{"id":11944,"date":"2015-08-06T13:53:40","date_gmt":"2015-08-06T17:53:40","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11944"},"modified":"2016-01-07T13:43:21","modified_gmt":"2016-01-07T18:43:21","slug":"cd-mission-impossible-rogue-nation-2015","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11944","title":{"rendered":"CD: Mission: Impossible – Rogue Nation (2015)"},"content":{"rendered":"

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

\"MissionImpossibleRogueNation\"<\/a>Score<\/strong>: Excellent<\/p>\n

Label<\/strong>: La-La Land Records<\/p>\n

Released:<\/strong>\u00a0\u00a0<\/span>August 4, 2015<\/p>\n

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Tracks \/ Album Length:<\/strong> \u00a019 tracks \/ (73:21)<\/p>\n

Composer:<\/strong> Joe Kraemer<\/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

Kraemer\u2019s Jack Reacher<\/strong> score was similarly low key, best characterized as waves of orchestral snarls dialed down and elongated into a series of near-eruptions, often setting up a revelation, a chase, or shock but reeling back from any bombast.<\/p>\n

That film showed Kraemer had been pining to escape the doldrums of TV and score an A-level feature with orchestra, so when McQuarrie reunited with Reacher<\/strong> star Tom Cruise for the latest Mission: Impossible<\/strong> installment, the emphasis would naturally involve action \u2013 thereby testing Kraemer\u2019s chops for a more kinetic motion picture score.<\/p>\n

Grounded by Lalo Schifrin\u2019s greatest theme, Kraemer does stick with a similar big sound as employed by Michael Giacchino \u00a0in both prior MI films, but what’s surprising is Kraemer’s decision to stick with a full organic orchestra, burying any electronics (if he even bothered to implement them).<\/p>\n

The opening track (\u201cThe A400\u201d) has bongos and wooden sticks reminiscent of Danny Elfman\u2019s score for the first franchise installment, but Kraemer emphasizes big brass and sweeping strings for a score that’s\u00a0more symphonic than orchestral jazz.<\/p>\n

The fidelity to a classical symphonic sound also includes little moments of humour, not to mention some ethnic tinged harmonics, as in the swaying Middle Eastern sections of \u201cSolomon Lane\u201d which unfurl with an initial playfulness, but like Kraemer\u2019 Reacher<\/strong>, the music keeps stirring around until there\u2019s a massive buildup with strings and brass like a James Bondian fugue. The piece is a work of art, and should convince the keepers of the Bond franchise that Kraemer is quite well suited to tackle a 007 adventure \u2013 but one featuring great substance in character, drama, and action.<\/p>\n

The longest cue is \u201cThe Torus\u201d where a pulse keeps drifting to, from, and blending with sections performed by brass, woodwinds, and strings. It\u2019s a cue where momentum is locked tightly to a firm tempo, and tension is maintained by sounds that drift and coalesce, but there\u2019s no big kaboom within its 7 minute running time \u2013 just the inference of deadly danger and converging nastiness (although more intense brass and percussion and brought in during the final sections).<\/p>\n

The following cue, \u201cMoroccan Pursuit,\u201d presents all those figures in full action mode, with some exotic percussion at the peripherals, an increasingly tense tempo, and slightly more percussion. The reliance on brass is really unusual in the sense that Kraemer could\u2019ve easily packed his action tracks with bombast or dense drum textures, but there\u2019s a formalism to the score in the way it starts up, hits specific marks, and gets out of the way \u2013 either due to sound effects, dialogue, or Kraemer\u2019s own sensibilities that felt the film\u2019s existing visual collage of wild stunts can be as potent as bombast when working in concert with the churning sounds of his orchestra.<\/p>\n

Naturally the score wraps up with a jazz orchestra rendition of the MI theme and a suite of action and suspense motifs that apparently function as the film\u2019s End Credit music \u2013 a welcome substitute for the more conventional closing vocal track. The end suite makes the album feel wholly complete, flowing as one epic symphonic work that demands proper listening to relish the nuances of Kraemer\u2019s best work to date.<\/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> — Film Review<\/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":"

Joe Kraemer\u2019s real auspicious debut came in the form of the oddball The Way of the Gun (2000), the directorial debut of The Usual Suspects (1995) writer Christopher McQuarrie. McQuarrie went back to screenwriting for a lengthy period and re-emerged as director of Jack Reacher (2012), this time opting for a decisive 70s suspense thriller where violence remained just under the hood instead of being overt and visually chaotic…<\/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":[3848,1966,51,3847],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-36E","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11944"}],"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=11944"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11944\/revisions"}],"predecessor-version":[{"id":12938,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11944\/revisions\/12938"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11944"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11944"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11944"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

Joe Kraemer\u2019s real auspicious debut came in the form of the oddball The Way of the Gun<\/strong> (2000), the directorial debut of The Usual Suspects<\/strong> (1995) writer Christopher McQuarrie. McQuarrie went back to screenwriting for a lengthy period and re-emerged as director of\u00a0Jack Reacher<\/strong><\/a> (2012), this time opting for a decisive 70s suspense thriller where violence remained just under the hood instead of being overt and visually chaotic.<\/p>\n