenal when he takes on Michael Giacchino! 10/10

Nick Joy

Click here to enter the competition to win a copy (runs till midnight 6/6/6… ok, 6/6/19)