For those unaware, BUYSOUNDTRAX Records presents NIGHT SINS, featuring music composed by Mark Snow for the 1997 television mini-series directed by Robert Allan Ackerman, written by John Leekley.

Starring Harry Hamlin (VERONICA MARS, L.A. LAW, CLASH OF THE TITANS), Valerie Bertinelli (TOUCHED BY AN ANGEL, ONE DAY AT A TIME), along with, Mariska Hargitay.

Based on the novel by best-selling romance and thriller writer Tami Hoag, NIGHT SINS was a four hour mini-series broadcast on the CBS network in 1997. NIGHT SINS takes place in the small town of Deer Lake, where the investigation into the recent abduction of a young boy becomes the catalyst for a progressively bizarre and disturbing exposé of small town corruption, hypocrisy and perversion that extends back across decades.

Reassigned from the big city to take over the investigation from another agent is Seattle Bureau Of Investigation Agent Megan O’Malley (Bertinelli), who finds herself thrown together with Mitch Holt, Deer Lake’s chief of police. Holt, who lost his wife and daughter years ago to a vicious killer, is still haunted by his inability to save them from their fate and may even be a potential suspect himself. As the investigation proceeds, O’Malley and Holt struggle with their mutual attraction and try to stay focused on their work.

1. Night Sins
2. Wicked Daughter of Eve
3. The Game Begins
4. Innocence is Sin
5. Sniffing
6. A Message of Faith
7. A Town With Pity
8. Notes
9. His Name is Billy
10. Tears and Fears
11. Father Tom
12. Loners
13. Lost Angels
14. White Van
15. Accusations
16. Predators

The sadly passed veteran television composer who turned “The X-Files” theme into an unlikely chart hit in the 1990s, opens his Night Sins soundtrack recording on the harmonically crisp title track Night Sins and then we get the more tingly Wicked Daughter of Eve, the pensive The Game Begins, the flourishing Innocence is Sin, the chase-imbibed vibe of Sniffing, and they are followed by the demure A Message of Faith, the spatial A Town With Pity and the alertness of Notes.

Along next is the abstracted His Name is Billy, the wistfully sculpted Tears and Fears, the apprehensive, yet diligent Father Tom, and a genuine hopefulness within Loners, and they are in turn backed by the choir-hued magnificence of Lost Angels, the reflective White Van, the soundtrack rounding out on the solemn Accusations, coming to a close on the pensive Predators.

In 1993, composer Mark Snow began a fruitful creative collaboration with producer Chris Carter on THE X-FILES, which culminated in a unique marriage of music and macabre storytelling. Of the many television movies Snow scored in the 1990’s, NIGHT SINS comes the closest to his work on THE X-FILES and contains many of his signature stylings.

For NIGHT SINS, the composer wanted a somber, elegiac, almost medieval sound for the religious overtones of the story, mixed with a lot of scary, dark atmosphere. The final result is an electronic score augmented by piano, harp and xylophone, marking NIGHT SINS as a close relative to THE X-FILES and should appeal to fans of Snow’s work on that show.