{"id":11576,"date":"2015-06-11T14:27:25","date_gmt":"2015-06-11T18:27:25","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11576"},"modified":"2015-06-11T14:27:25","modified_gmt":"2015-06-11T18:27:25","slug":"mp3-going-clear-scientology-and-the-prison-of-belief-2015","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11576","title":{"rendered":"MP3: Going Clear \u2013 Scientology and the Prison of Belief (2015)"},"content":{"rendered":"

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

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

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

Released:<\/strong> \u00a0April 7, 2015<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0 22 tracks \/ 55 mins.<\/p>\n

Composer:<\/strong> Will Bates<\/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

Will Bates\u2019 score for the recent HBO documentary on Scientology is fairly low-key, seemingly allowing the weird details of L. Ron Hubbard\u2019s quack religion \u2013 its founding, its controversies, and its litigious behaviour towards any criticism \u2013 to govern the narrative.<\/p>\n

The key ingredient within Bates\u2019 score is a smattering of assorted electronic sounds that address specific periods and moods. The opening \u201cWe Will Reduce the Pain\u201d is more contemporary, with reverberating tones and slight feedback launching a series of somewhat abstract beats and pulses, of which the latter recur in various forms.<\/p>\n

Organic instruments like piano and harpsichord are used fleetingly, but the overall scope is a series of synthetic impressions of a complex figure with interests in sci-fi, naval discipline, and controlling anything unwanted and rebellious. Hubbard remains an enigma, making it logical for Bates\u2019 scoring approach to never quite settle on a singular, refined sound nor thematic statement.<\/p>\n

Fans of electronics should be pleased with the sometimes intricate assembly of processed sounds (\u201cDianetics\u201d is a collage of analogue bleeps and feedback, whereas a Theremin adds another eerie dimension to the score in the haunting \u201cVocalise \u2013 etude en forme de Habenera\u201d).<\/p>\n

There\u2019s a lovely duet between Theremin and piano in the brief \u201cThe Death of LRH\u201d and the classically themed \u201cNaz\u201d is performed with tones reminiscent of early seventies synths. Going Clear<\/b> features a decent array of moody, eerie, and rhythmic tracks averaging 2-3 minutes, and while not a bass-heavy score nor one with a broad, potent stereo design, there\u2019s much to admire in Bates\u2019 discretionary use of themes and his lovely instrumentation.<\/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>
\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":"

Will Bates\u2019 score for the recent HBO documentary on Scientology is fairly low-key, seemingly allowing the weird details of L. Ron Hubbard\u2019s quack religion \u2013 its founding, its controversies, and its litigious behaviour towards any criticism \u2013 to govern the narrative…<\/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":[3694,3696,3695],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-30I","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11576"}],"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=11576"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11576\/revisions"}],"predecessor-version":[{"id":11589,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11576\/revisions\/11589"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11576"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11576"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11576"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}