Getting to select the music for Killing Eve has been like winning the musical supervision and composition lottery. First of all, in Season One we had eight fantastic scripts spearheaded by the incomparable Phoebe Waller Bridge and several brilliant and very open minded producers at Sid Gentle Films Ltd – Sally Woodward Gentle, Lee Morris, Colin Wratten (thank you for letting us hold our nerves), who from the word go gave us the freedom and space to be as creative as possible. This in turn gave us great confidence to express ourselves freely without looking over our shoulders and second guessing. The fact that each episode took place in a different country or sometimes several gave us an amazing opportunity to dig deep into our record collections and include music from France, England, Italy, The Netherlands, Germany, Ireland, Russia and the USA. Every time we were propelled into a different country we tried to marry the location with the inclusion of one or two songs from that region. Being a female driven show, we wanted to give the soundtrack a female voice with a timeless sound that matched the depth and complexity of our protagonists, Eve and Villanelle. Season 1 takes us to France, with music from Brigitte Bardot and Anna Karina; England with Cat’s Eyes and The Troggs; and Germany with Die Wilde Jagd, interspersed with great international artists including Cigarettes After Sex, Pshycotic Beats and of course Unloved who feature throughout the soundtrack. The more obscure the song the better! After all, Killing Eve is a series like no other and we wanted the music to reflect that.
In 2010 while I was living in LA I met Keefus Ciancia and Jade Vincent and over the period of a year we created around 30 tracks which gave us enough music to release our debut album ‘Guilty of Love’ under the guise Unloved. Little did I know that some seven years later 23 of those 30 tracks would find a home in the first season of Killing Eve. We can’t really explain why our catalogue fitted Killing Eve like a glove but it did – every time we dropped the needle magic happened. All these songs were written in a different time, frame of mind and in a different country but somehow emotionally, lyrically and stylistically they became a marriage made in heaven. Not only did Jade’s voice just happen to have the correct amount of sass, mystery and attitude for what the show required but the ace we held up our sleeves was having the multi tracks so Keefus and I were able to actually lay in our tracks as score and finesse them into the fabric of each episode. All these songs were an amazing jumping off point for the original score which Keefus and I threaded through each episode using Jade’s voice as a musical instrument creating haunting melodies and thematic hooks we could return to as the series evolved – this gave us great continuity and a musical style like no other.
David Holmes & Catherine Grieves