{"id":11356,"date":"2015-05-06T15:58:55","date_gmt":"2015-05-06T19:58:55","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11356"},"modified":"2015-05-06T15:58:55","modified_gmt":"2015-05-06T19:58:55","slug":"cd-broken-horses-2015","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11356","title":{"rendered":"CD: Broken Horses (2015)"},"content":{"rendered":"

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\"broken-horses-soundtrack-john-debney\"<\/a>Score<\/strong>: Good<\/p>\n

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

Released:<\/strong>\u00a0\u00a0<\/span>May 5, 2015<\/p>\n

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Tracks \/ Album Length:<\/strong>\u00a0\u00a032 tracks \/ 62 mins.<\/p>\n

Composer:<\/strong> John Debney<\/p>\n

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

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

Running over an hour, John Debney\u2019s score for Broken Horses <\/b>has three specific recurring moods: a gentle waltz that\u2019s heartwarming and simultaneously tragic; a grungy, grinding string motif that\u2019s deliberately ugly, often functioning as a portent of danger but never smothering the listener with too many coarse details; and a delicate love theme that evokes the classical theme structure of a 1970s \/ 1980s film score.<\/p>\n

Debney\u2019s score has a very classical feel, especially in the theme arrangements which tend to shift between piano, guitar, and violin with subtle string accompaniment. His use of instrumental colour is very precise, especially in emphasizing warm tones, thick vibrato, and a sonic middle ground where he easily shifts between extreme moods.<\/p>\n

The use of electronics in Broken Horses <\/b>is fairly minimal, with \u201cMidnight Wait\u201d being a rare exception in which reverberating pulses, sustained piano keys, and an electronic shrillness co-mingle. \u201cPsychopath\u201d also features a few synth beats, but grinding, gnarled sounds are the cue\u2019s main propellants, especially in the lengthy \u201cBuddy Goes Nuts\u201d which seems designed to enhance, from a distance, nasty visual elements.<\/p>\n

Although Debney is best known for large orchestral works, Broken Horses <\/b>is a much smaller scaled score, and although Lakeshore\u2019s album offers a generous mix of cues, it also reveals the score\u2019s limitations as a listening experience: the main waltz is oft-repeated, the grungy cues remain low in volume and aggressiveness, and there\u2019s not enough dramatic variation to give the album a solid narrative. \u201cThe Escape\u201d is a rare exception with orchestral samples that assemble many of the score\u2019s core elements, but it too moves from a heavy, declarative intro towards a fast deceleration, then shifting from urgency to an ethereal closing with mixed voices and rumbling percussion before a sudden spark of distortion.<\/p>\n

The fragmented, thematically repetitive, and brief nature of the score\u2019s 32 cues makes Broken Horses<\/b> a bit trying, and this may have been a case where editing down the selection could\u2019ve yielded a more dramatic listening experience.<\/p>\n

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\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>
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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":"

Running over an hour, John Debney\u2019s score for Broken Horses has three specific recurring moods: a gentle waltz that\u2019s heartwarming and simultaneously tragic; a grungy, grinding string motif that\u2019s deliberately ugly, often functioning as a portent of danger…<\/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":[3639,325],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2Xa","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11356"}],"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=11356"}],"version-history":[{"count":1,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11356\/revisions"}],"predecessor-version":[{"id":11362,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11356\/revisions\/11362"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11356"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11356"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11356"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}