Musically by Beef although probably the Incubus-playing Stephen Yeung – but the score by Bobby Krlic (though by no means iconic) is of course even more elementary.
From the playfully booming title track The Beef away is there with a rhythmic percussion as not only in the later Hotel Room Hang recurring, clicking element, which with a subversively nerve-wracking stress and its uneasy mood on the edge of the abyss, is a little twistedly reminiscent of the Nine Inch Nails-Mates remembered, a common thread.
And while in the often sketchy course, sometimes lasting only a few seconds, nonchalantly suggested grooves with an unexcited driving flow including acoustic guitars and sound surfaces (as in Cho Bros) pass by as well as dream-walking tabla trances, Krlic’s score rubs to himself Beef subversively but superficially in two contrasts.
For one, there’s a melancholy, thoughtfully sustained melancholy in tracks like the piano-dominated, Jon Brion-esque beguiling one Amy and Georgethe sadly strolling acoustic guitar elegy Hibachi Suicide, Stealing for Church, Stuck Up Bitch, Young Amy or the Santaolalla statues A New Hope: vulnerable intimacies.
On the other hand, the darkness also roughens up more frontally, allowing anger to the outside, for example when it is bass-heavy Arena K-Town Spectre bullied, Breakthrough Moments ein darkjazziges Noir-Ambiente a la Lovecraft Sextet maintains Seven Years mesmerized at the keys or Yahoo Chess with spherical, symphonically suggested brutalism, there is an interspersed overture whose moment of tension later – of course in zugzwang – erupts with almost animal force.
That the finale with The Great Fabricator and the secretly glistening one Figures of Light reconciled by an almost spacy, cleansing, peaceful catharsis, but in this respect it is also an ideal equivalent of the final story resolution – and Haxan Cloak Krlic has long been a reliable bank in the soundtrack business.
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