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There are so many things that make Killing Eve brilliant. Phoebe Waller-Bridge's writing, obviously, deserves much of the recognition here. So too does Sandra Oh's performance as the unravelling MI5 agent, Eve. And who can forget Jodie Comer as Villanelle?

Indeed, the success of the show is down to an ensemble effort, and this extends to the music of Killing Eve, which is just as interesting and nuanced as the on-screen action. The handy work of DJ and composer David Holmes, who's worked with everyone from Steve McQueen to Noel Gallagher, and the show's music supervisor Catherine Grieves, the pair worked tirelessly to ensure that the show's Bafta-winning soundtrack fed seamlessly into Killing Eve's DNA.

It's quite the challenge, finding a sound that conveys the complexities of Killing Eve's story effortlessly, but, for Holmes, the answer was right in front of him. Much of the show's soundtrack is populated by songs by his own band, Unloved, whose dark, sultry sound instantly struck a chord with those working on the show. Led by Jade Vincent's haunting vocals and Keefus Ciancia and Holmes' production, their music brings a Sixties melancholy to the show that almost sounds as though it was written for the script, scene by scene.

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And then every now and then a song surprises you, be it a punch of vintage French pop with tracks such as "Roller Girl" by Anna Karina or "Contact" by Brigitte Bardot or the sudden jolt of male vocals with The Troggs' "Evil Woman". The soundtrack is just as thrilling and full of as many twists and turns as Waller-Bridge's own writing, which is why we caught up with Holmes and Grieves to find out just how they did it.

How did you both first get involved with Killing Eve?

David Holmes: I was approached by Sid Gentle Films about possibly getting involved. Phoebe Waller-Bridge’s involvement was what initially got me excited about the series as I was a huge fan of Fleabag. After reading the first episode I was sold.

Catherine Grieves: I’d read about the series when it was in development and thought it sounded really exciting. I was obsessed with Fleabag and was itching to be involved. I’d worked with Sid Gentle [the show's production company] and the series producer Colin Wratten before, so the stars aligned.

You’ve said before that you didn’t want the soundtrack to be derivative of other scores. Why do you think it was so important to be original for Killing Eve in particular?

DH: After reading the first episode, we knew that Killing Eve required something that was completely unique. It had to be as original as the writing. I also knew it had to have a very strong female sound, which ultimately led to what we ended up creating. With that template, the possibilities were endless due to the amount of choice Catherine and I had in our record collections.

CG: Everyone wanted the soundtrack to be a big part of the show from the beginning and for it to have its own distinctive voice, so David and I were given the space to do something bold. Across the board, the show really pushes the unexpected: the writing, acting, costume and production design all have their own strong identities. And we did the same with the soundtrack, through David’s score, the Unloved songs and the commercial tracks.

How did your approach to creating the soundtrack compare to other films and TV programmes you’ve worked on?

DH: I started by compiling a huge playlist for Phoebe Waller-Bridge, Sally Woodward Gentle and all the other producers and directors, which included about 30 Unloved tracks that had mostly never seen the light of day, along with the likes of Anna Karina, Françoise Hardy, The Troggs and Étienne Daho. At this stage it was more of a hunch that they might work, rather than a reality, but by the end of the first season, 23 of the Unloved tracks had made the cut as well as all the other music we suggested. It was just meant to be.

CG: We discussed having a featured female voice or artist involved in the soundtrack from the very start, but we also wanted to make sure that we had a great composer who could really tell the story. David was the perfect fit, bringing his band Unloved to the table, with lead vocals by Jade Vincent that completely captured the tone of the show. David and I work together on finding other commercial tracks, digging deep into our record collections and bouncing ideas off each other until we find “the one”.

Villanelle is so much fun to soundtrack. She has so many sides to her character that we pick out with certain tracks

The female-led focus is a perfect complement to Phoebe Waller-Bridge’s writing. Why was it important to you to take this route?

DH: It was the only way we could’ve done it. Our two leads are female, so to have a strong male influence just wouldn’t have made any sense on any level. I don’t think I would’ve got the job if I had suggested anything other than a female led soundtrack. The idea really excited me, as does any direction I’ve never attempted before, but I knew I had enough ideas in my locker to create something fresh, exciting and original. Thankfully, we had the support from everyone else involved.

CG: Phoebe’s script and the direction of the series really left space for the music to become part of Eve and Villanelle’s characters and psyches. We use a female vocal throughout, bar a couple of select moments, though there is always a depth to the voice: darkness, humour, intrigue. Eve and Villanelle are complex and the women who contribute to the soundtrack are too, musically, lyrically and tonally.

The Unloved’s sound quickly became the unifying thread on the soundtrack. Why do you think the band’s sound lends itself so well to the programme?

DH: All of the Unloved music was created by myself, Keefus Ciancia and Jade Vincent seven years previous. The fact that it fitted the fabric of Killing Eve so perfectly is still a mystery to me. That’s the magic of film and music but that’s also been the story of my life! Every album I’ve ever made has eventually found a home in cinema or television after initially doing very little commercially. It’s very reassuring knowing that one day this music will be heard on one platform or another.

What were you trying to achieve when you did choose to use songs with male vocals, such as The Troggs’ "Evil Woman"?

CG: There are moments where it works to have a male vocal, when we’re picking out the perspective of a male character, rather than being Eve or Villanelle’s inner voice. "Evil Woman" is such a brilliant song with perfect lyrics for that moment after Villanelle has strangled her male victim with his own tie. The Poppy Family’s "Where Evil Grows" in series two is another great example where a male voice, this time as a duet, fits so well.

DH: The reason "Evil Woman" by The Troggs worked so well was because it was sequenced after Villanelle had just killed a man in the most hilarious way and to have a male voice in that moment just felt right. It was almost like saying this is the voice of the man she just killed singing beyond the grave. Ultimately it just felt right in that particular sequence.

A lot of the soundtrack is tailored to Villanelle, from the French influences to the more lively, unpredictable tracks. Why did you choose her character as the point of focus and how did you ensure the soundtrack also complemented Eve?

CG: Villanelle is so much fun to soundtrack. She has so many sides to her character that we pick out with certain tracks, like Pshycotic Beats' "Killer Shangri-Lah" for the twisted humour, Brigitte Bardot for the attitude and sass, Die Wilde Jagd for the pure darkness, all tied together with Unloved. As the story and characters develop, you find there are so many parallels between Villanelle and Eve and there are elements in every track that tell both stories. There are certain tracks, such as the Dutch cover of "Angel Of The Morning" by Willeke Alberti in season two, which help tie the characters together emotionally.

DH: When I’m scoring or compiling a soundtrack I try my best to feel my way through it rather than think my way through it. When something feels right I tend to trust my instinct. There are a number of reasons music or a song works and it’s the same when it doesn’t. I do question my choices, but ultimately I know when something’s right or wrong based on my instinct and what’s happening within the story.

What were your favourite moments from the show to soundtrack?

DH: I enjoyed it all, to be fair. It’s not very often when you have the complete trust of the producers, writers and directors. That gives you so much confidence and belief that you can try anything and if you feel it works really well you hope they will feel the same.

CG: It’s such a great show to be part of, it’s hard to pick out particular moments. It’s a real joy being able to bring unexpected music to the table with the support of producers, directors and writers. Collaborating with David is really inspirational too, we have a lot of fun.

What were the most difficult moments to soundtrack from the show?

CG: Very occasionally we find brilliant tracks that everyone falls in love with that we can’t clear and have to replace, which can be really frustrating. Most artists and writers are really keen to work with us, but we use a lot of vintage European music, so sometimes we are getting permission from little old ladies in France who have no idea what the show is. When clearing music you have to be quite explicit in how the song is used and what’s happening in the scene, so if the artist doesn’t like violence, it can be quite a hard sell!

DH: The most difficult thing was reaching the deadlines that can be very tight at times. Creatively speaking it was all a lot of fun. Catherine and I have a wonderful relationship and are always on the same page. Keefus Ciancia and I also have a brilliant relationship, so we too are always on the same page. It’s a dream job that we never get tired of doing.

Series two ended on a cliffhanger and left audiences unsure of what direction Killing Eve will take next. Will the soundtrack for series three be continuing in the same direction as the previous series or will there be a change in styles to reflect Eve’s apparent death?

CG: It’s early days, but we have spent the last few months collecting music for the new series. We were given a heads up on which countries we’d be visiting this time, so we’ve been researching and cherry picking some more underground European gems ready for when we see the new episodes.

DH: We're just going to keep developing what we have started. Jade, Keefus and I are working on new Unloved material and there’s so much other amazing music out there that we try to fit into the series. We have a plethora of song ideas for whatever country we’re in, because of all the different locations we go to. We always try to do the unexpected and we want to champion the underdog, music you may never have heard before, put into a context that gives it a much broader meaning. When you marry a piece of music with the right cinematic sequence, you hear this music in a completely different context and suddenly you have made something that may be perceived as underground sound very accessible.

Killing Eve, Season One & Two Original Soundtrack is out now and available to purchase here.

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