{"id":11259,"date":"2015-04-21T15:04:44","date_gmt":"2015-04-21T19:04:44","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11259"},"modified":"2015-04-21T15:04:44","modified_gmt":"2015-04-21T19:04:44","slug":"cd-child-44-2015","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11259","title":{"rendered":"CD: Child 44 (2015)"},"content":{"rendered":"

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

\"Child44\"<\/a>Score<\/strong>: Very Good<\/p>\n

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

Released:<\/strong>\u00a0\u00a0<\/span>April 12, 2015<\/p>\n

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Tracks \/ Album Length:<\/strong>\u00a0\u00a024 tracks \/ 59 mins.<\/p>\n

Composer:<\/strong>\u00a0Jon Ekstrand<\/p>\n

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

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

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 <\/p>\n

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

Jon Ekstrand\u2019s palette for this period thriller is largely locked onto a modest string orchestra with slight percussion accompaniment, evoking a grim, grey, emotionally dead world \u2013 no coincidence, since the child murder plot takes place in Stalinist Soviet Russia. The viola leads the score in several cues, and Ekstrand often pairs the instrument with piano and chamber strings, as in the gorgeous \u201cOpening\u201d and \u201cOrphaned\u201d cues which start the score.<\/p>\n

There\u2019s a rare full theme statement in the tender \u201cRaisa\u2019s Confession\u201d with tender piano, but as a whole, the music of Child 44<\/b> eases in and out of scenes. Rather than function as a stealth score, it doesn\u2019t take long before certain grey-coloured elements add extra dourness to a scene, rarely receding with any closure. Sustained chords are heavily used throughout the more suspenseful cues, while more kinetic material appears in the tense \u201cThe Usual Process\u201d with agitated strings, intersecting tones, and light clattering backbeats that foreshadow later percussion track \u201cReturn to Volsk,\u201d an agitated track that also sounds a little like an echo of The Bourne Identity<\/b>\u2019s backbeats, frenetic strings, and pliable tones.<\/p>\n

Ekstrand also puts extra emphasis on thick vibrato and some shrill and airy effects in more atmospheric cues, but the score\u2019s low-key design kind of mandates repeated listening to really appreciate the nuances that sustain Child 44<\/b>\u2019s grim atmosphere. The score\u2019s final pair of cues close the drama with warmth, yet \u201cLeo and Raisa Demidov\u201d still retains faint musical strands of tragedy, and Ekstrand closes the track with just a partial finale: his theme slows down, becomes elongated, and fades out on an unresolved chord.<\/p>\n

\u00a0<\/span><\/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> —\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":"

Jon Ekstrand\u2019s palette for this period thriller is largely locked onto a modest string orchestra with slight percussion accompaniment, evoking a grim, grey, emotionally dead world \u2013 no coincidence, since the child murder plot takes place in Stalinist Soviet Russia…<\/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":[3615,3614],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2VB","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11259"}],"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=11259"}],"version-history":[{"count":1,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11259\/revisions"}],"predecessor-version":[{"id":11261,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11259\/revisions\/11261"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11259"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11259"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11259"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}