{"id":10446,"date":"2015-01-14T10:37:59","date_gmt":"2015-01-14T15:37:59","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=10446"},"modified":"2015-01-14T10:37:59","modified_gmt":"2015-01-14T15:37:59","slug":"mp3-regarding-susan-sontag-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=10446","title":{"rendered":"MP3: Regarding Susan Sontag (2014)"},"content":{"rendered":"

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

\"RegardingSusanSontag_MP3\"<\/a>Score<\/strong>: Very Good<\/p>\n

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

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

Tracks \/ Album Length:<\/strong> \u00a024 tracks (60:15)<\/p>\n

Composers:<\/strong>\u00a0\u00a0Laura Karpman, Nora Kroll-Rosenbaum<\/p>\n

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

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

Having not seen the film, the impression of Laura Karpman (Galapagos Affair, The: Satan Came To Eden<\/strong><\/a>) and Nora Kroll-Rosenbaum\u2019s score is of a documentary that drifts and smashes between collages of stills, film, and other media, with sound design twirling around the music cues with abrupt twists from experimental, jazz, free jazz, and a collision of all three, with maybe a little sound effects (like car horns in the riff on \u201cWell You Needn\u2019t\u201d in the cue \u201cA Real Bookstore\u201d) worked in.<\/p>\n

The connective tissue of the score stems from components of a string quartet which are at times wistful and light (as in \u201cBeing 24 \u2013 A Loss of Personality\u201d with minimal appearances by woodwinds); breezy and elegant in the jazzy \u201cParis\u201d; wry and playful in the Latin-flavoured \u201cRemarkable People,\u201d with its hard turns from tango to a slight digression with layered brass; and as initial conveyors of melodic material before feedback and metallic resonance take over in tracks like “On Photography.”<\/p>\n

Sontag<\/b> is not a jazz score but a collage of musical styles tied to jazz standards, and the composers\u2019 original material that pulses and echoes, thunks and grinds. (\u201cNew York City\u201d repeatedly wafts between lounge piano, cool string bass, free jazz brass wails, and grinding sounds.) It\u2019s also a score where sounds rise and vanish into silence, allowing dissonance or warm chords to briefly serenade the listener before a refreshing switch to percussion or dissonance that flitters across the stereo image (\u201cEverything I Remember is Dear\u201d).<\/p>\n

As an album, Sontag<\/b> is neither inaccessible nor mainstream, but a peculiar and often haunting work in which bits of idioms manage to co-exist for fleeting moments, leaving the listener hungry for more.<\/p>\n

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

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

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Additional Links:<\/strong>
\nEditor’s Blog<\/a> — Composers on IMDB: Laura Karpman<\/a> \/ Nora Kroll-Rosenbaum<\/a>\u00a0 — \u00a0Composer Filmography: Laura Karpman<\/a>
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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":"

Having not seen the film, the impression of Laura Karpman and Nora Kroll-Rosenbaum\u2019s score is of a documentary that drifts and smashes between collages of stills, film, and other media, with sound design…<\/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":[3274,3275,3273],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2Iu","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10446"}],"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=10446"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10446\/revisions"}],"predecessor-version":[{"id":10459,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10446\/revisions\/10459"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10446"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10446"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10446"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}