Monthly Archives: May 2014

The Pretty Reckless “Going to Hell” Album Review

The Pretty Reckless

Although I’ve had The Pretty Reckless’ second album, Going to Hell, since it was released on the 18th of March, I’ve held off reviewing it because when I first heard it, I didn’t like it – in fact I can go so far as to say I hated it. But as I loved their debut album, Light Me Up, so much I didn’t want to jump the gun with this one and decided I’d wait and see if the album would grow on me – and it did. Of course, it took until last weekend for me to realise that, but my opinion on the entire album has definitely changed.

When I first heard The Pretty Reckless (henceforth abbreviated to TPR) were releasing a new album, I was pretty damn excited; as stated above, I loved their debut offering and thought it was brilliant. At the time, the two singles they had released off album number two were Going To Hell and Heaven Knows, both of which I absolutely adored – and I thought, if the entire album was going to be in that vein, it was going to be one hell of an album. However, when I first played the album, I sat there with a stunned expression on my face, and unfortunately I wasn’t in awe of how fantastic a follow–up it was to Light Me Up. Quite frankly, I was shocked at how bad it was and at how so much of it sounded the same. With Light Me Up, everything sounded different and it was all catchy – and you also had the amazing, ballad–esque track You, which is one of my favourite TPR songs. Yet it seems like on Going To Hell they decided to utilise the formula of that one track and spin out four more tracks like that – slow melody + Taylor Momsen’s husky voice = instant good track. Except, it didn’t really work like that this time. Generally when you write a song , you want it to stick in people’s minds, and for all the right reasons, but the four main slow track of Going to Hell (consisting of House on a Hill, Blame Me, Burn, and Waiting for a Friend) just become one jumble where you can’t really tell one song from another. Indeed it became so much like that, that I ended up mistaking the chorus of Fucked Up World for that of Goin’ Down, one of my favourite tracks from their first album – and I really couldn’t work out if that was fault on my part for not knowing all the words, or if it was the fault of Momsen and co. for managing to essentially rip off their own song – and I was inclined to (and to an extent, still do) think the latter.

HOWEVER, these were all the thoughts I had when I first heard the album, and as I said, my opinions have most undoubtedly changed. Last week, when House on a Hill came on I was amazed by Momsen’s vocals, and I couldn’t believe that I hadn’t liked it the first time I heard it. So I decided to give the whole album another listen, and I was adamant that I wouldn’t let either my love for Light Me Up or my misgivings on my first listen of Going To Hell get in my way of forming a solid opinion. I was surprised to discover that actually, the album wasn’t anywhere near as bad as I first thought – but why did it have to take me two months to realise that?! Follow Me Down is a cracker of an opening song, and is one I liked from the very beginning. It’s got a brilliantly catchy chorus and in general is just a really addictive song – it’s quite high in my all–time favourite TPR songs. It’s followed up by the title track, Going to Hell, and Heaven Knows which I’ve already said I thought were fantastic, and they’re both still firm favourite, in particular Heaven Knows.

With these quick and up–beat songs out of the way, we’re then treated to the first slow song of the album, House on a Hill. Again, I can’t understand why I disliked it, as it truly is a fantastic song – like Follow Me Down, it’s also high in my list of favourite TPR songs, but is also probably my favourite song off this album. And I’m extremely grateful that a chance listening to this song forced me to rethink my opinion of the entire album, otherwise I’d be firmly sticking to my initial 1–star (2 at a push) review of it. Up next is Sweet Things, which I’m aware some people find quite creepy and truly bizarre – and I can’t deny that it’s true, but despite – or maybe due to – that, I love it. It’s another addictive and catchy song which I often find springing into my head, and whilst the lyrics aren’t exactly what you’d want going round your head in the middle of the night (i.e. “Hey there little girl/Come inside, I’ve got some sweet things/ Put your hair in curls/Paint you up just like a drag queen”), the melody is great. Dear Sister is not something I count as a proper song, due to it only sitting at 55 seconds, but I like it nonetheless. As much as I wish it were longer, I think it is perfect the way it is as otherwise there may have been a risk of it feeling forced.

The seventh song, Absolution, is one I’m still not very sure about. There are some parts of it I really like, but overall it just doesn’t have the catchy beat or addictive quality the others possess, so whilst I don’t skip it when it comes on, it’s also not something I actively seek out to listen to; instead I’m prone to forget all about it. However, it’s successor in the form of Blame Me, more than makes up for any sceptical feelings. It’s the second of the slower songs (I do like how they’re relatively spaced out, rather than clumped together), and although it doesn’t even come close to being as fantastic as House on a Hill, it’s an extremely good song nonetheless and very much worth listening to –it reminds me a little of TPR’s Nothing Left To Lose, from their first album, though I’m not really sure how. Burn follows, and is another pretty short song, though I think due to its slowness it feels longer, and again it’s a very good song, certainly worth a listen.

The next track, Why’d You Bring a Shotgun to the Party?, is one I’m pretty confident I don’t like, and no matter how many times I’ve listened to it, I just can’t bring myself to like it. The start, where Momsen sings “Alone, afraid,” always reminds me of the scene in 2003’s Peter Pan, in which all the children crowd Hook yelling “Old, alone, done for!”, although I do love that film so that reminder isn’t a bad thing – just seems very out of place in a TPR song! Otherwise, though, I really dislike this song. It’s too predictable for me, in particular the chorus: “Why’d you bring a shotgun to the party?/Everybody’s got one, there’s nothing new about it/ Wanna make a statement, you should’ve come without it”. I mean, I can’t be the only one who saw that coming a mile off, and if there’s one thing I hate in songs, it’s predictability. On top of that, the melody is nowhere near as catchy or addictive as it is in their previous songs, so it doesn’t stick in my head. Also, towards the end, you hear a gun being fired, and whilst it does add an effect, it’s just too overpowering. I feel that it’s louder than it necessarily has to be, and it distracts you from listening to the vocals, and to be honest, just annoys me. Don’t get me wrong, I won’t skip the song if it comes on, but it’s not one I’ll seek out to listen to. The penultimate track is Fucked Up World, and although I did used to mistake the chorus for that of Goin’ Down from their debut album, I do love the song. It’s just as catchy as the rest of the album, and I love Momsen’s voice on it; she’s great on everything, of course, but I just really like her here. I feel this would have worked really well as the album’s closing track, but as it turns out… Waiting for a Friend is just phenomenal. It’s the last song, and also the last slow song, and I don’t think I’ve loved a song as much as I do this. I said Momsen’s vocals were really good on Fucked Up World, but they’re simply superb here; she really suits this slow melody and the accompaniment isn’t too over–powering or over the top either, which is a huge bonus. This may sound bizarre, but the song – the tune at least – reminds me a little of Bob Dylan, what with the beginning on the harmonica, with it interspersed throughout the song, and just the plain guitar going on behind her. I have to admit, I’d have been quite interested to due how something between the two of them could have worked out, as I feel her voice in this song would really have complemented his.

Overall, it turns out that not reviewing this album as soon as it was released was definitely in my favour – as of March 18th, this would have a 1–star review from me, maybe 2 at a stretch. However, as I left it for two months before settling down to write it, it’s obvious my view as changed. I’m definitely not going to give the album a full 5–stars, as I don’t think it quite deserves that, and to be honest I’m not overly sure how many stars I do want to give it; I’m thinking 3.5/4 though, which a far cry better than 1.

Do I prefer Going to Hell to Light Me Up? Well as much as Going to Hell has some really stand–out tracks, including Heaven Knows, Fucked up World, and Waiting for a Friend, I don’t think it’s better than its predecessor, mostly because I loved Light Me Up from the moment I first heard it. However, it is certainly a very good album, I won’t doubt that, and I do highly recommend listening to both this and Light Me Up.

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Doctor Who Series 5 Soundtrack Review – Part 2

Doctor Who Seres 5

Now for part 2 of my Doctor Who Series 5 Soundtrack review (first part can be found here: https://thelonglifeofalifelongfangirl.wordpress.com/2014/05/01/doctor-who-series-5-soundtrack-review-part-1/ ).

Signora Rosanna Calvierri is another of the tracks from the Vampires Of Venice episode. It has a similar sorrowful melody that we found on I Offer You My Daughter so it ties in nicely with the beginning of the episode. However, it’s very obvious that this is a completely different piece, as it still manages to sound oddly soothing despite being a piece that is full of such longing and loneliness (to me, anyway). The ending of the piece manages to clearly bring to mind what’s happening in the episode, particularly when it starts to speed up – you can just see the Doctor running to stop Rosanna, and the final few bars are so ominous and very Jaws theme–esque which I find to be very fitting! Cab For Amy Pond is the penultimate track from this episode, and again it’s another very good piece. Unlike the previous few pieces from the episode, it’s definitely nowhere near as sad or melancholy, and instead hits you straight with a thudding beat that. The first thing I noticed when listening to this was that there was NO sign of The Voice! However, once the very sinister sounding Doctor Who theme part is played, The Voice does appear briefly, before the piece then slows down dramatically compared to the beginning. It’s definitely an energetic piece and a very good one too. The Vampires Of Venice is the quietest out of the tracks from this episode, and it’s one which gives me chills when I hear it. Despite how soft and quiet it sounds, it has a really sinister atmosphere to it. You can practically see Rosanna and her son baring their teeth at you as they prepare to make you into one of their own – or the next meal, if you don’t fit their criteria! As the piece reaches a crescendo, the image in your mind changes to one of the vampires transforming into their true form – a very strange creature indeed! I like the slow repeated pattern towards the end of the piece, especially as it suddenly cuts off and you get to one of my favourite parts of the entire piece. All in all, I think that the Vampires Of Venice episode contained some of my favourite Doctor Who music of all time as each piece was just so fantastic and really great to listen to!

Wedded Bliss comes from an episode that I wasn’t a big fan of – the one with the “Dream Lord” – but that doesn’t mean the music was bad. On the contrary, I rather like this track – it opens with the ticking clock over a melody that makes me think of a lullaby, until it pulls off before beginning again. But then you get the hurried and almost eerie sounding music, until the clocks and lullaby are back, and that really makes up the main structure of this piece. It’s short, but very effective in the episode. The Dream is from the same episode and it has a similar eerie melody to it that gets gradually louder, before sinking back into the original quietness of the piece. I don’t have much to say on this piece, as I’m not a huge fan of it – although I do feel the title is a tad ironic, because this makes me think more of nightmares than anything else! Rio De Cwmtaff is a really nice piece, and is something that sounds relatively cheery – it certainly makes me think of Welsh countryside and wee mining villages, rather than of aliens and the Doctor! However, that all changes towards the middle of the piece, where it becomes more menacing and you can definitely tell there’s something going to happen that really shouldn’t! The Silurians opens with the same menacing phrase that the previous piece closed with, which is great for linking both together and you can tell, by the title of the piece and how it links in, that it was the Silurians that didn’t belong in the closing bars of the previous piece. It’s a good piece to listen to, and certainly gets you on edge and you want to know what’s going on!

Paint is a little like the pieces from the Vampires Of Venice episode, as it’s very atmospheric and you can certainly imagine yourself being in 19th Century France – for some of it anyway! It has a melody that makes me think of France, but yet there’s still that extra something that makes it so obviously a Doctor Who piece. Vincent has definitely got a lot more of the very French–theme to it, and it’s beautiful and something I could listen to for ages. Hidden Treasures, like the two previous pieces, makes me think of being in France when I listen to it, but the odd little Doctor Who–theme interspersed once or twice throughout it. Next up is A Troubled Man, which is simply wonderful. It starts off with the typical Doctor Who theme, but played very slowly, and… Well, you know how there’s that music that you just automatically associate with French music? That’s how it’s played, which just adds so much to the atmosphere, and it makes me so happy to listen to. But at the same time, it makes me feel rather sad, because it’s so slow and played mostly on – I THINK – violins, or some other string instrument, and it really does make you empathise with poor Vincent as the music makes you realise how troubled he is. With Love, Vincent is the final track from the Vincent And The Doctor episode, and just like the others it is also very French. But it’s definitely more cheery than previous pieces, because you feel that something has been righted, and it’s a really lovely feeling – and a very lovely piece. Oh, and the ending! It’s just stunning. Really, really amazing. Just go and listen to it now, you’ll see what I mean!

Adrift In The TARDIS is something completely different from the last… goodness, 7 or 8 pieces! Whereas the pieces from The Vampires Of Venice and Vincent And The Doctor were mostly slow and melancholy, this piece brings in the strings again but they’re utilised in a very different manner. Alongside the other instruments, they really give off the essence of being thrown around in the TARDIS uncontrollably, and it’s such a fun piece to listen to. Friends And Neighbours is the kind of piece you would honestly associate with being around your friends, if your life was televised and had its own soundtrack of course! It’s a laidback and easy–going piece, possibly the first of its kind from this entire soundtrack! Doctor Gastronomy now, and although this episode is definitely not set in France, this piece still gives off a rather French vibe to me – I don’t know why, but it does! Well, until the end, anyway! You Must Like It Here is up next, and Murray Gold has managed to successfully compose a piece that sounds… conversational. How he does it, I do not know, but I appreciate it! It really feels as though the Doctor and Craig are sitting having a conversation, albeit a rather awkward one! And now on to one of my favourite pieces of all time… A Useful Striker. When I had been watching this particular episode the other day – it’s The Lodger – it got to the scene where the Doctor is playing football for the first time, and for the whole episode I had been focussing solely on what was happening and not the music. Until this piece was played. It pulled me under, hook line and sinker. I actually had to rewind just to hear it again, because my ears couldn’t believe what they were hearing. I don’t know what it is about this piece that I love, it’s just one of my firm favourites – it’s certainly my most played from the entire album! I think it’s a mix of the “sparkly” beginning, then the “Du, du du du du du duuuu du du” kind of rhythm that just gets gradually louder and more and more brilliant that I love, especially as at first listen it makes you think the Doctor has just come up with a really great idea and is off to save a planet – but he’s not. He’s just playing a game of football! https://www.youtube.com/watch?v=pNxmKuWaA6U Here, go and feast your ears J My only complaint about this track, though, is that it’s far too short!

Typical Murray Gold, we go from something so wonderful and that sounds so cheery, to A Painful Exchange which is a lot less “I’ll join the Doctor in that football game!” and lot more “Excuse me whilst I sit in a corner and be a bit scared”. It’s very good, especially towards the end, but I admit it’s not a piece I listen to often – but when I do, I like it! Kiss The Girl is the sort of title that makes you think it will be a really nice soft, romantic piece – but it’s not. I’m more thinking of someone running the hell away from that monster behind them, than a really happy couple, but of course the piece leads very well up to where the alien technology fighting stops and Craig FINALLY professes his love for Sophie! It’s a nice end to a very good piece, especially as you can hear the suspense throughout – will we die? Will we survive this? – and then it suddenly all changes and it’s just very lovely. Thank You Craig is the final track from this episode, and I have to say it sounds a lot more like a lullaby than I would expect! It’s good though, as it then goes into the Doctor/TARDIS music before stopping abruptly – which is a shame actually, as it’s rather short. River Runs Through It is the first piece from the episode The Pandorica Opens and it’s really quite good too. Like a few of the other more suspense–filled pieces, it starts off slowly and quietly before getting quickly louder, and faster too. It then goes back to being slow, with a whole new Melody (haha ;)) and speeds up again – you can definitely see River running away from someone… Or something!

And here we have it, the next 21 tracks from the Doctor Who: Series 5 soundtrack! Now to start on the final 21…

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Doctor Who Series 5 Soundtrack Review – Part 1

Doctor Who Seres 5The Doctor Who: Series 5 Soundtrack is the only Doctor Who soundtrack I own, and to be honest it will probably be the only one I ever own – but not because it’s a total let–down and a waste of money. Quite the opposite, in fact. The series 5 soundtrack is so stunning, so fantastic, that I feel the other soundtracks just won’t live up to it. Having not listened to many of the others, I can’t say whether or not that’s true, and what I have heard as been very good – but, I feel, not as good as Series 5!

I feel that this soundtrack really adds to the episodes, and when you listen to it you can work out exactly which piece is from each episode – without looking at the track listing! One thing I really like about the soundtrack is how every piece incorporates the Doctor Who theme, whether it’s just as an undertone that may only be noticeable to a practiced ear, or a full on orchestral theme. It just makes it so unique to anything else I have on my iPod, so even if I have it on shuffle and don’t look at the screen at all, I can still automatically say “That’s from Doctor Who!” – it’s just so recognisable, and possibly one of the most recognisable themes there is!

So onto the music itself. The opening track is, of course, Doctor Who XI and is the theme of the 11th Doctor. It’s probably the most recognisable piece from this soundtrack, alongside I Am The Doctor and although it’s short, it certainly packs a punch! To me, it’s a really excellent piece of music – and it leads very well into the second piece, Down To Earth. This is the piece played when the Doctor’s TARDIS is on its way to landing in the garden of Amelia Pond, and I feel it’s really fitting. It starts of quietly, but gradually builds up to a crescendo and you can just picture the TARDIS flying around madly when you listen to – it’s great! Then we have Little Amy. This is the first track on the album where THAT voice comes in. It’s so haunting, but so beautiful at the same time. As with the previous piece, you can just picture what’s going on in the scene; it starts off slow and haunting with the voice as Amy is sitting in her room, but then you hear the sound of something that doesn’t belong. Something that sounds like it doesn’t really belong in the piece – and definitely doesn’t belong in the bedroom of Amelia Pond!

We then go from a piece that sounds, as I said, haunting and melodic, to something that’s definitely a lot cheerier! Somehow, Murray Gold has managed to get Fish Custard to sound – of all things – curious! How can a piece sound curious? you may ask. Well, listen to this piece and you’ll soon understand! From the curiosity of the Doctor looking for food, you then get the fast–pace that really makes you think he’s found the food he’s after – just to discover that the beans are away down the sink, and he’s on the hunt again! This piece really captures the element of a strange Doctor, as you can practically hear him running around Amy’s kitchen, and the final few bars are just excellent because FINALLY! The Doctor’s found his new delicacy – Fish Fingers and Custard. Not something I’d try myself… If Fish Custard was a relatively cheery and kooky sounding piece, Can I Come With You takes that atmosphere and throws it to the wind as it brings back the voice that seems a pretty common feature in themes for Amy. It’s a piece that really tugs on your heartstrings, because of course we know what the Doctor is like, and how time is for him – poor Amy ends up waiting a lot longer than she bargained for – and to be honest, the melody of this piece is just absolutely fantastic. I love it.

Little Amy – The Apple is another track that I love, and I feel that it leads on very well from the previous one. Both contain The Voice (I’m going to start capitalising that now, it needs personified!) and the melody is somewhat similar, but at the same time it’s easy to discern between pieces. At first you think it’s quite a sad piece, and to an extent you’d be right, but there is definitely an element of hope in there which is something that makes it a lovely piece of music in my opinion. Track 7 is another comically named piece – but The Sun’s Gone Wibbly has none of the comic-y element that you found in Fish Custard. This piece is another quite fast–paced one, after the slow beginning, and you can hear that there’s definitely something urgent that needs a little help from the Doctor! At one point, there’s the noise of something a lot like alarms in the background, however it’s pretty quiet so you’d need to be listening carefully for it! About halfway through the piece, we get new Voices in, a mix of male and female chorus this time, and it gives me chills every time! And then comes the Doctor Who theme we know and love, before ending on a bang – quite literally! Zero is a piece that I at first overlooked as nothing really special, and whilst I’m still not a huge fan of it, I do appreciate the musicality of it. It’s definitely repetitive for a while, but that just adds to the effect, rather than make it dull and boring. Definitely a nice piece, just not my favourite from the album.

Talking of favourites… I Am The Doctor. This is, I think, the longest (or at least one of the longest) pieces on the album, and it’s just great. I adore it. It’s a mix of the 11th Doctor’s Theme, and the main Doctor Who theme, but then there’s a whole new theme thrown into it too. That description may make it sound rather messy, but in fact it’s the opposite – it’s very organised, and sounds amazing. It’s the type of piece that, when listening to it, you can feel yourself nodding your head or tapping a foot in time to it because it just makes you want to MOVE. In fact, just to try and show what I mean, I’ll leave the link here https://www.youtube.com/watch?v=5D-QPDGhCtM and I’ll urge you to listen to it – go, now! – and just try and see if you can stop yourself from tapping your foot along!

After that masterpiece, we have The Mad Man With A Box (I can’t listen to this without saying, either aloud or in my head, “I am definitely a mad man with a box”.) which once again features The Voice, but it’s different to the usual “Ooh-ooh oh” kind of thing, and is more “Da-da-da-da-da-duuuu” but obviously slightly more musical, and slightly, well… better than I’ve typed it! Once The Voice has left, we get a hammering theme which just adds to how “mad” a man the Doctor is, and it ends on some really lovely, singular notes that sound very sinister indeed! Amy In The TARDIS is reminiscent of some of her other themes, but at the same time it’s something new. It’s the kind of piece that when you’re listening to it and trying to guess what comes next, you assume it’s all the same, but then you suddenly go from the nice, relatively repetitive pattern to the Doctor Who theme, and you realise it’s not at all like you first thought – a bit like the TARDIS, really! When you look at it like that, Murray Gold did a pretty good job in making a piece of music take after the TARDIS! The Beast Below is another piece that I’m not too keen on. I’m not saying it’s bad, it’s just not a piece that I feel I could put on and manage to listen through the whole thing without wanting to skip it. I do like the middle of it, but as I said… not my favourite, I’m afraid.

And then we have Amy’s Theme. We know it’s an Amy theme, as The Voice is there, sounding very melancholy (in fact, I don’t think this Voice ever manages to sound truly happy) and there’s the underlying melody that I tend to associate with the Amy pieces. I’m a little bit on the fence about this piece; I don’t dislike it, and I don’t love it. I think that, because it’s so like some of the other pieces for Amy, it just seems a bit same-y and there’s nothing too special about it – but that doesn’t stop me listening to it. A Lonely Decision is up next, and it’s another sad sounding one, featuring The Voice. If Fish Custard makes you feel all cheery, and I Am The Doctor makes you want to move about, A Lonely Decision makes you feel just that – all alone. Goodness me, 14 tracks into the album, and most of them have either been sinister sounding, or something sad and melancholy! A Tyrannical Menace is another piece that Murray Gold has managed to make do exactly as it says on the tin. And boy, is the undertone of this piece menacing – the first few bars are enough to have you wanting somewhere to hide! But then comes the part that is basically saying to you “Don’t worry, the Doctor is coming”, and everything is alright again!

Well, it’s alright until… Victory Of The Daleks. This piece is another favourite, partially because after the opening few bars, the music reminds me of a mix between Elmer Bernstein’s The Great Escape and the finale of Rossini’s William Tell Overture. And then the music that makes it really recognisable as Doctor Who starts, and oh it’s wonderful! To me, it’s just a really great piece of music. Then the Battle In The Sky begins (not literally, fortunately, just musically!) and that is another very good piece, some of which reminds me of a piece, Robin Hood, that I learnt on piano years and years ago – this is a really good track, because as well as bringing me back to my past, it manages at the same time to hold me in my present (and hopefully future, if the episodes pick up…) of Doctor Who! A very good piece in that respect, although I’m not sure that’s how Murray Gold was expecting it to affect people! River’s Path is the next track on the album, and it’s another very good piece. Right from the beginning, you can tell that something bad is either happening or is about to happen – and as if to reinforce this point, along comes the very quick sequence of music that very much reminds me of someone trying to get the hell away from whatever is chasing them! You can definitely hear the suspense in this, and it is the kind of music you would expect to hear in a film if you were watching someone run away from some form of monster thing.

The Time Of Angels is up next, and I feel that it captures the essence of the angels very well indeed. The opening bars very much make me picture someone trapped with the angels, trying desperately not to look away from them… and trying not to blink. That sequence continues throughout the piece, although there’s usually a softer or haunting melody separating it. Then, when you least expect it, there’s the very LOUD note that makes you – well, made me at least – jump every time because you’re not expecting it – and you just know that someone’s blinked! So this piece definitely captures the angels very well. The 20th piece on the album, I Offer You My Daughter, is one that never fails to amuse me, as my friends and I have an inside joke with the title. But that’s not relevant to the piece, which is yet another excellent piece. It’s from the episode The Vampires Of Venice and when you listen to it, it certainly makes you think of Italy, and most importantly Venice. But not the beautiful Venice of today; oh no, this makes you think of the Venice that the Doctor, Amy and Rory visited – a Venice infested with vampires that are set to take over the entire city. It’s a very beautiful piece, and it certainly emphasises the sorrow with which Guido hands over his daughter, Isabella, to Rosanna and her ‘school’. Towards the end of the piece, it gets a lot more sinister and even if you can’t remember the episode, or haven’t even seen it, you can just tell something bad has happened to Isabella. Chicken Casanova (Murray Gold does like naming pieces after food…) is the piece after that, and is from the same episode. It’s a lot less sorrowful than the previous piece, but it’s definitely not what I would call happy or cheerful. There is one bar in it, towards the end and just before the slightly slower version of the Doctor’s theme comes in, that I just adore because it’s absolutely beautiful.

And that’s the first 21 tracks from the Doctor Who: Series 5 soundtrack reviewed – successfully, I hope! The next 21 should hopefully appear within the next few days 🙂

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