{"id":11388,"date":"2015-05-14T15:43:44","date_gmt":"2015-05-14T19:43:44","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11388"},"modified":"2015-05-14T15:43:44","modified_gmt":"2015-05-14T19:43:44","slug":"cd-age-of-adaline-2015","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11388","title":{"rendered":"CD: Age of Adaline (2015)"},"content":{"rendered":"

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

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

Score<\/strong>: Excellent<\/p>\n

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

Released:<\/strong> \u00a0May 19, 2015<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a023 tracks \/ 58 mins.<\/p>\n

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

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

Rob Simonsen\u2019s score for this variation on eternally young-but-cursed characters is the orchestral equivalent to Cliff Martinez\u2019 Solaris<\/a><\/b> (2002), in the sense of the score capturing a specific, narrow bandwidth of emotions, and rarely straying from that spectrum nor allowing for any resolution.<\/p>\n

Haunting and alluring could describe Simonsen\u2019s approach, and yet it\u2019s a much deeper work in spite of its relatively discrete design. Cues may drift in and out, often without any sense of closure or progressing steadily towards an immediate resolution, but the specific chords and richness of the strings \u2013 never low, never achingly high \u2013 ensure a curious amalgam of warmth and melancholy, aptly supporting a character in an ageless state, yearning for peace, if not closure.<\/p>\n

Adaline\u2019s theme is very simple \u2013 just a few notes initially heard on piano \u2013 which recur in a series of variations, occasionally with Elfmanesque female voices, or in more robust dramatic fashion with a full orchestra (\u201cNo Scientific Explanation\u201d). Other variations have loose tempo, such as \u201cWilliam Recognizes Adaline,\u201d with glassy tones that evoke memory flashes which slowly congeal into a full recollection.<\/p>\n

Human voices – either overt or performed almost as wispy echoes \u2013 seem to be Simonsen\u2019s replacement for brass, and while there are uses of percussion and subtle synths, this is a virtually brass- and kaboom-free score. The challenge is exploiting the power of string instruments, and a standout cue is \u201cTwisted Around the Truth\u201d in which the orchestrations of eddying, spiraling string figures live up to the cue\u2019s name. It\u2019s also a cue that\u2019s indicative of the sublime orchestrations, mining every instrument for vivid colours to create one swirling crescendo of sound before a fast yet gentle recession, and a reiteration of the Adaline theme.<\/p>\n

Thematic closure doesn\u2019t occur until the second-last cue (\u201cTo a Future with an End\u201d) which manages to avoid being saccharine in spite of the fast conversion of high register voices and a pulsing Zimmerlisch back-beat & synth chords \u2013 the latter element functioning as a natural lead-in to the End Credits vocal which is more upbeat and poppish.<\/p>\n

Lakeshore Records\u2019 album is neatly mastered, bringing out the fine details of the strings, especially the warm tones and vibrato which are integral to conveying Adaline\u2019s inner conflicts. Age of Adaline <\/b>may seem modest, but it\u2019s a great breakthrough score for newcomer Simonsen.<\/p>\n

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\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":"

Rob Simonsen\u2019s score for this variation on eternally young-but-cursed characters is the orchestral equivalent to Cliff Martinez\u2019 Solaris (2002)…<\/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":[3643,301,1919,299],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2XG","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11388"}],"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=11388"}],"version-history":[{"count":1,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11388\/revisions"}],"predecessor-version":[{"id":11395,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11388\/revisions\/11395"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11388"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11388"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11388"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}