By 1997, Michael Kamen was a well-respected composer in Hollywood. After a strong start by composing arrangements for Pink Floyd, Queen, Tom Petty and many monoliths of classic rock, he crossed over to film scores thanks to The Wall’s soundtrack album.

What galvanised his status as a master of suspense and action was the trifecta of Highlander, Die Hard, and Lethal Weapon. These three soundtracks sent Kamen to a rarefied atmosphere that guaranteed a superb musical score that neatly carried half the movie.

Heck, the Robin Hood: Prince of Thieves was so memorable Morgan Creek productions used it as its ident music.

The 90s still had plenty of films for him to shine through. The Three Musketeers and Last Action Hero weren’t the hits expected by their studios, but the scores are still a fun listen.

Then Event Horizon was announced. Back then, I used to get all my film news from yahoo groups and I clearly remember people going ballistic as “the dude from Mortal Kombat” was tackling a much hyped sci fi script that was doing the rounds on geeks’ BBS.

Event Horizon is not a perfect film. Not because Paul W.S. Anderson pull punches, but because the studio cut a lot of the gorier stuff, scuppering any chance of the movie being a massive hit. Still, it’s a cult classic (well deserved) and the amount of video essays around its trouble production are quite good. I think Cecil from GoodBadFlicks made the best one yet.

Michael Kamen had some experience with sci fi and horror. He did the music for Lifeforce, after all. The pairing with electronica weirdos (and legends) Orbital felt strange at first glance, but once you listen to hit, it’s not chalk and cheese, it’s peas and carrots.*

Kamen’s majestic arrangements never clash with Orbital’s trippy electronica soundscapes. The almost drum n bass nature of Orbital, like the souls trapped on the Event Horizon, reverberate and unnerve. Something is coming, something wicked. Evil shows its scarred, eyeless face and Kamen goes for the gusto. Sweeping violins, a bit of staccato, then an electronic drone clashing with a crescendo only these two talents could pull.

The soundtrack CD has only 4 tracks, as the cues have been melted together, as if it were a big DJ session. It works quite well on its own, and also for freaking out RPG players. Sorry, my dudes. I’m including only a short cue this time, but if you need something eerie and cool, check the full score.

-Sam J. Valdés López

*How the fuck did this made it past the edit. Damn it, Sam.