{"id":13128,"date":"2016-02-15T22:59:28","date_gmt":"2016-02-16T03:59:28","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=13128"},"modified":"2016-02-16T02:49:33","modified_gmt":"2016-02-16T07:49:33","slug":"cd-heartbreakers-1984","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=13128","title":{"rendered":"CD: Heartbreakers (1984)"},"content":{"rendered":"

\"Heartbreakers_CD\"Score<\/strong>:\u00a0Very Good<\/p>\n

Label<\/strong>:\u00a0Silva Screen<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a01995<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a011 tracks \/ (38:17)<\/p>\n

Composer:<\/strong>\u00a0Tangerine Dream<\/p>\n

Special Notes:<\/strong>\u00a0\u00a0n\/a<\/span><\/p>\n

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

\n

 <\/p>\n

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

Composed at the head of the band\u2019s busiest film scoring period (roughly 1983-1990), Heartbreakers<\/strong> is also a rare drama for a group known largely for their work in sci-fi and horror. Bobby Roth\u2019s clear characters enabled TD to draw neatly organized themes and variations: artist Blue (Peter Coyote) and best friend Eli (Nick Mancuso), a pair of womanizers who show their machismo through competitive dating, wooing, and threesomes.<\/p>\n

Much of the score is rhythm based with tracks starting off with a propulsive beat, and being a 1984 composition, one can hear specific \u2018classic\u2019 synth sounds that would gradually vanish as the band replaced older gear with new toys, experimenting with upgraded sounds (and as they got busier, sometimes rehashing certain pieces to presumably meet tight deadlines).<\/p>\n

Heartbreakers<\/strong> feels more cohesive because the kinetics in each cue are meant to accentuate action or throbbing sensuality, although the score has its share of small, tender pieces. The title track offers a loose version of the main theme with synth woodwinds, keyboards, and assorted backbeats, and a gradual introduction of the main chords that\u2019ll dominate the score, while \u201cFootbridge to Heaven\u201d provides a lush albeit slowed down variation.<\/p>\n

\u201cRain in N.Y. City\u201d is a bluesy variation of the album\u2019s first propulsive track, taking the main underpinnings and distilling percussion into light taps, with synth strings and soft tones. \u201cBreathing the Night Away\u201d reduces the same theme to solo keyboard, which is performed with special tenderness and warmth. Blues – perhaps a conscious tie-in to lead character Blue – also figure in \u201cPastime,\u201d where the melodic line is supported by electric guitar and keyboards, and supports a short scene where Liliane\u2019s after work \u2018dancing\u2019 is interrupted by one of the boys.<\/p>\n

The first rhythmic punch comes in the aforementioned \u201cTwilight Painter,\u201d which underscores the interplay between Blue, who paints pinups; Eli, the suited executive who spends time exercising, drinking, and watching his friend woo women; and Liliane, the athletic temptress who does aerobics at the health club and at the art gallery when her boss and clients have left for the day.<\/p>\n

\u00a0<\/strong>The rhythms are very redolent of TD\u2019s Flashpoint<\/strong> (1983), especially the flanging hits layered over heavy bass beats, whereas \u201cGemini\u201d matches a steady rock beat with large swatches of singed\u00a0tones similar to Thief<\/strong> (1981). While the latter cue underscore\u2019s the film\u2019s opening squash game, it\u2019s also a fine example of TD\u2019s total grasp of shaping notes and chords into living sounds, as few notes remain steady; most seem to burn up or dissolve as another mass of tones swirls inward, almost exhausting the listener while matching the almost spent Eli and Blue as they indulge is a heavy squash duel.<\/p>\n

Also of note is \u201cThe Loser,\u201d which features heavy synth electric guitar and a harmonic structure similar to The Keep<\/strong> (1983), and the album\u2019s longerst track, the 5 minute \u201cDesire,\u201d in which TD makes greater use of a synth wooden flute where notes are declared like bird calls before sequenced rhythms ease in, plus a return to some of the harsh, metallic tones.<\/p>\n

The album\u2019s second-last cue, \u201cThorny Affair,\u201d consists of a bass-heavy, dance-styled piece with backbeats, electric bass, and wavering keyboards. The interplay between heavy percussion and revolving electronic taps also foreshadows later work, including the (non-film) album Optical Race<\/strong> (1988) with sounds more evocative of fixed revolving notes and computerized order than the swirling, layered sounds from overtly seventies analogue gear.<\/p>\n

The end track \u201cDaybreak\u201d is a piece about closing the chapter of an aimless life, and heading with a little angst towards the unknown and unpredictable world of adulthood, which TD emphasizes with a lofty rhythm and darker, minor chord change. Novel to the cue is the use of human breaths which separately \u2018whoosh\u2019 in each channel.<\/p>\n

Heartbreakers<\/strong> was released in Germany on LP by Virgin, and more than a decade later on CD via Silva Screen.<\/p>\n

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

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

\u00a9 2016 Mark R. Hasan<\/p>\n

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

\n

 <\/p>\n

Additional Links:<\/strong>
\nEditor’s Blog<\/a> — Composer on IMDB<\/a> \u00a0— Composer Filmography<\/a> — Soundtrack Album<\/a> \u00a0— \u00a0Film Review<\/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":"

Composed at the head of the band\u2019s busiest film scoring period (roughly 1983-1990), Heartbreakers is also a rare drama for a group known largely for their work in sci-fi and horror. Bobby Roth\u2019s clear characters…<\/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":[4232,4234,615],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3pK","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13128"}],"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=13128"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13128\/revisions"}],"predecessor-version":[{"id":13147,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13128\/revisions\/13147"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13128"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13128"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13128"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}