{"id":10788,"date":"2015-02-19T12:17:53","date_gmt":"2015-02-19T17:17:53","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=10788"},"modified":"2015-02-19T12:46:33","modified_gmt":"2015-02-19T17:46:33","slug":"mp3-dying-of-the-light-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=10788","title":{"rendered":"MP3: Dying of the Light (2014)"},"content":{"rendered":"

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

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

Label<\/strong>: La-La Land Records<\/a><\/p>\n

Released:<\/strong> \u00a0February 24, 2015<\/span><\/p>\n

Tracks \/ Album Length:<\/strong> \u00a021 tracks \/ (46:45)<\/p>\n

Composer:<\/strong> Frederik Wiedmann<\/p>\n

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

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

\n

 <\/p>\n

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

The theatrical release of Paul Scharder\u2019s Dying of the Light<\/strong> arrived with a \u2018silent protest\u2019 by the film\u2019s director, lead actors, and producer, disassociating themselves from the film after it was sold to Lionsgate. According to Schrader<\/a>, the studio\u2019s shingle production Grindstone took over the final post-production stages, including the engagement of composer Frederik Wiedmann, who must have felt a little awkward in having to composer music without the collaboration of Light<\/strong>\u2019s writer \/ director.<\/p>\n

Wiedmann\u2019s music is perfectly fine \u2013 the score begins with rather somber thematic material before cresting to an action denouement before there\u2019s lengthy thematic statements \u2013 but there\u2019s a decisive shift from what\u2019s clearly Wiedmann\u2019s material and more kinetic music which evokes the ghost of the Bourne<\/strong> films. Judging from the way the action cues echo John Powell\u2019s Bourne Supremacy<\/strong> (2004), there\u2019s a sense the film was cut to a temp track fitted with some of Powell\u2019s Bourne<\/strong> cues, and to match the sequences\u2019 tempo, Wiedmann was asked to stay close to the temp track.<\/p>\n

The results (\u201cThe Switch,\u201d \u201cAmbushed,\u201d and the closing track \u201cValues\u201d) are instrumentally and rhythmically similar to Bourne<\/strong>, but the surrounding cues are sufficiently balanced with electronics and heavy strings, and the use of similar ethnic percussion (first introduced in \u201cThe Doctor\u201d) to reflect Wiedmann\u2019s own sensibilities. Light<\/strong>\u2019s main theme is a 6-note piece that reflects a sense of unease and hesitation, repeating the first two notes before a sudden glide sideways that allows some of the cues to remain unresolved, if not a little fragmented.<\/p>\n

Most of the cues that precede the first action cue (\u201cThe Switch\u201d) seem to cover introspective character moments with warm chords and slight use of reverse-processed sounds and soft, rippling electronic patterns. \u201cMombasa\u201d is inflected with some ethnic acoustic instruments and a heavy synth pulse which recur in the melancholic \u201cThe Path to Revenge.\u201d<\/p>\n

Most cues average around 2 mins., with the rest either falling close to a minute. The album\u2019s tightly sequenced, and in spite of the album\u2019s Bourne-esque action cues, Wiedmann nevertheless reveals his sharp orchestrating skills and deft integration of orchestral, ethnic, and electronic instruments and effects to create a potent portrait of Schrader\u2019s central character \u2013 a CIA agent seeking revenge before dementia claims his memory, and robs him of his skills.<\/p>\n

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

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

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

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

\n

 <\/p>\n

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":"

The theatrical release of Paul Scharder\u2019s Dying of the Light arrived with a \u2018silent protest\u2019 by the film\u2019s director, lead actors, and producer, disassociating themselves from the film after it was sold to Lionsgate. According to Schrader, the studio\u2019s shingle production Grindstone took over the final post-production stages, including the engagement of composer Frederik Wiedmann…<\/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":[3401,58],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2O0","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10788"}],"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=10788"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10788\/revisions"}],"predecessor-version":[{"id":10805,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/10788\/revisions\/10805"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=10788"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=10788"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=10788"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}