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Doctor Who Series 7 Original TV Soundtrack
Release Date: 20/09/2013
Catalogue No.: SILCD1425
Record Label: Silva Screen
Format: CD

Following on from the chart topping success of recent Doctor Who soundtrack releases, comes a further 2CD set of striking Murray Gold music. Seven years of composing riveting music for Doctor Who has led to Murray’s work being performed at special Proms concerts at the Royal Albert Hall, a celebration of the music at the Millennium Centre Cardiff and a place in the Classic FM Hall Of Fame.


Series 7! No, but seriously, Series 7.  

I know I’m supposed to elaborate now, but let me just let it hang there enigmatically before I do. Series 7. *walks away enigmatically*

Is someone actually trying to make this whole Doctor Who music thing harder or what? I mean, dinosaurs on spaceships, cowboys in spaceships, motorbikes going up buildings, beloved characters jumping off buildings, a parliament of Daleks, weird cubes, a sort-of musical, ghosts, very red faces, the Doctor’s grave (spoilers), Clara and and...I mean seriously. Series 7.

‘Asylum of the Daleks’ was fun and, weirdly (but gratifyingly) was nominated for a BAFTA (I only say weirdly because I was asked which episode to put forward and I wrote back ‘The Angels Take Manhattan’). The piece of music in which Oswin’s condition is revealed ‘The Terrible Truth’ is one of my favourite cues so far.

‘Dinosaurs on a Spaceship’ introduced us to some dinosaurs and to Brian Williams, Rory’s dad. This meant that Mark Williams (the actor who played him) came to present the Doctor Who Symphonic spectacular at Sydney Opera house which, frankly, was good news because he is a lot of fun. Note to self, I want a ride on a triceratops.

Toby Whithouse’s excellent morality tale ‘A Town Called Mercy’ the first Western to be produced since Doctor Who returned to the screens in 2005, meant a chance to use slide guitars and banjos and to generally head west musically. For some reason, I have two lap-steel guitars. I haven’t played either of them since making the soundtrack to this episode.

In ‘Power of Three’, Chris Chibnall explored the theme of how The Doctor’s experience of life is fast and active while ours is sometimes slow and tedious. It’s a difficult theme to pull off but the episode was funny and emotional. It was a completely different type of episode to score because of its lightness. I sometimes think lightness is harder to achieve than heaviness but I don’t exactly know why.

‘The Angels Take Manhattan’ certainly was not light. Those stone-faced ghouls plunged my favourite city into darkness and took two of The Doctor’s favourite companions away from him forever. When you know you are going to lose a companion, you sort of build up to it from the beginning of the series. Musically, Amy and Rory’s base-jump scene (Together or Not at All) was bedded in near the opening of ‘Asylum of the Daleks’ and Halia Meguid’s vocal was in Amy’s hallucinatory dance scene in the same episode (Halia’s voice was backwards with a jazz bass under it).

‘The Bells of Saint John’ saw The Doctor return in 2013 popping over to fix Clara Oswald’s internet from the year 1207. In one of the tracks, I put down a quick vocal and delivered it to the dub on a separate track so that the mix engineer could lose it easily as I knew he wouldn’t want it. He left it in. Bah bah bah.

Neil Cross’ ‘The Rings of Akhaten’ had heart and charm in abundance. Although for some reason nobody seemed to know it had extended musical sequences until a week or two before shooting began. I don’t know why. The Doctor’s monologue to the parasitic monster-planet Akhaten rivalled his speech in The Pandorica Opens for bravura and swagger. The Long Song in this episode featured heavily in the Doctor Who Prom at the Royal Albert Hall in 2013.

Mark Gatiss’ ‘Cold War’ was a dark claustrophobic period drama set in 1983 when Ultravox had just missed out on topping the UK charts with Vienna. There was no recording session for this episode, the piece instead relying on a mostly electronic score.

‘Hide’ was Neil Cross’ creepy, scary ghost story which was for the most part realised electronically. Neil wanted to keep the sound of the episode relatively simple and represent the unseen forces with a drone or a sustained discordant note.

Steven Thompson’s ‘Journey to the Centre of the TARDIS’ took the notion of the TARDIS’s impossible size and turned it into a breathless chase around its interior. Again, this was an episode in which no studio recording session was available and the score was mostly achieved electronically.

‘The Crimson Horror’ was mad brilliant and horrible, and I now call my worst enemies Mr Sweet. The relationship between real life mother and daughter Diana Rigg and Rachael Stirling created a melodramatic heart that beat darkly until the brutal ending. This was the first episode to come out the cutting room in the series and saw the return of the much loved duo Strax and Madame Vastra.

Chess playing Cybermen (who could also move VERY quickly) appeared in Neil Gaiman’s ‘Nightmare in Silver’. The Cyberman theme that originated in the second series had many more variations in this episode, as well as a version which nodded towards Michel Legrand’s score to the famous chess scene in the Steve McQueen movie The Thomas Crown Affair.

If there was ever any doubt how much Matt Smith will be missed when he leaves Doctor Who, watch ‘The Name of the Doctor’. He is brilliant. His ability to shift between moods and tones is mesmerising. We recorded the orchestra in Cardiff and a few days later viola and cor anglais at Air for the very intimate tragic moments around the talk of

The Doctor’s grave. Please don’t make The Doctor go to Trenzalore again this year. Please.




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Murray Gold

Doctor Who Series 7 Original TV Soundtrack

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