Opening quietly and submissively with the floating “F*ck Me, Please – Meeting the Interns” the composers of the Pathology film score seek to prove that their music can rise above the rather simple, and occasionally crudeÂ titles ofÂ their tracks. Pianist Johannes Kobilke and electronic musician Robert Williamson collaborated on the score, mixing the lightness of piano with the heaviness of an atmospheric tension ripe with foreboding.
The film itself centers around a group of rather psychopathic medical students who take turns committing murders in order for their friends to attempt to discover, through forensic methods, how they did it. The scoreÂ provides an appropriately bleak and disheartening presence in the background for such disturbing acts.
Kobilke’s piano doesn’t show up too frequently, butÂ heÂ usesÂ it toÂ its fullest effect on “We Don’t Like You,” providing a simple yet expressive bit of instrumentation that radiates loneliness and despair. The majority of the music is set against a backdrop of growling, purring, slow-building (and receding) terror. Williamson’s bass lines drop in and out (in tracks like “Disagreement” and “The Morgue”) to great effect. There are numerous moments of metallic, shimmering sounds, that easily give off the images of sharp medical tools going to work.
What’s most impressive about this score is that it honestly feels likeÂ one continuous piece. Whereas many scores feel slightly broken up into segments, Pathology feels like one long study in depression and nervous tension. Although this lack of variation could easily have been a drawback to the overall feel of the album, the slight changes in tone, such as the momentarily upbeat segment in “Ohrenschmerz,” adds enough of an edge to keep listeners paying attention.
Zach’s Rating: A-
Perfect For: Anyone looking for a hauntingly moving (yet hip)Â piece of music
Stay Away if: You’re looking for a theme that’s continuously pulse-pounding
Buy this on Itunes: “The Morgue”
To purchase the Pathology soundtrack, visit Amazon