UPDATE: As of the last quarter of 2000, Deterrence has been released commercially by Citadel Records, coupled with Groupe's full orchestral score to The Contender. The only difference in presentation is that the track order has been rearranged.
2. Enter Mr. President (1:13)
The bulk of this cue is made of a minor scale descent with woodwind glissandi, which leads into a slower march section based somewhat on the main theme. The track ends with a slower presentation of the main march.
3. Report In (2:47)
This track represents the orchestration found in most of the proceeding cues - the gothic low string chords used to build tension. Eventually, a solo woodwind enters on top of the other strings, introducing a new melody. A final cadence ends the track.
4. Decision 1 (1:26)
In this cue, Groupe takes his gothic strings one step further and adds a foreboding percussion cadence.
5. Mr. Prime Minister (1:14)
In this, one of the better cues, Groupe continues his foreboding low string approach, outlining the main theme. This becomes one of the most fascinating aspects of this score - while he continually uses the gothic string chords, the music remains interesting as a listening experience because of the alternating melodies, moods, rhythms, and, as the next cue shows us, time signatures.
6. Contemplation (1:15)
Another highlight is "Contemplation," which is a haunting dark waltz with strings, piano, and acoustic guitar. The melody is slightly based on the main theme.
7. The Speech (2:04)
Groupe composes another minor chord string track, this time a fantasia based on the ever-versatile Dark March. A second section has a snare drum line, and Groupe creates a paradox by including a noble major-key trumpet fanfare play over the gloomy, depressing strings.
8. We Attack (:48)
This opens with several striking string notes with drums, and segues into another dance-like section - now in 2/4 time.
9. Gambling Vs. Certainty (1:16)
It begins with more of the minor chords, has a tender piano line in the middle, and fades out to more chords.
10. The Omari Phone Call (2:50)
Another interesting fantasia on the Dark March, now with synth effects. The syncopated string line is the centerpiece here, accompanied by militaristic snare drums. The final section returns to gothic strings, only to segue back into more of the altered march.
11. Phone With Bean (1:35)
This track actually escapes from the gloomy strings and transforms them into a major key. A short snippet of the main theme is interpolated at one point.
12. Omari's Scheme (1:58)
This cue is founded on top of a pizzicato ostinato, which in turn can be traced back to The Dark March. There are a few synth percussion effects and minor chord strings, but the music eventually heads back to the ostinato and plays a quiet string presentation of the theme.
13. The Garden of Eden (2:12)
Like "Phone With Bean," this contains the usual gothic chords, but now transformed into a major key. The origin of the second section (now with appropriate synth choir) is again the march.
14. Omari's Threat (1:28)
This encloses more minor chords based on the main theme, which segue into an X-Filesish piano ostinato accompanied by a rattling steady beat.
15. Target's Chosen (1:11)
We now receive a new interpolation of the theme - a piano ostinato with a melody alternating between the piano and woodwinds.
16. Omari's Last Stand (2:21)
Groupe reintroduces the rattling beat from "Threat" and covers it in dense strings . Next comes one of the more unusual sections of the score - a syncopated synth bass line under running woodwinds. The final section resurrects his theme, as well as the rattling beat. The running woodwinds return, and the track ends in atonality.
17. The Shooting (1:41)
Groupe now introduces a new aspect into the score: he takes the dissonant strings from the end of the previous track and expands on them, creating the most harrowing and horrific cue present in the score thus far. Even in a cue like this, he bases some of the material on the versatile Dark March.
18. First Strike (1:39)
Much more lively than some of the previous cues, this is almost a string scherzo. The tone set is magnificent - foreboding, yet still mystifying and haunting. Incredibly, even this track is based on the main theme.
19. Pilots of Fate (1:13)
This bucolic masterpiece of a cue begins with more of his trademark gothic string theme, but the music later opens up and turns it into a soaring, major key theme.
20. Deterrence (3:04)
Now a spacious-sounding choir sings the gothic theme, intercut with a single soprano solo. As has been stated many times before, Groupe's expertise in orchestration and variation continually adds poignant new facets to his continually-expanding proficiency as a film composer.
21. Lay Down The King (2:51)
This contains another gothic string theme, much more uplifting than the others.
22. The Dark March (Reprised) (3:30)
Groupe presents a new, fuller orchestration of The Dark March. Its introduction has been extended, now consisting of drum cadences and dissonant orchestral notes. The rest, however, remains basically the same as the first track, although the arrangement varies several of the piece's more subtle counterpoints.
23. End Titles (4:09)
Although any typical film composer would simply pen another verbatim reprise of the theme, Groupe masterfully transforms the march into a lyrical, hymn-like composition, even going so far as having a solo soprano.
In summation, this score shows Larry Groupe at the top of his form. One can't help but be amazed by the amount of compositional skill that went into this - nearly every track contains at least one startling variation of his Dark March. Although some of the more mundane string tracks can become wearing, overall this score's benefits greatly outweigh its flaws. Fans of Mark Snow's X-Files work should particularly love this, since it manages to be completely listenable as a concert work while still providing the needed string ambience. Great things should be expected in Groupe's future.
Again, this can be ordered from Larry
Groupe's Website for $15, or bought on Citadel Records.