{"id":11936,"date":"2015-08-06T13:32:22","date_gmt":"2015-08-06T17:32:22","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11936"},"modified":"2015-08-06T14:27:20","modified_gmt":"2015-08-06T18:27:20","slug":"cd-warlock-1989","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11936","title":{"rendered":"CD: Warlock (1989)"},"content":{"rendered":"

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

\"Warlock_Intrada_2015\"<\/a>Score<\/strong>: Very Good<\/p>\n

Label<\/strong>: Intrada<\/a><\/p>\n

Released:<\/strong> \u00a0March 17, 2015<\/span><\/p>\n

Tracks \/ Album Length:<\/strong> \u00a018 tracks \/ (72:02)<\/p>\n

Composer:<\/strong> Jerry Goldsmith<\/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

When Intrada released their first LP and later CD editions of Jerry Goldsmith\u2019s score, the film was already well-known as one of the last productions from Roger Corman\u2019s New World Pictures<\/a>, a great little indie company that specialized in a mix of B and occasional art house films, if not unconventional thrillers that would\u2019ve been turned down by major studios.<\/p>\n

Most Goldsmith fans knew the music before the film, even though eventual distributor Trimark did give director Steve Miner\u2019s supernatural thriller a theatrical release; even without the newly expanded and unused cues in Intrada\u2019s 2015 CD, Goldsmith\u2019s score has aged surprisingly well, considering it\u2019s filled with plonking electro-taps, dribbling tones, echoes, and tones that sound like descending video game effects.<\/p>\n

The electronics are prominent within the score, but not unlike Gremlins<\/strong> (1984), which shares some stylistic similarities, there\u2019s still strong orchestral elements within Warlock<\/strong> that reveal it to be a decent score, eerie and functional, and meticulously orchestrated and engineered as per the composer\u2019s exacting standards.<\/p>\n

The main theme is overtly mischievous, which makes the synth plops and dribblings rather effective, and Goldsmith still made heavy use of percussion and strings when emotions and gravitas really mattered, as in the semi-tragic cue \u201cOld Age.\u201d The lengthy \u201cGrowing Pains\u201d features a series of familiar motifs used by Goldsmith in prior eighties scores, including spinning figures on strings, and sudden swerves that often restart theme fragments reworked in more ominous variations. There\u2019s also the fast cluster of tinny percussion that sits atop strained waves of thematic material in action sequences, and those downward spiraling electro-notes which add additional momentum \u00a0(and recall similarly orchestrated \u2018journeying\u2019 cues in Legend<\/strong>).<\/p>\n

The 1989 album featured fairly lengthy tracks, and Intrada’s additional material expands many cues beyond the 4 minute range, making this a very unified work, and one that showcases the shifting elements in Goldsmith\u2019s instrumental palette during the late eighties \/ early nineties, such as a heavier inclusion of electronics, and a kind of stumbling \/ running tempo (\u201cThe Weather Vane\u201d) which has the strings almost struggling to maintain a brisk stride.<\/p>\n

Intrada\u2019s mastering is first-rate, bringing out many nuances in the score\u2019s beautiful orchestrations, and again presents Warlock<\/strong> as an above-average horror score that\u2019s more playful than grim, yet packed with sufficient dramatic material.<\/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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 <\/p>\n

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":"

When Intrada released their first LP and later CD editions of Jerry Goldsmith\u2019s score, the film was already well-known as one of the last productions from Roger Corman\u2019s New World Pictures, a great little indie company that specialized in a mix of B and occasional art house films, if not unconventional thrillers that would\u2019ve been turned down by major studios…<\/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":[545,3850,3849],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-36w","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11936"}],"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=11936"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11936\/revisions"}],"predecessor-version":[{"id":11957,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11936\/revisions\/11957"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11936"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11936"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11936"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}