Light, almost apprehensive percussion then arrives with Stolen Diamond alongside some very creepy-sounding woodwinds, continuing the particularly ominous tone very effectively before the cue then ends almost as quickly as it arrived. Low, sinister-sounding electronics then quickly shroud the score in darkness with The Black Mask Club, with high-pitched horror-like strings coming into the fray after a few seconds to double down on the album’s particularly unnerving new tone. It’s badass in a similar way to Quinn’s but has a calmer, structured and slightly more heroic approach to it, and I just can’t get over how well thought out the compositional style is. In all seriousness though this theme is probably my favourite thing about the score. Rather ingeniously, the composer has them making “coo” sounds at different pitches to play the main notes of the theme, so not only does the group have an epic and quite memorable motif, it’s also essentially played by “birds”. Much like with Harley Quinn’s motif electric guitars feature fairly prominently, however this is where the similarity begins and ends as they are nowhere near as high in volume (or intensity, thankfully), focusing instead on providing imposing, grandiose musical backup for the real star of the show the vocals.
#BIRDS OF PREY SOUNDTRACK FULL#
Hats off to you Pemberton, you’ve created a great motif for the character, and one that I will likely never listen to again.īirds Of Prey is where (as you might have guessed) the theme for the titular group of characters gets a full fleshing out. It’s loud, obnoxious, badass and refuses to be anything other than what it is, and I really admire it for that. While I must admit I found the three minute experience rather…painful, I do appreciate just how well the theme fits Harley Quinn as a character. A boisterous electric guitar turns the volume up to eleven immediately as the track begins, playing out the titular character’s new motif intensely for everyone to hear (and trust me, everyone will). Harley Quinn (Danger Danger) is up next, and this is where things get loud. The Fantabulous Emancipation Explosion then starts a little more traditionally with a guitar and light percussion, though there is where tradition rather rapidly begins and ends as loud, almost operatic vocals then join the fray, dialing up the tone and style to incredibly dramatic levels before the music then switches down slightly (while still retaining said vocals) for a slower but still rather emphatic conclusion. Slow, near solemn vocals gently convey the opening notes of the motif while quiet, atmospheric electronics linger in the background, making for quite a pensive but nonetheless intriguing start to the score. The album begins with Flying High, where we are almost immediately introduced to one of the many themes that Pemberton has crafted here the Birds Of Prey theme. Now that it’s finally here, I can safely say that is most certainly different, and to be quite honest – rather good. You really never know what to expect from a new score of his, and that was what most excited me in the build-up to the Birds Of Prey score release. He takes truly unique approaches and methodologies to his work and it really sets him apart from other composers. One thing I’ve always admired about Daniel Pemberton is that his music is always different. The score for Birds Of Prey And The Fantabulous…Emancipation Of…One…Harley….Quinn (that’s a…title) is something else, that’s for sure. If you’re looking for an hour of highly entertaining and decidedly different film score, look no further than here. Daniel Pemberton’s score for Birds Of Prey is loud, vibrant, wacky and full of unique and intriguing musical ideas.
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