Sometimes looks can be deceiving. The film title Clownface, for instance, did not inspire much optimism. Yet, I was pleasantly surprised as Hans Hess’ score proved to be more interesting and dynamic than the film’s name let on.
Hess hits all the beats found in most modern horror films: low, crushing rumbles announce the presence of the killer, made all the creepier by vibrating, unnatural percussion; slow, fragmented piano melodies mesh with airy, droning synth to create a haunted atmosphere; and high-pitched noises crescendo into piercing climaxes. These elements, on their own, do not create anything exceptionally new, which would be fitting for what ends up being a rather standard slasher. However, Hess adds a few unique elements.
The most striking of these comes in the first few minutes: the unaccompanied classical guitar of “Zoe’s Theme.” Among the most underutilized instruments in all of film music, the classical guitar lends a certain elegance, a longing nostalgia for a time long gone and long lost. The theme arises intermittently throughout the movie, perfectly accompanying the flashbacks of the broken and haunted protagonist. It has a surprising gentleness and emotional honestly largely absent from the film, making it stand out all the more.
While it may be a long wait for classical guitar to find its way into mainstream film music, Hess’s Clownface serves to tide listeners over till that day comes. Hopefully he can help lead the way as his film music career progresses.
Hans Hess really is an incredible musician. Great write up too!
Thank you Ams, I greatly appreciate that! He’s very good and I’m quite happy he set some time aside for our brief interview as well – always nice to hear from the composer about their work.