{"id":11354,"date":"2015-05-06T15:56:00","date_gmt":"2015-05-06T19:56:00","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11354"},"modified":"2015-05-06T15:59:58","modified_gmt":"2015-05-06T19:59:58","slug":"cd-desert-dancer-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11354","title":{"rendered":"CD: Desert Dancer (2014)"},"content":{"rendered":"

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

\"DesertDancer2014\"<\/a>Score<\/strong>: Excellent<\/p>\n

Label<\/strong>: \u00a0Varese Sarabande<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0<\/span>April 15, 2015<\/p>\n

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Tracks \/ Album Length:<\/strong>\u00a0\u00a012 tracks \/ (44:29)<\/p>\n

Composer:<\/strong> Benjamin Wallfisch<\/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

Based on the life of Iranian dance choreographer Afshin Ghaffarian, the music for Desert Dancer<\/b> functions as a discrete, almost ambient sonic work. Most of the cues are performed by strings with hints of Persian instruments and harmonics, and while not abstract, Benjamin Wallfisch\u2019s score emphasizes subtext and atmosphere, presenting themes in very reserved guises \u2013 an approach that perhaps suits Ghaffarian\u2019s own circumstances in having to be cautious, discrete, and hesitant about how far he was able to push artistic statements under a repressive regime.<\/p>\n

Wallfisch\u2019s score begins with a lengthy thematic statement for chamber strings, with rising chords capturing the struggle and nobility of an artist gradually coming into his own, rebelling against political and religious arbitrators. Unfurling like an adagio, \u201cAfshin\u2019s Theme\u201d leads into a series of shorter variations where Wallfisch employs sustained chords, a distant female voice, and dulcimer, building his material towards the score\u2019s meatier midsection where dual dulcimers merge in \u201cWe Can Breathe,\u201d percussion and strained harmonics dominate the lengthy \u201cDesert Dancer,\u201d and wispy notes shimmer within \u201cWithdrawal,\u201d the last a rather remarkable cue in which solo violin has a glassy tone that rises over hesitant strings and soft piano.<\/p>\n

A plaintive female voice returns in the brief \u201cSilent Protest,\u201d and the score closes with the nearly quiet \u201cDance is My Weapon\u201d and \u201cWhere No One Else Can See You,\u201d the latter providing an emotional resolution with warm chords, decisive tones, and a subtle, victorious theme version on electric guitar which dominates the cue, but remains respectfully tender.<\/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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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":"

Based on the life of Iranian dance choreographer Afshin Ghaffarian, the music for Desert Dancer functions as a discrete, almost ambient sonic work. Most of the cues are performed by strings and hints of Persian instruments and harmonics, and while not abstract…<\/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":[3638,2589,3637],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2X8","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11354"}],"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=11354"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11354\/revisions"}],"predecessor-version":[{"id":11363,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11354\/revisions\/11363"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11354"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11354"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11354"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}