Any Oingo Boingo fans out there?
This weekend, I’m playing in the two coolest shows of the year: the Johnny “Vatos” Tribute to Halloween. Make no mistakes, this isn’t a Boingo “reunion” since the Elf-man won’t be there. Instead, its a celebration of all things Boingo and Halloween-y… performed by the very freaks who helped create this classic music.
The first three episodes underwent some major surgery in the post-production process, even before I was brought on board to score. This is most evident in this week’s “Exodus, Part I.” Scenes that were cut from 301 and 302 got nudged into this week’s episode (the entire D’Anna / baby subplot in fact!), and the battle sequence of the script’s second half evolved into next week’s episode.
This might be a little ambitious, but I’m going to try to update this thing for every new Battlestar Galactica episode in Season 3. (We’ll see how long I can actually keep this up!) I’ll try my best to keep these spoiler-free, but just to be safe, I’m going to assume that you’ve seen the episode before you actually read this.
The Battlestar Galactica score is comprised of an unusual assortment of instruments from around the world. While many episodes feature colors and themes specific to that particular storyline, there are a handful of instruments that have become integral to the musical tapestry of the entire show. Of these, the most melodic and commonly used is the duduk.
I get asked pretty frequently about the use (or lack thereof) of “themes” in Battlestar Galactica. The word “theme” was something that the producers wanted to avoid as they re-launched Galactica, I think because they felt that strong, orchestral fanfare had been done to death in science fiction. Beyond that conceptual premise, the reality is that orchestral bombast in the score would ruin the carefully constructed sense of realism in the writing and production.
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