Soon after leaving her fiancé Michelle is involved in a car accident. She awakens to find herself sharing an underground bunker with Howard and Emmett. Has she been saved from an apocalyptical event as Howard and Emmett tell her or are there other motives for her being held against her will? Welcome to the residents of '10 Cloverfield Lane'.

Composer Bear McCreary's score for the sequel to 'Cloverfield' (2008), and which is not shot in found-footage form, unlike the original film, '10 Cloverfield Lane' is a masterful assemblage of elements including a 90-piece orchestra, a 45-piece string ensemble, a grouping of 30 celli and 8 bass, and a string quartet.

These traditional instruments are combined with two unusual feature instruments, the Yayli tanbur and the Blaster Beam, an experimental instrument built and played by Craig Huxley. Indeed, as producer J.J. Abrams himself has said, "Bear has written an incredible score for Dan Trachtenberg's 10 Cloverfield Lane." He has gone on further to say that, "It is tense, emotional music that gives the film scope and heart, augments the surprise and horror. It's an homage to Herrmann, but wholly original at the same time. I'm deeply grateful to Bear for his contribution to this movie."

TRACK LIST: 1. Michelle 2. The Concrete Cell 3. Howard 4. A Bright Red Flash 5. At the Door 6. Two Stories 7. Message from Megan 8. Hazmat Suit 9. A Happy Family 10. The Burn 11. Up Above 12. Valencia 13. The New Michelle 14. 10 Cloverfield Lane.

As for what to expect, well, '10 Cloverfield Lane - Music from the Motion Picture' contains 14 tracks that run for @ 64 minutes, and opens with one of the best tracks to ever open a soundtrack CD, in my humble opinion. The cut is named 'Michelle,' and is wholly about, as the movie opens, the lady in question deciding to leave her boyfriend and get out of New Orleans. It is just over 6 minutes long itself, a mini-suite of sorts, exploring various emotions along the way, and is a fab way to start any soundtrack such as this genre ilk.

Another stand out tracks is 'Two Stories,' which features more of an threatening undercurrent than most the others, and one that leaves you wondering, almost anxious as to what the secret truly is between them all. It is one of several tracks on here that made me think back of Bernard Hermann's work all those decades ago when he scored many of Hitchcock's movies.

Anyway, the remainder course along much the same trajectory, but for those that have seen the film, please know and understand that this soundtrack contains only the orchestral score. Ergo, it leaves out the various songs that appear in the movie, including 'I Think We're Alone Now' by Tommy James & The Shondellas (which features in a rather pivotal scene, it has to be said). and also 'Tell Him' by The Exciters, and 'Venus' by Frankie Avalon.

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