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For the score to Michael Crichton's directorial debut, Karlin first took a set of Western musical cliches and made them as deliberately artificial as he could. As the story progressed into electronic and mechanical chaos, the score followed suit, using prepared piano, odd time signatures, discord, percussion of all kinds (often played polyrhythmically) and normal instruments played in unusual and sometimes abnormal ways. The result is a smart and sometimes unsettling science fiction score that doesn't depend on either twisted electronics, piles of synthesizers, or overwhelming orchestral flourishes.