{"id":11574,"date":"2015-06-11T14:24:23","date_gmt":"2015-06-11T18:24:23","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11574"},"modified":"2015-06-14T16:19:39","modified_gmt":"2015-06-14T20:19:39","slug":"cd-loft-the-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11574","title":{"rendered":"CD: Loft, The (2014)"},"content":{"rendered":"

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

\"Loft2015\"<\/a>Score<\/strong>: Very Good<\/p>\n

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

Released:<\/strong> \u00a0January 20, 2015<\/span><\/p>\n

Tracks \/ Album Length:<\/strong> \u00a022 tracks \/ (46:53)<\/p>\n

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

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

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

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

Bart De Pauw\u2019s screenplay has been adapted three times<\/i> for the big screen (2008, 2010 and 2014), allowing three composers to tackle the story of a whodunnit involving a group of men who discover a cadaver in a rented loft, and for the 2014 U.S. remake the director of the original 2008 Belgium effort returned to translate the same story for English audiences.<\/p>\n

Erik Van Looy\u2019s first film featured a unique score by Wolfram de Marco<\/a>, transposing the rhythmic textures of a synth Tangerine Dream score to orchestra, with heavy repetition and a constant swirling movement which peaks and recedes like an unnerving undercurrent. Van Looy seems to have preferred that concept of textural waves, hence John Frizzell\u2019s score being one of his least aggressive in years.<\/p>\n

There is a sense Van Looy impressed Frizzell to echo de Marco\u2019s approach \u2013 \u201cFatum Nos Lunebity\u201d features pulses and flanging effects which similarly swell into furious eddying sonic patterns, and \u201cCasino Night\u201d is equally cyclical in its use of rhythms, albeit performed by most of the orchestra \u2013 making The Loft<\/b> a bit too familiar to fans of de Marco\u2019s score; certainly for fans of Frizzell\u2019s experimental style, there\u2019s a disappointment in the composer (presumably) not being able to indulge in more abstract cues.<\/p>\n

It\u2019s still a well-written, neatly arranged work that shows the composer\u2019s less experimental side (feedback and minimalism excepted in pulsing cues like \u201cVincent Accused\u201d), and Frizzell\u2019s sleek style never overstates nor erupts into any kind of bombast<\/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":"

Bart De Pauw\u2019s screenplay has been adapted three times for the big screen (2008, 2010 and 2014), allowing three composers to tackle the story of a whodunnit involving a group of men who discover a cadaver in a rented loft, and for the 2014 U.S. remake…<\/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":[30,3700],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-30G","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11574"}],"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=11574"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11574\/revisions"}],"predecessor-version":[{"id":11620,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11574\/revisions\/11620"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11574"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11574"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11574"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}