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The Dark Crystal: Age Of Resistance, Vol. 1 & 2

Pemberton Daniel & Sim Samuel

The Dark Crystal: Age Of Resistance, Vol. 1 & 2

Label: Varese Sarabande

Genre: Soundtrack


  • LP x2 €28.99
    In Stock
The groundbreaking world of Jim Henson’s film, The Dark Crystal, has returned with a new Netflix series ‘The Dark Crystal: Age of Resistance’. This 2-LP set compiles together 27 tracks from the two volumes of music from the show, which are as magical as the land of Thra itself, with large orchestras, old creaky medieval instruments and new otherworldly sounds from newly created devices.

Daniel Pemberton is a multi-Golden Globe, Emmy and BAFTA Award-nominated composer. His most recent project was Danny Boyle’s Yesterday. The 10-episode show is a prequel to the 1982 fan favourite ‘The Dark Crystal’, and takes place many years before the events of the film. Leading the voice cast in the series is Kingsman star Taron Egerton, The Witch actress Anya Taylor-Joy and Game of Thrones’ Nathalie Emmanuel, as ‘Gelfling’ heroes Rian, Brea and Deet. Star Wars’ Mark Hamill, Harry Potter’s Helena Bonham-Carter, Tomb Raider star Alicia Vikander and Outlander’s Caitriona Balfe provide additional voice performances in the new fantasy epic. The series was shot in the UK and stars an ensemble of fantastical, state-of-the-art creatures brought to life by Jim Henson’s Creature Shop and designed by Brian Froud, the original features conceptual designer.

Composer Daniel Pemberton reveals: “I wanted the music to be as magical as Thra itself- organic, imperfect, strange, mystical, otherworldly and wonderful. I wanted to create new sounds that felt like they came from the world itself, as well as using thematic large-scale orchestral elements to bring an emotion to the journey of the characters. I wanted music and sounds that would fill you with wonder, but also terrify you.”

“The Dark Crystal is set in a unique world of magic, adventure, threat and danger. The music had to capture that majestic wonder, as well as its dark, sinister underbelly,” describes composer Samuel Sim. “Although nearly all the sounds in the score come from an acoustic or ‘real’ source, a huge amount of time was spent twisting, morphing and detuning them to create something completely new and surprising.”