It's Alive 2: It Lives Again
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| # | Tor | Czas | |
|---|---|---|---|
| 1. | Main Title | 2:32 | |
| 2. | Birth Traumas | 2:36 | |
| 3. | Evil Evolving | 3:18 | |
| 4. | Savage Trilogy | 3:20 | |
| 5. | Nightmares | 2:58 | |
| 6. | Beautiful And Bizarre | 2:49 | |
| 7. | Revulsion | 4:10 | |
| 8. | Basement Nursery | 2:01 | |
| 9. | Lamentation | 3:07 | |
| 10. | Living Fear | 3:10 | |
| 11. | Stalking The Infants | 3:02 | |
| 12. | Climax | 2:37 | |
| 35:40 |
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Describing It's Alive and It's Alive 2 without making them sound outrageously awful is extremely difficult. Both films revolve around mutant babies that seem to enjoy killing people and causing general havoc. The liner notes for the album of the sequel's score suggest a more subversive priority to both films. Both are allegories for undermining the core family unit with parents torn between love for their offspring and the need to destroy them before they kill any more innocent people. As Herrmann reputedly swore he'd never score a cheap horror film, I assume it was the moral games that director Larry Cohen was playing that convinced Herrmann to write the score.
Herrmann wrote music for the original film, but sadly passed away before the sequel was made and so Laurie Johnson, one of his closest friends, was called upon to rework the material from the original score. Herrmann was no stranger to writing for an unusual ensemble and It's Alive 2 features an almost strings free orchestra which prominently features low brass and woodwind together with some unpleasant synth effects, harp and church organ amongst others. I always find it dangerous to attach the term 'atmospheric' to a score since it suggest something that is washes of noise rather than with musical merit, but for It's Alive 2, it would be hard to describe it any other way. The melodic material is negligible at best, mainly consisting of occasionally repeated phrases and relying more on orchestration than anything else to achieve the desired effects. The ensemble has a small, fairly intimate feel that recalls Herrmann's work on The Twilight Zone, but is considerably more intense.
It would be unfair to dismiss It's Alive 2, but as pure music away from the film it falls well below Herrmann's best efforts. I imagine it might seem a little dated, but effective in the film, but as an album is frankly somewhat unpleasant. It is difficult to assess how much new material Laurie Johnson composed, but without any knowledge of the composer, Herrmann would undoubtedly be my first guess at any point. It is certainly a tribute to Johnson that has been able to fashion Herrmann's original so adeptly. An interesting effort that is undeniably effective, but frankly not really pleasant as a pure listening experience - for Herrmann horror, I'd stick with Psycho.
Herrmann wrote music for the original film, but sadly passed away before the sequel was made and so Laurie Johnson, one of his closest friends, was called upon to rework the material from the original score. Herrmann was no stranger to writing for an unusual ensemble and It's Alive 2 features an almost strings free orchestra which prominently features low brass and woodwind together with some unpleasant synth effects, harp and church organ amongst others. I always find it dangerous to attach the term 'atmospheric' to a score since it suggest something that is washes of noise rather than with musical merit, but for It's Alive 2, it would be hard to describe it any other way. The melodic material is negligible at best, mainly consisting of occasionally repeated phrases and relying more on orchestration than anything else to achieve the desired effects. The ensemble has a small, fairly intimate feel that recalls Herrmann's work on The Twilight Zone, but is considerably more intense.
It would be unfair to dismiss It's Alive 2, but as pure music away from the film it falls well below Herrmann's best efforts. I imagine it might seem a little dated, but effective in the film, but as an album is frankly somewhat unpleasant. It is difficult to assess how much new material Laurie Johnson composed, but without any knowledge of the composer, Herrmann would undoubtedly be my first guess at any point. It is certainly a tribute to Johnson that has been able to fashion Herrmann's original so adeptly. An interesting effort that is undeniably effective, but frankly not really pleasant as a pure listening experience - for Herrmann horror, I'd stick with Psycho.