Here’s What 1899’s Bold Music Choices Say About The Series

Editor’s Note: The following contains spoilers for 1899.

Audiences are rightly thrilled with Netflix’s new hit, 1899. It offers a terrific blend of mystery, supernatural sci-fi elements, and an international flavor that makes it a unique offering on the streaming service. While you can find plenty of articles about what the thriller has to offer in terms of character arcs and plots, we wanted to draw attention to the unusual and eclectic musical choices that are heard at the end of each episode. The show’s original music and theme song heard with the opening credits are performed by Eliot Sumnerwho happens to be the son of the former police leader and music icon, Sting. The original material was written by Ben Frost, who scored other notable shows including Courage, Ridley Scottit is Raised by wolvesand Dark, another Netflix hit produced by the same group. But what’s so unusual about 1899 are the tracks that the show’s musical supervisor, Ian Neill (Rocketman, Kingsman: The Secret Service) chose to serve as metaphorical outros or closing songs – especially juxtaposed against the series’ weird and paranormal elements and the turn of the 19th century.

Anachronistic melodies set the tone

Typically, these types of shows use a variety of ethereal scores or evoke metaphysical and otherworldly imagery that lends itself to genre material. Although some of the original music falls into this category with disturbing synth sounds and forbidden orchestral riffs, 1899 also went in a completely different direction with other aspects of the soundtrack. Each episode of 1899 signals its conclusion with a collection of anachronistic classic rock songs and other pop hits from the 60s, 70s, and 80s that seem to contrast sharply with the show’s overall tone and vibe. Neil’s bold choices are representative of how the series really strives to stand out in supernatural space. Choosing a remix of Jefferson Airplane’s song “White Rabbit” as the intro theme song, it’s clear that Frost and Neil are setting the tone and emphasizing the mind-blowing nature of the show, but it’s a fearless choice. considering it’s a classic rock song released over 50 years ago in 1967.

RELATED: 1899’s plot twists undermine the show’s emotional stakes

Choice of recognizable and daring songs

For episode 2, entitled “The Boy”, the choice fell on “Child in Time” by Deep Purple. The classic rock hit debuted in 1970 and obviously serves as a metaphor for the episode’s theme, which revolves around the discovery of the mysterious young boy who lies hidden on the otherwise derelict Prometheus and the items he finds there. represented. Neil took another detour with his decision to conclude Episode 4’s “The Fight” with Blue Oyster Cult’s familiar “(Don’t Fear) The Reaper.” As the hit song enjoyed a renaissance in the Christopher WalkenSketch “More Cowbell” on Saturday Night Live in 2000, it was released in 1976. Almost all the songs of 1899 date from a time before the majority of its audience and are drawn from an unlikely genre. True or false, it is undeniable that Neil’s choices give 1899 a different vibe and a fresh musical feel even though the songs are classic reminders of a bygone era.

Choose the lyrics rather than the tone of the show

When passengers aboard the Kerberos are seemingly hypnotized by a mysterious sound that leads them to march to their own demise by jumping overboard in episode 5, titled “The Calling,” Black Sabbath’s “The Wizard” is fine. chosen as they all appear to be in some sort of trance that could be cast by a wizard and include the lyrics, “Never speak. Keep walking. Spread his magic.” Again, that makes perfect sense, but the heavy metal song is a cut from the band’s 1970 album, “Black Sabbath.”

Likewise, in 1899The eighth and final episode of “The Key,” David Bowie’s “Starman” from his titular 1972 album has the honor of being the series’ final outing as the curtain is finally drawn all the way and the true nature of the series is revealed It highlights Neil’s penchant for using the 1899 to buck genre trends and opt for lyrical correlations over the overall tonal aspect of the show. Perhaps it also gives us something familiar to cling to in a world that seems so incredibly unfamiliar. Either way, we’re just glad he had the artistic freedom to think outside the box and achieve something new under the guise of songs that are old gold.

Here’s What 1899’s Bold Music Choices Say About The Series – GameSpot