{"id":12182,"date":"2015-09-07T14:41:24","date_gmt":"2015-09-07T18:41:24","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=12182"},"modified":"2015-09-07T15:23:51","modified_gmt":"2015-09-07T19:23:51","slug":"mp3-maze-runner-the-scorch-trials-the-2015","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=12182","title":{"rendered":"MP3: Maze Runner: The Scorch Trials, The (2015)"},"content":{"rendered":"

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

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

Label<\/strong>: Sony Masterworks<\/a><\/p>\n

Released:<\/strong> \u00a0September 11, 2015<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0 21 tracks \/ 76 mins.<\/p>\n

Composer:<\/strong>\u00a0John Paesano<\/p>\n

Special Notes:<\/strong>\u00a0 CD release date Oct. 2, 2015<\/span><\/p>\n

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

\n

 <\/p>\n

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

John Paesano\u2019s background in scoring video games is evident in this extremely taut, action-packed score that mixes straight dramatic action cues with a slight level of wry humour, using a large orchestral palette and occasionally hefty doses of modernism.<\/p>\n

\u201cOpening\u201d establishes the score\u2019s measured bombast and slowly developed theme with gyrating strings, and it\u2019s an almost de rigueur statement designed to get audiences ready for full-scale action. Paesano\u2019s style is a little reminiscent of Marco Beltrami, especially in the blurred, frenetic strings in \u201cYour New Lives\u201d and syncopated percussion.<\/p>\n

The fat synth chords are typical for the action genre, but Maze Runner<\/b> is filled with all kinds of marvelous details, making the score a perfect showcase for the composer\u2019s own orchestrating skills.<\/p>\n

A recurring piano motif is perpetually-elliptical, inferring an unending quest, whereas almost any chase cue \u2013 \u201cYou\u2019ve Got to Get Out of Here\u201d in particular \u2013 is filled with fast movements typical of a classic Goldsmith score: compressed rhythms, layers of clattering backbeats, and furiously churning strings that capture the motion of a figure leaping, dodging, ducking and rolling through a jagged landscape. Especially noteworthy is the precision of Paesano\u2019s orchestrations where the density of instrumentation can change within a few bars or less, seamlessly delivering musical colours in the way film edits convey masses of flames, explosions, and a quick plummet down a safe hole.<\/p>\n

Electronics never dominate but do materialize to add colour or heavier drama to certain cues (\u201cUninvited Guest\u201d has a pulsing beat that starts thick and heavy, thins out, and crackles a bit before returning for the cue\u2019s finale), and there\u2019s a maddening quality to the layered rhythms at the head of \u201cLearning Tower of Scorch\u201d before the cue alternates between quick recessions and sudden burst of energy akin to an action cartoon.<\/p>\n

The score\u2019s final quarter offers a few calm spots \u2013 longer and more emotional theme material \u2013 plus one final chase cue (\u201cHello Thomas\u201d) that reintroduces the various rhythmic motors before a return to the opening theme, performed with warmer colours and slight choral emulations.<\/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":"

John Paesano\u2019s background in scoring video games is evident in this extremely taut, action-packed score that mixes straight dramatic action cues with a slight level of wry humour, using a large orchestral palette and occasionally hefty doses of modernism…<\/p>\n","protected":false},"author":1,"featured_media":12183,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[3918,3919],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2015\/09\/MazeRunnerScorchTrials.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3au","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12182"}],"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=12182"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12182\/revisions"}],"predecessor-version":[{"id":12194,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12182\/revisions\/12194"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/12183"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12182"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12182"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}