Avengement [Original Motion Picture Soundtrack]
I was watching Avengement the other day on Netflix. I’m a big fan of the Jesse V. Johnson / Scott Adkins vehicles where everything is solved through big barroom beat-em-ups and a bit of martial hurts actually hurts everyone in the end, and during the middle, and also right at the start. Fabulous stuff.
But with this one I was struck by the opening credits (Me Mum). Who was the person responsible for fusing elements of John Carpenter (The Fog and Halloween themes) with Barry De Vorzon (Cotton’s Theme aka Nadia’s Theme aka The Young And The Restless!) This is heaven to me. As readers might already know. That kind of borderline hackneyed sentimentality is hard to find anywhere to the left of Sebastien Tellier these days. And I haven’t realised how much I crave it until I hear something like this.
So I’m checking out the full score to Avengement straight after the film finishes. And then again and again in the days immediately after.
Carpenter is definitely a strong touchstone – particularly his more action-based films like Escape From New York, Assault on Precinct 13 and They Live.
These are short cues, for the most part. Little glimpses of a theme is set up and then the band blasts in to put a bit of rock behind the electronics (Handy Man) and next thing it’s off to the new set-up. Which might be a bit of 80s-sounding hip-hop-referencing synth mood (Montage) or something closer to Orbital or Underworld (Train Train).
I love the full-blown-ness of Acid Attack which punches out as if some Underworld template, just waiting for a Karl Hyde lyric to make it an anthem. I also love the pieces that hark further back and feel so drenched in 80s vibes (Prodigals).
And I’m deeply aware that not many people even take much notice of this stuff as they’re watching a film, much less listen in after – but there are some lovely moments on this score. Like Bruv which is all at once Clint Mansell and Lustmord-like.
The end credits music (Avengement) brings in that little playful motif that combines The Fog’s wee lick and curl (I think more of DJ Shadow’s repurposing of it actually) with those strings from De Vorzon’s world. So kitsch almost. So lovely. I’m so, so into this. And I get that both the film and its music is probably a no-sell as far as recommendations go. But fuck it. No one ever pays me to stay this stuff. And so here you go.
You can support Off The Tracks via PressPatron