![]() ![]() ![]() The cover of the record pulls in these same colors for the same result. They are warm colors that reflect the heat of the characters surroundings, the Georgia landscape. Shots tend to focus on yellows, browns, umbers, and siennas. The visuals for The Walking Dead television series are effective. While this variety works when split up and doled out over the course of the show, it could be ex-hausting to listen to in one sitting. There are a lot of emotive swings to The Walking Dead OST, and a lot of aesthetic changes. McCreary's compositional range is impressive, but it could work against him. It's a low growl of thin electric guitar. Military beats come in and out, giving this track an industrial edge. "The Governor", meanwhile, sneaks in with bottom-heavy and grainy synths. It's one of the most heartfelt pieces on the entire album. The song is a piano ballad, simple and pure. Further down the tracklist is the somber and skeletal "Carl". The brilliance of this track is how it reprises hints of the melody form the theme and uses the tune in a completely different way. Track 6, "Message to Morgan", is another slower one. The smashing beats are punctuated by dramatic rests. McCreary moves from bluegrass-infused rock to swifts cuts of hyper orchestration. The music shifts with the third track, "Glenn's Wheels". Sad strings caress its lonely ringing tone. True to its title, the track is mournful, contemplative. Following the opening theme is "Rick's Despair". The diversity is apparent pretty quickly. It's a diverse collection, with some tracks moving on slow, emotional strings, some tracks pushing harder over pounding, dramatic beats, some tracks tingling with colder, dark aesthetics, and some tracks playing softer and more romantic. The tracklist is a combination of fan favorites and songs that Bear McCreary has a personal affinity to. There are 23 tracks in this compilation, spanning the first seven seasons of the show. This record, however, goes well beyond that opening song. Most episodes open with a teaser scene and then they switch to the opening credits – and theme – at the height of emotional drama. And the format of the show tends to position "Theme from The Walking Dead" at an ideal moment. At its peak, The Walking Dead claimed 17.3 million viewers. "Theme from The Walking Dead" is a song recognized by millions of people around the world. It's that opening theme that does it the fade-in of those frantic strings, the striking and repetitive hook, the tense and building undercurrent, and then that last final note a death knell that warns television viewers of the gruesome experience that is to follow. But his work on The Walking Dead is arguably his most memorable, and definitely his most famous, of his still young career. and films like Europa Report, 10 Cloverfield Lane, and The Boy. He built his resumé further by composing music for shows like Outlander and Agents of S.H.I.E.L.D. This past October, Lakeshore Records and Sparks & Shadows rectified this.Įmmy winning composer Bear McCreary, who studied under legendary composer Elmer Bern-stein, launched his career by scoring the successful Battlestar Galactica reboot in the mid-2000s. Strangely, this marketing blitz never produced a proper release of Bear McCreary's soundtrack for the show. They were albums of licensed songs used during specific episodes, various tracks by various artists. The marketing and licensing that went along with the show ranges from predictably standard items, like a Daryl Dixon coffee mug, to completely baffling products, like the officially licensed The Walking Dead Yahtzee set.Īmong these items have been a few music releases. ![]() Along the way, the show has seen its ratings rise and fall, its storylines succeed and fail. The television show, which was spawned from a graphic novel series, began its eighth season in 2017. Some of the output from zombie culture was genuinely creative, while some was little more than Romero-clone cash grabs. Expanding beyond film, zombies started showing up in tel-evision, print fiction, comic books, video games, cartoons, toys, fine art, theater, advertising, fashion, and music. Like the creatures themselves, zombie culture became an infes-tation. While the concept of a reanimated corpse was not new, Romero's film added the details that inadvertently defined the genre of zombie horror. It took a few years to catch on, but director George Romero's 1968 classic Night of the Living Dead changed the landscape of horror. ![]()
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