David Buckley is no stranger to the thriller genre. He recently scored Joel Schumacher's Trespass last year and also the thriller ATM. Here Buckley does what he knows best and that's create a subtle theme to base the score off of and then slowly add layers with electronic textures. The score builds to some great and entertaining tracks while never going overboard or doing too much musically. He knows when to let air in so as not to suffocate the narrative.
Musically we start with a piano theme that is distorted with reverb added to create a dissonant uneasiness. As the score progresses we start to hear more layers. Strings pulsate in the background to give the score some body and weight. Buckley is an avid user of electronics in his music, and he does so with great precision. Never do the electronics overtake or drown out the melodies. The score is very simple and was crafted that way. There are a couple moments of action where he ramps up the tempo and then dials it back down. Just enough to get your heart pumping, but it won't make you break a sweat. Once we close the album we get a nice resolution.
Gone is a great thriller score done with honed precision from a composer who knows exactly what the story needs and doesn't need. While you won't be blown away by Gone it is indeed great to hear a thriller score executed with talent since those are hard to come by these days. If you were a fan of Buckley's previous scores such as From Paris With Love, The Forbidden Kingdom or his collaboration with Harry Gregson-Williams on The Town then I suggest you check out Gone. Both Harry and David have similar sensibilities so if you're a fan of Harry you will definitely love David's work. Check it out.
