Prey (soundtrack)

Last updated

Prey
(Original Soundtrack)
Prey (soundtrack).jpg
Film score by
ReleasedAugust 5, 2022
StudioNewman Scoring Stage, 20th Century Studios
Genre Film score
Length45:27
Label Hollywood
Producer Sarah Schachner
Predator soundtrack chronology
The Predator
(2018)
Prey
(2022)
No.TitleLength
1."Predator Instinct"3:02
2."Thrill of the Chase"0:55
3."Naru and Surii"0:58
4."Beyond the Great Plains"1:37
5."Five Senses"2:28
6."The Night Has Ears"2:31
7."Communion" (ft. Robert Mirabal)1:19
8."Naru’s Way"3:13
9."Flesh and Bone"3:10
10."Orange Totsiyaa"0:52
11."Moon Wanderer"0:55
12."The Onslaught"2:13
13."Trapped"3:13
14."Foolish Foray"2:43
15."The Cruel Delight"2:06
16."Horseback Ambush"2:30
17."Human Bait"3:31
18."Brave Girl"5:03
19."Seeing with New Eyes"1:50
20."The Hunter"1:19

Reception

The musical score received praise from critics. Jonathan Broxton wrote "Prey is impressive stuff. Sarah Schachner has created a fascinating sonic environment for these characters to inhabit, one which is deeply rooted in the musical traditions of Comanche culture, but which also has a disturbing, violently alien element that shatters their world with relentlessly aggressive dissonance. The central theme for Naru is great, and the handful of times that Schachner allows it to ring out clearly are the score’s highlights. But large stretches of the score are very intense and challenging and often amount to little more than banks of roaring cello pulses and clattering percussion; they are superb in context, but the primeval power of Schachner’s sound may be too much for some to stomach." [9] Zanobard Reviews wrote "Sarah Schachner’s score for Prey is very different indeed to what you’d probably expect from a Predator score, but that’s what makes it so interesting. It’s a very heavily strings-focused experience, with tribal percussion and woodwinds mixed in too but mainly acting as background instruments for the sheer power that the strings deliver. Apparently Sarah Schachner herself plays the strings recorded here, and fair play to her as they sound absolutely phenomenal throughout the entire album, especially during its more hopeful, upbeat sections". [10]

However, criticised for not using the classic Predator themes in the score, adding that "Silvestri’s six-note percussive motif for the iconic aliens appears basically once on the entire album (which is odd because it recurs quite a few times in the film) and even then it plays so differently that it’s barely recognisable as itself, which for me kind of defeats the point of reprising a theme – it’s supposed to be a clearly recognisable musical representation of a character or setting, which this just isn’t unless you are really listening for it. Silvestri’s other Predator themes are a bit missed here as well, which is a shame as they could have fit quite nicely with Shachner’s tense, strings-heavy style, even just in passing." [10] Filmtracks.com wrote "Prey is not a Predator score, and some halfway point between the two disparate sounds would have been preferred. As it stands, Prey is adequate to the task but dissatisfyingly disconnected from the franchise. Its rendering is so hostile in performance inflection that it makes for a poor listening experience on album." [11] Odie Henderson of RogerEbert.com called the score as "striking". [12] Fran Ruiz of Space.com wrote that "Sarah Schachner’s atypical yet tense and adventurous score rivals Alan Silvestri’s unforgettable Predator soundtrack with its own identity". [13]

Personnel

Credits adapted from AllMusic [14]

Chart performance

Chart (2022)Peak

position

UK Soundtrack Albums (OCC) [15] 35

Notes

  1. Alan Silvestri, the original composer scored for Predator (1987) and Predator 2 (1990), followed by John Debney scoring for Predators (2010) and Henry Jackman for The Predator (2018).

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References

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