|1.||The Game – Titles and Opening||3:04|
|4.||Breaking the Boxes||2:27|
|5.||Trailing the Suspect||2:14|
|9.||Canal Rendezvous, Pt. 1 – Surveillance||2:07|
|10.||Canal Rendezvous, Pt. 2 – Pursuit||1:56|
|13.||Operation Glass – Inception||2:16|
|14.||Operation Glass – the Jigsaw||2:08|
|15.||Operation Glass – Revealed||3:31|
|17.||The Ballet Dancer||2:30|
|18.||The Letter of Last Resort||2:32|
|22.||The Game – End Credits||1:14|
|Total Album Time:||54:17|
Working together with director Niall MacCormick for the second time after their BAFTA-winning collaboration on Complicit, DanielPemberton provides a score that evokes the sound of the 1970s with a few modern twists added to it. The basis of the score features strings, bass flutes, cimbalom and drums to evoke the classic jazz sound of early spy thrillers such as The Ipcress File and The Conversation, but the sound palette has many unorthodox elements as well. By incorporating such unusual sounds as a sampled oscilloscope with an out of tune trombone or heavily treated scraped piano strings, the music for The Game tries to create a sonic world which pays tribute to the whole spy jazz genre, but also aims to delight fans of film music with a few unexpected solutions.
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