Track list
- They're Coming (Production Titles) [1:18]
- Prologue, Part I: Robert Arrives [0:22]
- Prologue, Part II: The Note [0:26]
- David & Sarah (The Love Theme) [1:20]
- Coming Home / Homewrecked [0:52]
- Homewrecked [0:40]
- Charles & Davies Arrive [0:48]
- The Tramp [0:47]
- Trust No One [0:48]
- Sarah Drives Home [0:17]
- The Bedroom Scene (Album Version) [1:58]
- Sorrow [0:50]
- Library Lookup [0:52]
- Tender I [0:44]
- Tender II [0:30]
- The Rooftop Fight [2:56]
- Returning to Textile Creative [0:56]
- The Basement, Part 1 [1:16]
- Adagio [0:56]
- American Getaway [1:16]
- Finale [0:20]
- They're Coming Theme [1:48]
- Mystery Theme [1:28]
- They're Coming - Piano Theme [1:02]
- Paranoia (Production Titles - Alternate Version) [0:52]
They're Coming is a 2012 thriller produced by John Tomkins of Emberlense Productions shot in and around the Torbay area of South West England. I starred as David York, a man chasing after the disappearance of his wife, and also had a hand in the script, editing and music production. During the project I worked on various cues for the score, although knowing John already had composers lined up, this was more for my own entertainment than a serious shot of contributing music to the finished film. Nevertheless, three of my original tracks appear in the final cut: "Production Titles" (track one) underscoring the initial title cards; "Homewrecked" (track six) as David and Sarah discover the trashed York home; and "The Bedroom Scene" (track eleven).
The remainder of my cues were intended for various moments throughout the film, and in addition to introducing a few original motifs, they utilize themes composed by Dom Lee, Neil Rich & Gary Sydenham, who worked as the project's official and primary composers. Lee's "Love Theme" turns up in "David & Sarah" (track four) and "The Bedroom Scene", while Rich and Sydenham's four-note main theme is reoccurring throughout the tracks presented here.
"Production Titles" is an extended version of the cue heard in the film, containing both the main theme and my Mystery Theme, both of which are introduced within the incidental score in "The Note" (track three) and throughout the tracks. "Robert Arrives" introduces a short motif for the character, reprised during "Rooftop Fight". "Coming Home / Homewrecked" (track five) was an original version of the track that eventually became track six for the film proper. "Charles & Davies Arrive" features a motif for the cop duo played by Julian Seager and Boyd Rogers, which inspired The Lite Blues.
"The Tramp" and "Trust No One" were intended to open and close the tramp scene respectively. "Sarah Drives Home" incorporates the Love Theme and main theme as a short sting for the arrival of Sarah and David at the former's house. "The Bedroom Scene" is an extended version of the film cue, and was intended to be followed by "Sorrow" as the two characters part briefly.
"Library Lookup" begins as spy music as David researches Sarah and her friends. Her theme plays as he calls up her website, followed by the mystery and main themes as he makes a disturbing discovery. The two "Tender" tracks re-appropriate the main theme into a romantic setting, intended for David and Sarah's reunion. "Rooftop Fight" opens with a darker, High Noon version of Robert's motif, and incorporates the main and mystery themes as he and David square off. The cue closes with the mystery theme as Robert makes his phone call.
"Returning to Textile Creative" is an upbeat cue for the journey towards the film's climax, utilising the main theme in a more heroic setting. "The Basement" darkens proceedings, using low woodwinds as David confronts Amanda beneath Textile Creative. The following few tracks were options for the film's final scenes, with "American Getaway" reprising the Love Theme amid a re-orchestration of the main theme. Tracks twenty-two to twenty-four feature album versions of the score's central themes. The final track, "Paranoia", is a condensed version of track one.
The remainder of my cues were intended for various moments throughout the film, and in addition to introducing a few original motifs, they utilize themes composed by Dom Lee, Neil Rich & Gary Sydenham, who worked as the project's official and primary composers. Lee's "Love Theme" turns up in "David & Sarah" (track four) and "The Bedroom Scene", while Rich and Sydenham's four-note main theme is reoccurring throughout the tracks presented here.
"Production Titles" is an extended version of the cue heard in the film, containing both the main theme and my Mystery Theme, both of which are introduced within the incidental score in "The Note" (track three) and throughout the tracks. "Robert Arrives" introduces a short motif for the character, reprised during "Rooftop Fight". "Coming Home / Homewrecked" (track five) was an original version of the track that eventually became track six for the film proper. "Charles & Davies Arrive" features a motif for the cop duo played by Julian Seager and Boyd Rogers, which inspired The Lite Blues.
"The Tramp" and "Trust No One" were intended to open and close the tramp scene respectively. "Sarah Drives Home" incorporates the Love Theme and main theme as a short sting for the arrival of Sarah and David at the former's house. "The Bedroom Scene" is an extended version of the film cue, and was intended to be followed by "Sorrow" as the two characters part briefly.
"Library Lookup" begins as spy music as David researches Sarah and her friends. Her theme plays as he calls up her website, followed by the mystery and main themes as he makes a disturbing discovery. The two "Tender" tracks re-appropriate the main theme into a romantic setting, intended for David and Sarah's reunion. "Rooftop Fight" opens with a darker, High Noon version of Robert's motif, and incorporates the main and mystery themes as he and David square off. The cue closes with the mystery theme as Robert makes his phone call.
"Returning to Textile Creative" is an upbeat cue for the journey towards the film's climax, utilising the main theme in a more heroic setting. "The Basement" darkens proceedings, using low woodwinds as David confronts Amanda beneath Textile Creative. The following few tracks were options for the film's final scenes, with "American Getaway" reprising the Love Theme amid a re-orchestration of the main theme. Tracks twenty-two to twenty-four feature album versions of the score's central themes. The final track, "Paranoia", is a condensed version of track one.