{"id":10442,"date":"2015-01-14T10:50:32","date_gmt":"2015-01-14T15:50:32","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=10442"},"modified":"2015-01-14T10:55:51","modified_gmt":"2015-01-14T15:55:51","slug":"mp3-after-the-fall-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=10442","title":{"rendered":"MP3: After the Fall (2014)"},"content":{"rendered":"

\u00a0<\/i><\/span><\/p>\n

\"AfterTheFall2014_MP3\"<\/a>Score<\/strong>: Excellent<\/p>\n

Label<\/strong>:\u00a0Lakeshore Records<\/a><\/p>\n

Released:<\/strong> \u00a0December 23, 2014<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a013 tracks \/ (32:25)<\/p>\n

Composer:<\/strong>\u00a0Marc Streitenfeld<\/p>\n

Special Notes:<\/strong>\u00a0 A<\/span>vailable digitally (Dec. 23<\/span>rd<\/sup> 2014) and on CD (March 10, 2015)<\/span><\/p>\n

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\u00a0<\/span><\/p>\n

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Review:<\/strong><\/p>\n

Although the score is built around a main theme \u2013 a series of step-like notes with sudden pauses and melody redolent of a child\u2019s song \u2013 there\u2019s a fascinating blend of unique sounds that allow After the Fall<\/b> to stand on its own as a moody concept album depicting human desperation.<\/p>\n

It\u2019s also a cross-cultural score where the instrument and harmonics consists of sometimes disparate sounds: water glass tones in the first cues bars, Asian harmonies that morph into something more Celtic, sounds processed in reverse and back, and aspects of sound design applied as musical ornamentation.<\/p>\n

\u201cConnect\u201d is where the score shifts to a darker emotional plain, and Marc Streitenfeld (Prometheus<\/b>) emphasizes grinding string bass or string reverberations, with high pitched grating and electronic gyrating sounds (\u201cRobberies\u201d) using feedback, or a loose theme variation on an Ondes Martenot (\u201cYou Never Know\u201d). \u201cWrath\u201d isn\u2019t filled with bombast or all-out distortion, but rather a grinding pulse, drifting echoey sounds, and a brief cluster of static before the main theme returns in a more desperate guise on cello.<\/p>\n

The score\u2019s closing cues are more intimate, recapping the main theme in arrangements that are quite poignant, especially \u201cVirtue,\u201d where instead of adding reverb to the instruments\u2019 tones, Steitenfeld creates an echo akin to a whale sighing in the distance. Paired with emulations of folk woodwinds, it\u2019s a striking beautiful use of instrumental colour.<\/p>\n

The intimacy of After the Fall <\/b>isn\u2019t hard to miss \u2013 smaller instrumentation, slight digital enhancements, and some fascinating theme variations \u2013 but it\u2019s the way the score just emerges, hovers, and gently recedes with a series of calm, closing statements that make this small, relatively brief score such a treat. It could be longer, but everything that needs to be stated about the characters and conflicts already exist within Steitenfeld\u2019s precise narrative.<\/p>\n

\u00a0<\/span><\/p>\n

\u00a9 2015 Mark R. Hasan<\/p>\n

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Additional Links:<\/strong>
\nEditor’s Blog<\/a> — Composer on IMDB<\/a> \u00a0— \u00a0Composer Filmography<\/a>
\n\u00a0<\/span><\/p>\n

Select Merchants:<\/strong>
\nAmazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0Screen Archives Entertainment<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Although the score is built around a main theme \u2013 a series of step-like notes with sudden pauses and melody redolent of a child\u2019s song \u2013 there\u2019s a fascinating blend of unique sounds that allow After the Fall to stand on its own as a moody concept album depicting human desperation…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[3279,3278],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2Iq","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10442"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=10442"}],"version-history":[{"count":5,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10442\/revisions"}],"predecessor-version":[{"id":10463,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10442\/revisions\/10463"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10442"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10442"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10442"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}