Snitches Soundtrack Review: This is a review of the film score Snitches by Kyle McCuiston.
At a glance:
25 minutes of score
Geek Score: 71.6
Total Minutes Of Excellence: 0.87
Album Excellence: 3%
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Snitches is a 2016 thriller film directed by Steve Rahaman and starring Chris Victor, Guyviaud Joseph and Daniel O’Shea. In this movie set in the crime filled streets of New York, crime boss Alphonse Trapani is ruling with an iron fist. Business is good, but somehow the cops gets wind of his operations. There’s a snitch among his crew and there’s one rule you not break: Don’t snitch. He finds his most loyal men to seek out the snitch promising them money in return. So the chase begins. Who is the snitch? Is it one of Trapani’s most trusted men? How deep does this go? The score is composed by Kyle McCuiston.
It starts with ‘Opening Titles’ and right away I am in the streets of New York, the dirty dark streets where bad things might happen. That’s the way I feel because this is gritty and dark, highly electronic and not very lyrical. There’s not really a theme to be found which is fine. I totally get it. It doesn’t make for an easy out-of-context listen, but I definitely understand the choice. It must be hard though for McCuiston to create music like this because I had a listen to his Soundcloud and the music he has created is mostly very lyrical and beautiful. In the beginning and in the second half of ‘Hope It’s Enough’ we can hear a little bit of his lyrical side, but this is baby steps stuff. I am sort of hoping it will burst out at any moment, but I don’t think this is the kind of movie where it happens.
The problem with dark and gritty is that sometimes the music can feel stale and generic. If it’s a mood you’re creating, that’s fine, and as you know, the music is created to fit the movie, so there’s nothing wrong with that. As a listener though, this kind of music isn’t exactly super exciting I have to say. I find it interesting, but I’m dying for something to happen musically instead of something happen in the film which I can’t see unfortunately. There are cues which does break the monotony a little bit like ‘The Steakout’ (nice pun) where the music definitely puts a faster spin on it, the first action cue I would say (in parts). The action continues in the second half of ‘How The Mighty Have Fallen’ which is quite exciting. The short cue ‘Snitches’ is perhaps the most interesting of them all with a swirling piano motif. I don’t think I’ve heard the piano before in the score. It really had an impact. Finally there’s ‘The Hand Of Fate’ which is also notable because the way it shifts from dark and gritty to lyrical 1 minute in. Something happens here, something monumental and emotional. I know what it is, but I won’t spoil it.
I’m just going to come out and say it. This isn’t my kind of score. I can listen to it and I can enjoy parts of it merely for the way the music is constructed, layered and put together. I find that interesting. What I don’t find so interesting is when the music is so closed-up, so dark and atonal that I can’t connect with it. It happened to me on more than one occasion. Still, it’s the director’s choice and that’s something I have to accept. Now if you’ll excuse me, I’ll just go back to Kyle McCuiston’s SoundCloud and listen to some beautiful music, and so should you.