The Shrouds, The Surfer and more

New orchestral, electronic and psychedelic gems in this batch, including The Book of Clarence (Jeymes Samuel), The Doom Busters (Ben Pearson), L’oro del Reno (Marco Pedrazzi), A Necessary Escape (M83), The Shrouds (Howard Shore), The Surfer (François Tétaz) and Patsers (Hannes de Maeyer).

The Book of Clarence (Jeymes Samuel, 2023)

This satirical take on the story of Jesus (a contemporary Life of Brian of sorts) is written, directed and scored by the multi-talented Jeymes Samuel (aka The Bullits). Samuel’s score is not a comedy score in the traditional sense – it takes the action very seriously with a bold and religious swagger, mixing sampled and acoustic instruments in homophonic fashion (think Randy Edelman meets Miklós Rózsa). At times big and epic, even with choir, at other times intimate with time-specific percussion, haunting woodwinds and string instruments, but always theme-driven and accessible. This was certainly an under-the-radar highlight of 2023. Favourite tracks: «Mother Mary», «Don’t Tell Them My Name», «Clarence’s Theme»

The Doom Busters (Ben Pearson, 2025)

This indie sci fi comedy about a group of people trying to save the galaxy during the second world war (the title being a pun on The Dam Busters), receives an (appropriately) achronological synth score by relative newcomer Ben Pearson. Wailing, theremin-like sounds and dark, John Carpenter-ish grooves place it neatly into its generic conventions while offering a fresh, retro approach to the material. Great dynamic range (from high to low) opens it up to an expansive sci fi sound one moment, then a quick throwdown to dirty, brooding grit the next – sometimes augmented by electric guitar. Not bad for a half hour album. Favourite tracks: «Opening Titles», «Excalibur, «Doombusters»

L’oro del Reno (Marco Pedrazzi, 2025)

Lorenzo Pullega’s poetic fable about events and characters surrounding the Rhine river in Italy has had limited distribution, but appeared on the festival circuit a couple of times. Composer Marco Pedrazzi treats the fairytale story with unadulterated joie-de-vivre with marginal references to the more famous Wagner namesake. Only 27 minutes in length, but covering magical, orchestral colours (celeste, waltzes, eerie piano etc.), comical jazz with doo-woping voices and beautiful, pastoral melodies on woodwinds. And when you least expect it, a plunge into scathing dissonance. It’s certainly eclectic, but mirrors the scattered nuances of folklore and humour that constantly pervade the darkness. Favourite tracks: «Narciso», «Un uomo nella neve», «Ninna nanna per i titoli di coda»

A Necessary Escape (M83, 2025)

The latest effort by Anthony Gonzalez and his famous French electronic rock band M83 appears to be the score to an upcoming documentary on the Dakar rally called Dakar Chronicles, but then renamed and rebranded as its own, 50-minute concept album. It doesn’t have the expansive scope of Oblivion and Suburra, but is no less dreamy. Ripe with sequencers, like the pulsating «Strike Machine», it’s a moody and rhytmical affair, transforming the passage across the sand dunes into a personal, introspective experience – perfectly in tune with the band’s psychedelic, shoegaze trademark (with some very Johnny Marr-like guitar licks to boot).  Favourite tracks: «Strike Machine», «A Necessary Escape (Part 2)», «A Necessary Escape (Part 3)»

The Shrouds (Howard Shore, 2024)

Gotta be honest, the Howard Shore/David Cronenberg collaboration is hit/miss to me, but the composer has an underrated knack for synths that was showcased in Maps to the Stars (2014), for example, and rears its head once again for their latest work The Shrouds, about a man who connects to the dead via a peculiar device. Shore’s brooding, low-register rumblings (his trademark) come to life with an ethereal, high register counterpoint as it paints the soundscapes in broad, impressionistic strokes. Whatever dark paths the music takes (and it does take quite a few), they’re always lit up by beautiful, dreamy chords for the afterlife. More of this, please, Howard. Favourite tracks: «The Shrouds», «Gravetech», «For All Eternity»

The Surfer (François Tétaz, 2024)

Nicolas Cage’s oddball indie film gigs in recent years have often spawned great and interesting scores. This is no exception. Lorcan Finnegan’s psychological thriller concerns Cage as a surfer harassed by locals. Australian composer François Tétaz, perhaps most famous for his work on Greg MacLean’s Wolf Creek (2005), laces the proceedings in a delightful, psychedelic mood, thereby contributing to the film’s offbeat tone. Chimes, acoustic guitars, ooh-ing voices, surf bass lines, chilling strings and various percussive effects are among the elements given prominence, only occasionally giving way to sharper, more dissonant cues, resulting in a supremely entertaining, comically dark soundscape. Favourite tracks: «Born in a Storm», «The Brochure»,  «Luna Bay»

Patsers (Hannes de Maeyer, 2025)

Belgian composer Hannes de Maeyer has impressive range – from the retro orchestral pastiche of Torpedo (2019) to the slick synth textures of The Racer (2020). It’s the latter that is showcased in Patsers (aka Gangstas), the sequel to 2018’s Patser (aka Gangsta), about shenanigans in the criminal drug underworld. While the 2018 score was promising, the sequel is a more fullbodied dive into synthwave for de Maeyer, with a cleancut, neon-lit take. Tapping into those melancholic, Moroder-in-Scarface-inspired melody lines and grooves, it feels more conceptually rounded (except maybe some perfunctory suspense cues that can be weeded out for better, more succinct flow). Most definitely a fun score for fellow synth heads. Favourite tracks: «Goeie Gasten», «Antwerpen Coke Hoofdstad 2.0», «Lik (Patser Edition)», «Dees Betekent Oorlog»