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| Listener Rating |
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| 14 listener votes for this album. |
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| Hewitt has composed a top-notch score that has a chance to flourish away from the film. |
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| By: | MainTitles |
| Date: | 21 Aug 2011 |
| Rating: |
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<i>Written by Alan Rogers - Review of the regular release</i>
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“Cuckoo – Part 1” sets the composer's stall out from the start, highlighting a two-note motif played in the strings that appears time and time again throughout the score; a motif based on a cuckoo's call. This motif is manipulated in a variety of ways – in this first track alone the motif descends down the musical scale before being raised to a high register, screeching the motif out in a musical scream. The motif is slowed down in tracks such as “Scarlett Letter”, played pizzicato at such a low level that you wonder whether you are hearing it or not (“Her Master's Voice”) and played against a recurring string ostinato in cues such as “Cuckoo – Part 2” and “Tangible Truth”. Over the course of the 30-minute score there's not much variety in terms of motifs; the same motifs are repeated over and over again. Rather, the variety comes from how the two-note motif is changed and manipulated, or how the ostinato patterns are set out. Doing this, Hewitt delivers effective atmospheric as well as action-oriented music. To my mind, it's how Hewitt modifies these musical tools with such variety that makes the score “Herrmann-esque” just as much as the use of a strings-only ensemble.
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<a href="http://www.maintitles.net/reviews/cuckoo" target="_blank">Read the complete review on MainTitles.net</a>
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