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…