{"id":11255,"date":"2015-04-21T14:58:38","date_gmt":"2015-04-21T18:58:38","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11255"},"modified":"2015-04-22T15:03:44","modified_gmt":"2015-04-22T19:03:44","slug":"cd-jerusalem-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11255","title":{"rendered":"CD: Jerusalem (2013)"},"content":{"rendered":"

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

\"Jerusalem_CD\"<\/a><\/p>\n

Score<\/strong>: Very Good<\/p>\n

Label<\/strong>: Lakeshore Records<\/p>\n

Released:<\/strong> \u00a0May 12, 2015<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a020 tracks \/ 32 mins<\/p>\n

Composer:<\/strong> Michael Brook<\/p>\n

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

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

\n

 <\/p>\n

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


\nIMAX productions are generally pitched to the broadest possible audience, hence a lack of politics, and narration that tends to hover between filler, be lightly factual, or rather banal, but that lack of overt messaging can give the composer an opportunity to infer very cautiously a backstory or subtext the film can\u2019t detail, especially since the main goal of IMAX is to present stunning visual information.<\/span><\/p>\n

Brook\u2019s opening theme, \u201cThe Place of Shalem,\u201d certainly presents two views, with dual harps interweaving their versions of the main theme, and alluding to ancient times, dual cultures, and unstable unity among city citizens and visitors with percussion hits that resemble thunderclaps \u2013 not bombastic or melodramatic, but a subtle inference of clashing ideologies and friction between cultures \u2013 with a shimmer of dissonance inferring recurring issues.<\/p>\n

The average cue length hovers around 2 mins., and Brook\u2019s statements unfold like fluid IMAX camera movements: circular patterns on strings, and warm harmonics using three layers of very distinct strings sections (\u201cCenter of the World\u201d). Cues also smolder (\u201cThe Western Wall\u201d) as thematic material is expressed with chamber strings, and a long, sustained tone is more of an unsettling hum that something more soothing.<\/p>\n

Soft cues like \u201cThe Church of the Holy Sepulchre\u201d feature piano and strings, whereas \u201cThe Night Journey\u201d relies on breathy woodwind and arching, almost southern-styled strings. Rare kinetic percussion appears in \u201cAncient Rituals,\u201d and Brook sticks with organic sounds that harken back to antiquity, while string arrangements and dual female voices provide a more contemporary bridge.<\/p>\n

Lakeshore\u2019s CD is beautifully mastered and features Brook\u2019s film score plus two bonus tracks \u2013 both emphasizing acoustic guitar \u2013 and while the album is brief and the finale (\u201cA Shared Heritage\u201d) doesn\u2019t really offer a full closure, it\u2019s a beautifully written and performed score.<\/p>\n

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

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

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

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

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 <\/p>\n

Additional Links:<\/strong>
\nEditor’s Blog<\/a> — Composer on IMDB<\/a> \u00a0— \u00a0Composer Filmography<\/a> —\u00a0 Soundtrack Album<\/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":"

Michael Brook is no stranger to the large film format IMAX, having previously scored Fires of Kuwait (1992) and India: Kingdom of the Tiger (2002), and his latest work features a gentle, highly introspective score on the city of Jerusalem (2013)…<\/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":[54,3613,3612],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2Vx","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11255"}],"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=11255"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11255\/revisions"}],"predecessor-version":[{"id":11271,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11255\/revisions\/11271"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11255"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11255"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11255"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}