The first thing Burwell is to be congratulated on is the complete absence of horror music. Musically representing director James Whale while treading the set of Bride of Frankenstein could so easily have headed towards cliche. Instead, this is an invigoratingly intelligent score that often works so subtly in the picture that its effect is quite lost on disc. ‘Dripping’ tinkles with a gentle introduction of Whale’s theme. Oboe, clarinet and bassoon all pass the cyclic motif around with some generous volume levels distinguishing harp and piano parts. The very best use of this theme is in the final cue – ‘Friend?’. If the listener is familiar with Burwell’s work on the Cohen brothers’ films, many of the previous cues will have made the occasional association. For a mature example of how Burwell has progressed from the minimalist pieces for which he is acknowledged, ‘Frankenwhale’ shows a talent for drama bordering on atonal expression. Quite at odds with the general melancholia of the rest, but a pleasant midway surprise. '