{"id":12014,"date":"2015-08-19T03:09:53","date_gmt":"2015-08-19T07:09:53","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=12014"},"modified":"2015-08-19T20:16:13","modified_gmt":"2015-08-20T00:16:13","slug":"cd-12-monkeys-2015","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=12014","title":{"rendered":"CD: 12 Monkeys (2015)"},"content":{"rendered":"

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

\"12Monkeys2015\"<\/a>Score<\/strong>: Very Good<\/p>\n

Label<\/strong>:\u00a0Varese Sarabande<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0<\/span>July 31, 2015<\/p>\n

 <\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a012 tracks \/ 31 mins.<\/p>\n

Composer:<\/strong>\u00a0Trevor Rabin, Paul Linford<\/p>\n

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

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

\n

 <\/p>\n

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

Tasked with creating a sound that would match the new 12 Monkeys<\/b> TV series, yet somehow harken back to the story themes of the original 1995 film, Trevor Rabin and Paul Linford\u2019s score uses pulses and chimes to infer physical and emotional states where there\u2019s no firm historical rooting, no grasp of time or style or culture.<\/p>\n

Rhythms and waves of low chords act as the dramatic propulsion units which guide the cues into statements of unease and fear, but the composers stay away from bombast or overt action writing, letting the music seep in and out much in the way Vangelis\u2019 Blade Runner<\/b> (1982) would emerge from sound design, or unfurl after a thick, watery bass chord.<\/p>\n

Fans of Rabin will appreciate the low-key approach, and his collaboration with Linford steers Rabin away from the clich\u00e9s that dominated the testosterone heroics of his best-known works, especially Armageddon<\/b> (1998). The main theme (\u201cI am the Clock\u201d) does contain a swell of synth strings and sampled chorus redolent of The Island<\/b> (2005) – perhaps samples from the same central bank of emulations used by colleague Steve Jablonsky \u2013 but these familiars are fleeting, and it\u2019s the use of chiming tones which make 12 Monkeys<\/b> a concise, sometimes taut work that also leaves room for small moments of character reflection.<\/p>\n

\u201cCole on the Move\u201d is the score\u2019s most overt action cue with textures and flittering fuzz effects, but everything\u2019s still measured, even in the denouement where woody tones never accumulate and explode into a flurry of cacophony (although there\u2019s a quick descent into dissonance). \u201cThe Pallid Man\u201d has some heavy percussion clusters, but their impact comes from light electro-distortion, and \u201cTime is Cruel\u201d has some rhythmic textures before Rabin and Linford return to the sampled strings and chorals of the opening track to infer a slightly more grand orchestral design, but the score ultimately winds down with a subtle keyboard track (\u201cAct of War\u201d) where the main theme is diluted and unfolds in hesitant spurts.<\/p>\n

While a brief album, Varese Sarabande\u2019s release features a fair sampling of cues that shows a more restrained, focused side of Rabin, using a softer palette to support the show\u2019s post-apocalyptic and time-travelling actions of a hero lacking a sense of permanence, and ultimately grappling with tragic loneliness.<\/p>\n

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

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

\u00a9 2015 Mark R. Hasan<\/p>\n

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

\n

 <\/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":"

Tasked with creating a sound that would match the new 12 Monkeys TV series, yet somehow harken back to the themes of the original 1995 film, Trevor Rabin and Paul Linford\u2019s score uses pulses and chimes to infer physical and emotional states where there\u2019s no firm historical rooting, no grasp of time or style or culture…<\/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":[3865,3866,3864],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-37M","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12014"}],"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=12014"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12014\/revisions"}],"predecessor-version":[{"id":12063,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12014\/revisions\/12063"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12014"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12014"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12014"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}