For the 30th anniversary of the cult classic comedy-horror film Killer Klowns from Outer Space, composer John Massari put together an Indiegogo campaign to raise funds to create a reimagined version of his original score for the film. Originally performed entirely on synthesisers, such as the Yamaha DX-7, it is performed here by members of The Hollywood Chamber Orchestra, along with a special guest performance by fellow composer Bear McCreary on accordion and hurdy-gurdy.
The original score was charming in its own way, given the way in which Massari’s music was martial and big, like a bit of ‘50s sci-fi invasion music. Ran through the composer’s synthesisers, however, it gained a calliope aspect that tied the music neatly into the ‘nightmare merry-go-round’ that is the plot of the movie.
However, given that Masarri’s music was so big and bombastically reminiscent of those vintage movie scores, one could readily imagine how well it would translate into brass and strings, with room to breathe and stretch out. Now, after 29 years of waiting, and another six months of recording, mixing, and editing, it exists.
It’s amazing. The music is transformed, and the way in which it swells beyond the slightly-tinny sounds of Massari’s synthesisers is really more delightful and exciting than it seemed it could be. In concept, an orchestral reimagining has the potential to bring a new perspective on familiar music, but the reimagined Killer Klowns score does more than just port Massari’s music into an orchestra.
Case in point: Bear McCreary’s work with accordion and hurdy-gurdy on tracks like Muscle Kar Klown Jam and Hidden Klown Ship make it sound so much more creepy and weird, and pull Killer Klowns into a really fantastic circus realm. The guitar work of Jonathan Padilla on Muscle Kar Klown Jam, as well, makes it big and riffy, but it’s on Killer Klown March that everything really kicks into gear.
The Killer Klown March is the hallmark of the Killer Klowns score, and while it was a fun little bit of disconcerting in its original form, with Padilla’s guitar, it is forceful and bombastic. It’s the high mark of the entire reimagining, and the louder one plays it, the better it sounds. Combining ostentatious hard rock guitars with expansive strings is monumentally amazing.
The reimagining of the Dickies’ iconic poppy punk theme song doesn’t quite go as well, unfortunately sounding like it’s an older guy singing a re-recorded version of a great song with a much-longer intro. It was pretty unnecessary. Thankfully, it’s balanced out by ‘sampled orchestra’ versions of a couple of the tracks, as well as an original 1987 demo for Massari’s score.
The liner notes are extensive, although if anyone’s seen the recently-released Arrow Video Blu-ray of the film, the interview with Massari on that set contains almost the exact same things as he says in the liner notes. Still, it’s a worthy look back at the music and at the process of bringing the new interpretation to life and adds a great perspective to an already-fantastic project.
KILLER KLOWNS FROM OUTER SPACE: REIMAGINED / COMPOSER: JOHN MASSARI / LABEL: VARÈSE SARABANDE / RELEASE DATE: JUNE 1ST
