Kill Or Be Killed Soundtrack Review: This is a review of the film score Kill Or Be Killed by John Constant & Kodachrome.
At a glance:
Geek Score: 78.6
Total Minutes Of Excellence: 0
Album Excellence: 0%
Kill Or Be Killed is a 2015 American western horror film directed by Duane Graves & Justin Meeks and starring Justin Meeks, Paul McCarthy-Boyington & Gregory Kelly. In the autumn of 1900, outlaw Claude Barbee puts his ‘retirement plan’ in action, attempting to lead his train-robbing gang across Texas to recover a cash stash hidden after a botched railroad heist. They soon discover they’re being hunted by more than just the law – but rather a merciless, unexpected evil quite possibly greater than themselves. The score is composed by John Constant & Kodachrome.
Western horror has gotten a bit of a resurgence recently and score-wise it’s been ranging from excellent to terrible (based on the two western horror scores I’ve heard recently). It is then without any expectation I start listening to this score hoping for the best but fearing the worst. The score opens with ‘Red Sands Of Texas’ and it’s certainly an interesting opening cue. The music feels like a mix of 70s and spaghetti western style. It is definitely completely different from the western horrors I’ve heard before. I’m not sure what to make from this, but it’s certainly unique. Is it good though? Well, it is good, it is calming. But is calming the right feeling for a horror/action film? I’m curious as I go into the next cue ‘Escape By Divine Accident’ which is definitely inspired in parts by spaghetti westerns with mouth harps and humming and screaming.
I still feel the music is more 70s than western, but it’s a strange mix overall. ‘The Gold Is In The Glass’ continues on this trend, but with more of a western feel to it thanks to a solo guitar opening. I must say I’m enjoying this, but I’m not sure I love this. I love the nostalgic feeling I get. The biggest problem I have with this score is that it’s almost spaghetti western, but it’s not really. Same with the 70s feel of the score. It’s almost that, but not quite. I think I just can’t have the best on both worlds at the same time. I wish I could, but I can’t, at least not right now. What we have here though is quite a unique and interesting pseudo western score that I’m sure will go down well with a lot of people. It’s minimalistic and slow, really slow, and that’s fine by me. The score took me completely by surprise and overall I think it’s a good surprise. I just don’t think I will ever “love” this score.