|Doctor Who - The Maltese Penguin||20021100|
t was just another quiet day on the mean streets for Frobisher, private eye. But then a dame walks into his office and into his life. A dame who is drop dead gorgeous and drop dead deadly, offering him a case he just can't refuse.
Well, he could refuse it. If he really wanted to. But he has to pay the rent.
When their paths cross, Frobisher finds himself involved in a web of mayhem and intrigue. A web of gangland killings, corrupt cops, sentient bloodstains, and very rude hotel receptionists. A web of murder and deceit, treachery and fisticuffs.
That sort of web. You know. The sticky kind.
|Music From The New Audio Adventures Vol 2||20010100|
Music Scores: The Last of the Titans, The Shadow of the Scourge and The Fires of Vulcan
Alistair Lock, March 2001 - With each new Doctor Who story, I am presented with a new challenge. All our audios are recorded in a warm, comfortable studio, so the first of two major hurdles is to create audio environments that sound real and detailed. The second task is to make sure the actors sound as if they are in these environments, not merely pasted in front. This alone involves a lot of work, but even when these two stages are complete, there is still another and that is the music. I try and give each new production a different feel, and the music is a major component of this.
The first story, Last of the Titans, is a deceptively comedic story with a dark twist, set on board a huge empty spaceship. The style of the music in the earlier part of the story owes something to the work of Dudley Simpson in the seventies. As events take a darker turn, so does the music.
The Shadow of the Scourge features aliens who induce fear in the minds of their victims. Apart from one or two more traditional orchestral cues, it was my desire to make the music feel very uncomfortable.
The Fires of Vulcan is an epic tragedy involving the destruction of Pompeii by Vesuvius. The music reflects both the grandeur of the historical event, and its effect on the lives of the individual characters involved. My intention was to evoke a wide screen feel, in both sound and music.