Recently got to see last year’s, The Girl On The Train (2016), a dark psychological crime thriller (starring Emily Blunt, Haley Bennett, Justin Theroux, Luke Evans and Allison Janneyand) and was completely swept away by the great score by Danny Elfman.
I’m always keen to listen deeply for the microtones and nuances of pitch that are often a feature of his film scores, as in for example, A Simple Plan (1998), and in this new one, microtonal inflections are expertly and tastefully woven into the fabric of the film, deepening the sense of drama (and dread) of the story line.
Gorgeous orchestral, string and synth composition throughout; the intonational template – to these ears – featuring a foundation of ED2-12 with some microtonal-tuned parts (it would be interesting to know more about the specifics of the microtuning used in this film). The synth and sampling sound-design is amazing and I really appreciated the tasteful and compositional use of saturation in some of the timbres and textures.
Being one that always relishes the end credit music in films, it’s worth mentioning that here the music is truly spectacular and is also where even more microtonal textures unfold that encapsulate the emotion of all that came before. As the end credits roll by, one will notice that Elfman is also credited with playing synthesizer, which, as explained in the LA Times feature linked below, are clearly among the sound sources for the microtones featured throughout the film. Really impeccable work.
The Girl On The Train (2016) | Danny Elfman | OST On YouTube:
LA Times feature with Danny Elfman about the score: