"In a world of synthesizer dependent scores, John still relies on the power and talent of live musicians to perform his work". With these complimentary words, director John Badham shows his confidence and orientation in the score that the composer/editor John Ottman has created for his last thriller. Incognito plays around forgery pictures and mysterious crimes, and for this Ottman has not doubt in envolving the plot with a suggestive sound web of subtle harmonies and paces, certainly to the style of his already famous The Usual Suspects (1995), but also with a certain aftertaste to the neoclassical touch of Patrick Doyle's music. A perfect intentions statement can be found from the first cue, Opening Titles, with its exciting melody at the piano with a string support; post-modern touches in the intonations of the alt sax that can be heard throughout the score, contrast with the absolute avant-garde sound of, for example, Bad Deal. Generally it are the strings, almost unavoidable bound to a wide and very colourful percussion section, the one which carries the weight of the music, but they do not lack the supports in the winds and metal, as well as timely uses of the keyboards. As can be see, very assorted, but at the same time especially interesting. This score reaffirms the need to following Ottman not only as the stupendous editor that it has demonstrated to be on Bryan Singer's films, but also as a composer of a certainly surprising level, with what his total artist figure reaches a level right now hardly matchable. A.L.

/ RCA VICTOR 09026-68971-2 / 50'