{"id":10444,"date":"2015-01-14T10:46:01","date_gmt":"2015-01-14T15:46:01","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=10444"},"modified":"2015-01-14T10:57:43","modified_gmt":"2015-01-14T15:57:43","slug":"mp3-electricity-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=10444","title":{"rendered":"MP3: Electricity (2014)"},"content":{"rendered":"

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

\"Electricity2014_MP3\"<\/a>Score<\/strong>: Excellent<\/p>\n

Label<\/strong>: MovieScore Media<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0<\/span>December 9, 2014<\/p>\n

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Tracks \/ Album Length:<\/strong>\u00a0\u00a010 tracks \/ (29:25)<\/p>\n

Composer:<\/strong> John Lunn<\/p>\n

Special Notes:<\/strong>\u00a0 n\/a<\/span><\/p>\n

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

MovieScore Media delivers another fascinating score evoking the rich warm analogue sounds of early synthesizers, but unlike Test<\/strong> <\/a>(2014), John Lunn\u2019s Electricity<\/strong> doesn\u2019t seem to have been written to fit between period songs.<\/p>\n

Lunn\u2019s switch from episodic TV (Downton Abbey<\/strong>) to ethereal electronica is quite haunting, largely because he uses a limited palette that includes piano and modular synths to create hypnotic tones, reverberations, and sound clouds that drift in and expand outward before evaporating in the near distance.<\/p>\n

Piano adds tenderness to the 10 cues that make up this fairly compact album, but the electronic elements aren\u2019t sterile; supporting the sometimes free-form tempo and extended pauses, the sonics of Electricity<\/strong> are often quite delicate, with dissonance appearing in brief elliptical synth tones, an accentuation of bass tones which are perhaps a few steps away from the echoes of human voices, and a mild drones in stellar tracks like \u201cWaiting.\u201d \u201cBye Dave\u201d switches from echoey keyboards to coarse bass drones prior to a return to more poignant piano variations, and tones are reverse-processed in the more stern \u201cEnough, No More, That\u2019s It!\u201d<\/p>\n

\u201cBig City\u201d is an homage to Tangerine Dream (the rhythmic pulses are evocative of the band\u2019s 1984 score Wavelength<\/strong>), but there\u2019s an interesting electric guitar solo which is rooted in seventies psychedelia. Bass pulses and electrified taps make up the closing bars of \u201cThe Right Thing,\u201d and Lunn closes the score with a more cohesive theme version (\u201cTo Start Over Again\u201d) in which elliptical piano figures evoke a mandolin, while flanging beats propel the somber cue towards its conclusion, leaving us with a cloud of sonic echoes before a final fadeout.<\/p>\n

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\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":"

MovieScore Media delivers another fascinating score evoking the rich warm analogue sounds of early synthesizers, but unlike Test (2014), John Lunn\u2019s Electricity doesn\u2019t seem to have been written to fit between period songs. Lunn\u2019s switch from episodic TV (Downton Abbey) to ethereal electronica…<\/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":[3277,3276],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2Is","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10444"}],"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=10444"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10444\/revisions"}],"predecessor-version":[{"id":10464,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10444\/revisions\/10464"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10444"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10444"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10444"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}