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salemslotcd.jpg (36824 bytes) Salem’s Lot – Music by Christopher Gordon

Varese Sarabande – 2004

This score gave me the special feeling I get in October when the leaves turn orange, fall and dance across the ground as Halloween lurks around the corner. Christopher Gordon has composed a score that feels like something awful is happening in a small town. I didn’t get a chance to see the new TNT Mini-Series so it was especially cool listening to this score.
"Thanksgiving" ushers in the threat of danger. Melancholy gives way to attacking brass, chanting voices, while strings work away to expose the real evil that is coming. Gordon beautifully plays piano in "Jerusalem’s Lot" which gives nice contrast compared to cues that surround it. This second cut still retains an undercurrent of suspense with the bass and dark subtle orchestration.

Brass flies in to sink its teeth into "In The Woods." Christopher Gordon builds his orchestra up to a swirling vortex of death. Wow, the strings really grabbed me while listening to the beginning of "Straker." The rest of the track has a dark deep feel of gloom. Piano leads us through the darkness that is "Dud and Barlow." The choir really stands out in this fifth track.

Somberness is captured in "Eva’s Story." "Mike Ryerson" features a high pitch screeching noise that catapults the orchestra into frenzy. Part of this eight-minute cue reminded me of Elliot Goldenthal’s ALIEN 3 score.

"Bloody Pirates" is the first of three tracks that Gordon works with vocalist Lisa Gerrard. On his website, Gordon mentions in an interview that he mixed Gerrard's voice in a haunting way so that it sounds like she is right behind you, over your shoulder, someplace you can never quite catch her. It's a weird because you can feel that her voice is there but it's not obvious which makes it kind of an eerie experience.

The beginning of "Mark’s Escape" reminds me of the footsteps of the T-Rex in JURASSIC PARK. In "Approaching the Mansion" Gordon uses the deeper part of the orchestra much the same way Ennio Morricone did for John Carpenter’s THE THING. Metallic, glass-like sounds make "In the Cellar" wickedly spooky. The sustained high-pitched strings will give you some anxiety.

The first half of "Converting the Priest" is quietly tense, as Gordon/Gerrard subtly build tension. Gerrard’s whispering chants will chill the most jaded horror soundtrack listener. The brooding orchestra of "Barlow" eventually explodes with brass and choir. The male and female choir voices of "Mutans Evae Nomen and The Mansion Burns" are regal.

"Salem’s Lot Theme" is somber and leaves you with the feeling something awful has happened.

Christopher Gordon’s composition is classy and powerful. There is little doubt that he could score any kind of classic work. We are lucky that he choose to do SALEM’S LOT.

www.christophergordon.net

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