Facing these constraints, the strings, woodwinds, brass, harp, and various percussion for The Usual Suspects all had to be recorded separately in a room that could barely fit the 38 string players by themselves. The studio had no screen with which to coordinate the performance with the scenes, either. Then, Ottman had the Herculean task of putting all of these elements in sync, verifying that their tempi met the requirements of each scene. To everyone's relief and amazement, it actually worked. In the process of performing this task, however, Ottman became accustomed to using the method of multiple-passing in editing that masks the small size of an ensemble by simply overlapping the same performance over itself multiple times. Other composers in Ottman's position (including Mark McKenzie) have brilliantly used this technique for years, especially for situations involving inadequate string sections. The resulting effect gives the score a more robust sound, indeed, but it also adds to the harmonic nature of the score's romantic appeal because the ensemble sounds as though it's playing in remarkably tight union. The use of instrumentation and editing in The Usual Suspects, and particularly in its creative implementation for the thriller genre, was not as mature as it would be by 1998's Incognito. And yet, Ottman still managed to pull off a highly lyrical score, matching the waltz-like movements of the unpredictable plot and presenting a film noir angle on the story's intrigue. The suspense in the score isn't entirely riveting, for its volume is rarely heightened in a particularly tense position for very long, but it works in an unconventional sense by twisting themes, construing strings in unusual performances, and offering percussive elements in seemingly illogical places. The piano's always alluring performances offer a stylish sophistication to the environment, sometimes trickling like water in the background.

Some passages translate better to album than others, and yet, analyzing The Usual Suspects is difficult to do without characterizing the successful merging of its individual elements into a cohesive whole. For collectors of Ottman's matured work, the two performances of the piano-inclined title theme at the beginning and end of the score offer a delightfully wicked and elegant theme (which has been performed in live concert). A secondary motif is used a few times in the middle of the score for moments of grand revelation, and this crescendo of orchestral power represents the memorable music you likely heard in the film. The two highlight cues, "The Killing of a Rat" and "The Greatest Trick" accompany vital scenes in the film with a dark spirit of vigor. Slight electronic effects contribute to the cloudy atmosphere at times, and the octave-descending effect in "A Gift" is chilling. Starting in "Payback Time," Ottman uses a metronome effect much like John Williams' for JFK to propel the narrative. The recording of solo woodwinds, while only contributing in a minor role, is well handled by the composer. The album finishes with a solo piano performance of the Claude Debussy piece "Sounds and Perfumes Whirl in the Evening Wind." Overall, it's a remarkable package even if you don't stop to consider the adversity that Ottman faced when producing this music in the first place. There is no single thematic or instrumental moment in the score that alone gives this work its appeal; rather, its extremely consistent sense of style in all of its moments, represented by its opening and closing thematic statements, create a whole that very effectively accompanies the picture (and provides a balanced listening experience on album) without imbalanced or undue attention to any part. The Usual Suspects had a long-lasting effect on Ottman, who would continue to utilize unconventional recording techniques thereafter, often with impressive success. No collector of his music should overlook this fascinating mainstream debut for the composer.  ****   @Amazon.com: CD or Download