Netflix series Kaleidoscope is an interesting conceptual take on the classic criminal heist story.

A gang of notorious and highly-skilled professional thieves attempts a daring raid on a US$7mil dollar vault, guarded by one of the best security firms imaginable.

With a solid list of actors including Giancarlo Esposito, Rufus Sewell and Paz Vega, and a unique storytelling approach where the episodes can be watched in any order to create a fresh narrative arc, the show presents a compelling take on a well-worn trope.

Dominic Lewis composed the score for Kaleidoscope. He has previously composed scores for The Man In The High Castle and Bullet Train, as well as contributed additional music to X-Men: First Class, Puss In Boots and The Amazing Spider Man 2.

Lewis’ score is an excellent mixture of groovy, funky music with melancholic orchestral passages thrown in. The crime-comedy-heist genre is difficult to nail, and Lewis does a stellar job providing the right moods and feelings.

WHO IS DOMINIC LEWIS

A lifelong musician, Lewis took formal training at the Royal Academy of Music where he studied cello and composition, working alongside film composer Rupert Gregson-Williamson.

After completing his studies, Lewis moved to Los Angeles and joined up with Hans Zimmer's production company, Remote Control Productions.

While working at Remote Control, he collaborated with Henry Jackman, John Powell and Ramin Djwadi. During that time he also learned the ins and outs of the film scoring business and eventually began to receive calls for work himself.

Lewis has since scored a number of animation and action films, and seems well suited for the genre.

THE MUSIC OF ‘KALEIDOSCOPE’

Lewis’s score for Kaleidoscope stretches across a range of genres – from groovy, feel good tunes to sombre and introspective string sections.

The series adheres to a theme of colour, whereby each episode is titled with a different colour and that colour has some role or significance in the episode.

Lewis likewise played with colour both in the mood of his cues and their titles, pulling the work together in a cohesive way.

‘JIGSAW’

The opening cue of the series is “Jigsaw” – a groovy, danceable piece driven by a piano bassline that is catchy and pulsing. A dense rhythmic backdrop accompanies the piano riff, which functions as the cue’s main melodic idea, as well.

Two short interjections by the strings provides just the right amount of variation to this crime-caper theme that could just as easily have found its place in a 1970s heist comedy.

‘CUT THE MUSTARD’

Above all else, Lewis’ music for Kaleidoscope is slick. “Cut The Mustard” is a great example of his 1960s lounge-funk influence. Think John Barry meets Clyde Stubblefield with a dash of social media ADHD and you have got the vibe.

“Cut The Mustard” opens with a brisk clapping figure that is quickly joined by another piano bass figure, funky hits from a horn section, and a punchy background guitar riff.

This sort of riff-based, funky, lounge-jazz music fits the vibe of Kaleidoscope quite well.

‘PURPLE RAIN’

One of Lewis’ more introspective and melancholic orchestral cues, “Purple Rain” opens with a gentle string motif that slowly builds through iterations with a few subtle character shifts along the way.

Around the 1:30 mark, the cue breaks open with a highly-distorted back beat on the drum, a triumphant choir section, and singing violin melody.

‘DEVIL’S PLANS’

The final cue of Kaleidoscope, “Devil’s Plans” is a rousing, funky, classic soul-inspired piece featuring vocals by Charles Jones.

The cue fits right in with stereotypical ending overtures from classic action films – high energy, generally minor-key soul vamps that send off the characters and story in a memorable and exciting way.

Lewis nails the arrangement, with a strong blend of horns and synths underneath to give the passages lift and motion.

A KALEIDOSCOPE ROBBERY

Lewis’ soul and funk inspired score for the Netflix series Kaleidoscope fits right in the pocket of classic heist films – blending the lounge-jazz-orchestras of John Barry with contemporary synth and production techniques into a well-designed and orchestrated score.

All Images: Netflix

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Writer | Edward Bond

Edward Bond is a multi-instrumentalist composer, performer, and writer currently bouncing between Trondheim and Berlin. He apparently has the eyes of the devil, enjoys leopard prints, and will read your tarot, but not your future.