The Abyss

Track Listing

01 - Main Title (1:31)

02 - Search the Montana (1:56)

03 - The Crane (2:00)

04 - The Manta Ship (6:23)

05 - The Pseudopod (5:37)

06 - The Fight (1:46)

07 - Sub Battle (3:18)

08 - Lindsey Drowns (4:43)

09 - Resurrection (1:59)

10 - Bud's Big Dive (6:09)

11 - Bud on the Ledge (3:14)

12 - Back on the Air (1:40)

13 - Finale (6:46)

Orchestrated by James B. Campbell

Conducted by Alan Silvestri

Produced by Alan Silvestri

Released by Varèse Sarabande Records on August 22, 1989

Total Running Time: 47:07

The Abyss is a typical “military bad-guy vs. benevolent alien creatures” storyline that is nevertheless enhanced by James Cameron’s writing and directing skills. Even more impressive is that Cameron wanted to shoot the thing in a huge water tank, which posed all sorts of interesting and complex logistical problems. The fact that he was able to pull it off is enough to make the film interesting as one can marvel at all the beautiful underwater photography. The ending was a bit more preachy than what I would have liked to have seen (given the abundance of sci-fi works out there that contain this message), but it’s a small complaint about an otherwise solid film.

James Cameron has never been a director to be locked down by any one composer. The closest he has come has been with Brad Fidel, who scored both Terminator films and True Lies. Next in line is James Horner with Aliens and Titanic. But for his last big film of the 80s, Cameron turned to Alan Silvestri for The Abyss. With a film that is essentially an underwater version of Close Encounters of the Third Kind, it makes sense that some of Silvestri’s cues take on an almost John Williams feel ("The Pseudopod" being the first notable example). While it’s interesting to hear him mimic this, the rest is pretty typical of his work, sometimes even to a fault. It’s weird at times to hear Predator or Back to the Future in the midst of this score. The breakdown of the score can go like this: if it’s intense action, then it sounds like Predator. If it’s driving tension, then it sounds like Back to the Future. Now, I’ve always thought that the Silvestri sound is one of the most interesting developed by any composer working today, but this is a bit much to have on here. It’s enjoyable, yes, but still jarring.

The bookends of this score are what actually make it work. The derivative cues and the atmospheric "other-worldly-type" sections make up the middle of the score, while the real meat of The Abyss can be found in the opening cue and the three closing ones. The "Main Title" gives us the feeling of what this music is truly all about, incorporating the chorus moment and the lush string work that segues into a harsh military drumbeat. It’s a perfect example of Silvestri bringing about the contrasts that make up the heart of this story. Then we wade through the typical Silvestri action music and low-keyed atmospheric cues until we reach "Bud on the Ledge". It’s at this point that everything unique about this score comes together and leaves the borrowed elements far behind. Here the orchestral power begins to pump up, the chorus makes a beautiful appearance, and the main theme takes center stage. When others have said that the last three tracks make this album worth a purchase simply on their own merit, they are not kidding. While everything else that has come before has been lackluster, this last handful of cues typify why those like us enjoy film music so much.

A solid score for a great film, The Abyss may disappoint for the most part, but then quickly redeems itself by the end. For a fan of Silvestri or the movie itself, this is a must-have and comes recommended.