Confession was a 2005 project about murder and coverups at a prestigious all-male Catholic prep school that wasn’t able to secure theatrical distribution, winding up instead as a direct-to-video offering. A longtime project of its writer/director, Jonathan Meyers, and based on a spec script he penned in high school, the film is primarily remembered today as the first starring role of Chris Pine, who less than four years later would be cast as Kirk in 2009’s Star Trek. An avowed film score fan, with a letter of encouragement from Carter Burwell to prove it, Meyers ultimately retained Ryan Shore to score his film. Shore, the nephew of Oscar-winner Howard, had a resume of similarly low-budget but ambitious films to his credit in 2005. He was therefore able to tackle Confession with a live orchestra, albeit a reduced one of 22 players, and live choral aspects as well.
Confession opens with its greatest highlight: a stunning choral piece in “Philosophy” that evokes liturgical music in its use of a solo female voice with supporting male choir. A lengthier performance in a similar vein bookends the album with “Sacred,” with snatches of choral music appearing in places throughout the rest of the album, taken up either by male or female voices. These passages are so effective in an Erich Whitacre/John Tavener manner that they overshadow much of the rest of Shore’s music–enough so that one almost wishes the entire score had been performed a capella.
Shore’s main theme is low-key and rather drab compared to his terrific choral music; when it appears in “Requiem” and “Confession,” it is primarily to tie together lengthier passages of dark, churning music. The film’s oft-grim tone and talky nature perhaps precluded more intrusively melodic writing, but one couldn’t help but feel that an approach like the one Shore would later use in Shadows might have been a better listening experience on album. “Bennet’s Confession” “Priest Interrogation” include the theme as well, but it is backgrounded or not present in most of the album’s meatier cues, leaving the music to create an unsettled atmosphere without any of the panache that characterizes the sections for voices. “Bicycle” and “Rain” provide the only respite from the generally oppressive atmosphere prevalent outside the vocal cues, with lighter Thomas Newman style riffs.
Though Ryan Shore had primarily been represented on the Moviescore Media boutique label, ever the champion of high-quality film music written for lesser-known projects, he was instead able to team with La-La Land Records five years after Confession was released, in 2010, to put out an album of his music. At 42 minutes, it is a short score on album but virtually every note recorded for the film is present (along with detailed notes from Shore and Meyers about their collaboration); however, unlike the MSM albums, Confession is only available as a physical product in a limited 1000-copy print run. Due to the film’s obscurity, though, it is available extremely cheaply both direct from the label and on the secondary market. The beautiful solo choral parts of the album will resonate most strongly for most listeners, though devotees of Shore’s more action-packed style of Jack Brooks: Monster Slayer or active thriller soundscape of Shadows may find themselves disappointed.