The series, created and written by Patrick Ness, followed a group of students at Coal Hill Academy who face monstrous alien threats.
It will be available on 23 October – upon release, you'll be able to find a list of services where you can stream and download the album here.
When composing for Class, how much inspiration did you take from Doctor Who’s iconic music – or did you try to make it entirely different?
There are quite a few Easter eggs in the score. The metallic Shadow Kin “shing” sounds came from a custom one-string instrument, a nod to a technique used by Delia Derbyshire in the original 1963 Doctor Who theme.
So, there were touches of familiarity for fans, but I wanted Class to have its own musical identity, with room to explore different sounds depending on the episode. As the series developed, we brought in a string ensemble alongside those elements to give it scale and emotion where needed.
I worked very closely with Patrick, Brian and our producer, Derek Ritchie. Steven was working on Doctor Who series 10 and, I think, Sherlock too. He must have been one of the busiest men in television, so although he was involved, the others were my main collaborators on the music.
For each episode, Derek and I spent several hours with the episode’s director in an editing suite, talking through where music should come in and what it needed to do. It’s funny to think that in 2016 I’d get on a train to Cardiff for those sessions, whereas now they’d often happen over Zoom if someone was in a different location.
It was quite stressful at times. Certain delays, combined with BBC Three wanting to release the first two episodes at once, meant I had far less time than I’d hoped to compose the score. I ended up working seven-day weeks. I’d been a Doctor Who fan all my life, so I squeezed in every last minute I could to make the score the best it could be in the time available.
It began as part of the 90-second pitch that got me an interview and eventually the job. At that point, I had very little to go on beyond a Radio Times announcement article, funnily enough.
I remember reading it while I was in the pub and thinking on the way home that I had to do the music for this show – so I picked up my guitar as soon as I got through the door and started playing with ideas for a pitch.
I enjoyed creating the theme and it’s fun to listen to it again, but I preferred the other option I’d written, which became the end credits music. Both my pitches were written before the title animation existed. The opening titles were animated to the song they ultimately chose, so my versions don’t quite line up with the visuals if you try to put them together retrospectively.
Doctor Who has regeneration at its core, so I think there’s always room to try different approaches. However, as a composer, and with the legacy of Delia Derbyshire and Ron Grainer’s original 1963 Doctor Who theme in mind, my instinct was to create something original that would give Class a musical identity of its own. That’s why I was keen to offer a couple of options.
What was behind the decision for you to finally release the unheard theme?
The 10th anniversary felt like the perfect opportunity, and we’ve added six previously unreleased tracks, including this theme. The anniversary bonus album comes out on 23 October, with 76 minutes of Class music that has never been available to stream before.
What’s your hope for the future of Doctor Who – and would you like to see more spin-offs like Class?
As a fan, I’d love to see it back every year. Given the references in the tender to different writing and production models, I think sharing the writing more widely could take some pressure off one showrunner. And it could be interesting to explore a more serialised approach with multi-part stories.
Funnily enough, some of that sounds rather like how Doctor Who was made in the '60s, '70s and '80s! Television production has changed enormously in the last 20 years, so it’s about working out the best way to approach it now. The BBC also mentioned not being overly reliant on existing Doctor Who lore, which I’d welcome as a way of bringing in new audiences. However, I think a hard reboot that ignores past regenerations completely would be risky. For me, the idea of one character carrying all those memories and stories we’ve enjoyed is part of the show’s enduring appeal.
The Class bonus 10th anniversary album will be available to download and stream from 23 October. Class is available to stream on BBC iPlayer.
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