THE CLOVERFIELD PARADOX - Original Soundtrack by Bear McCreary
Bear McCreary has become as big a name in score composition as legends such as Hans Zimmer, the late James Horner, Michael Giacchino and James Newton Howard. With defining works like Battlestar Galactica, Marvel's Agents of S.H.I.E.L.D., Outlander, Europa Report, The Walking Dead and Da Vinci's Demons, his work crosses a vast array of sounds, motifs and truly unique instrumentation, and his second score in the Cloververse is no exception. The Cloverfield Paradox is the third film in the franchise, and a polarizing entry that left many disappointed, but others in awe and intrigued by future possibilities brought about by the film's ramifications. None of this would be nearly as effective, memorable or captivating without McCreary's music.
Kicking off with the epic and haunting "Overture," there's immediately a sense of terror and unnerving chaos lingering on the horizon. When has tinkering with the fabric of reality ever gone relatively well? The second track "Ava and Michael" is much more a character piece and theme, bringing heart into the horror of the situation, or at least before it all comes crashing down. "Converging Overload" evolves the main theme, building into something wondrous that quickly goes wrong, and a sinister sound takes control, leading into "Drifting in the Dark," a disturbingly ominous piece worthy of prime horror film status. I'd continue, but I'll end my analyses with saying my favorite track is "A Stable Beam:" it's not only the very end of the film before the credits roll, but it's also the suspected and ultimately necessary end that leaves the audience in disarray, because there was simply no other way.
The Cloverfield Paradox is a must-own for any fan of McCreary's, and anyone who appreciates a good film score that's as exciting and gorgeous as it is terrifying and unnerving. Buy the CD; the liner notes and credits on top of having a solid physical copy make the few extra dollars worth every penny
Kicking off with the epic and haunting "Overture," there's immediately a sense of terror and unnerving chaos lingering on the horizon. When has tinkering with the fabric of reality ever gone relatively well? The second track "Ava and Michael" is much more a character piece and theme, bringing heart into the horror of the situation, or at least before it all comes crashing down. "Converging Overload" evolves the main theme, building into something wondrous that quickly goes wrong, and a sinister sound takes control, leading into "Drifting in the Dark," a disturbingly ominous piece worthy of prime horror film status. I'd continue, but I'll end my analyses with saying my favorite track is "A Stable Beam:" it's not only the very end of the film before the credits roll, but it's also the suspected and ultimately necessary end that leaves the audience in disarray, because there was simply no other way.
The Cloverfield Paradox is a must-own for any fan of McCreary's, and anyone who appreciates a good film score that's as exciting and gorgeous as it is terrifying and unnerving. Buy the CD; the liner notes and credits on top of having a solid physical copy make the few extra dollars worth every penny
2 Ava And Michael 2:27
3 Converging Overload 2:19
5 In The Wall 2:32
6 Mutant Space Worms 6:46
7 Jensen 4:42
8 Molly 3:03
11 A Message For Ava 5:48
12 Magno-Putty 3:58
13 Spacewalk 6:49
15 A Stable Beam 7:08
16 The Cloverfield Paradox 7:36
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