{"id":12740,"date":"2015-12-07T22:39:47","date_gmt":"2015-12-08T03:39:47","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=12740"},"modified":"2015-12-07T22:39:47","modified_gmt":"2015-12-08T03:39:47","slug":"mp3-momentum-2015","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=12740","title":{"rendered":"MP3: Momentum (2015)"},"content":{"rendered":"

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

\"Momentum2015\"<\/a>Score<\/strong>: Good<\/p>\n

Label<\/strong>: Varese Saranbande<\/a><\/p>\n

Released:<\/strong> \u00a0October 16, 2015<\/span><\/p>\n

Tracks \/ Album Length:<\/strong> \u00a022 tracks \/ 49 mins.<\/p>\n

Composer:<\/strong>\u00a0Laurent Eyquem<\/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

There\u2019s a sense the makers of Momentum<\/b> had a very specific Zimmerlisch sound in mind, and what emerges from Laurent Eyquem\u2019s slick score is a discrete conflict between the sounds tied to big budget sci-fi thrillers verses the composer\u2019s own additions that transcend a work from formulaic to something a bit more innovative.<\/p>\n

The fast churning strings, heavy brass, and quick swerves as the orchestra swerves through familiar action set-pieces are almost de rigueur for the genre, making the bulk of Momentum<\/b>\u2019s final third fairly predictable, which is a shame given Eyquem starts off with a great cluster of percussion with rapping backbeats, and gradually moves towards a combination of orchestra (\u201cUnmasked\u201d) and fuzzy electronica (\u201cGet Rid of the Evidence\u201d) with heavy backbeats that are initially contrasted with the score\u2019s central sweeping main theme (\u201cRun Away\u201d).<\/p>\n

Amid the short and modest-length action tracks, more notable pieces include the pulsing \u201cThe Cleaners are Coming\u201d with harp and flanging electronic tones that shift to a lament before a heavy bass pulse closes the track; the heavily percussive \u201cI Don\u2019t Want Him to See This,\u201d drumming up the backbeats of the album\u2019s opening track; and the final track which, while a bit overwrought with romance and decelerating electro-tones, wraps up the score with an up-tempo rock beat.<\/p>\n

Eyquem\u2019s score is modest and efficient, but its similarities to bigger (and more clich\u00e9-ridden) scores makes Momentum<\/b> a bit too conventional.<\/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":"

There\u2019s a sense the makers of Momentum had a very specific Zimmerlisch sound in mind, and what emerges from Laurent Eyquem\u2019s slick score is a discrete conflict between the sounds tied to big budget sci-fi thrillers verses the composer\u2019s own additions that transcend a work from formulaic to something a bit more innovative…<\/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":[4123,4124],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3ju","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12740"}],"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=12740"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12740\/revisions"}],"predecessor-version":[{"id":12763,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/12740\/revisions\/12763"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12740"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=12740"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=12740"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}