{"id":13933,"date":"2016-07-22T01:39:10","date_gmt":"2016-07-22T05:39:10","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=13933"},"modified":"2016-07-22T01:52:22","modified_gmt":"2016-07-22T05:52:22","slug":"mp3-girl-in-the-photographs-the-2016","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=13933","title":{"rendered":"MP3: Girl in the Photographs, The (2015)"},"content":{"rendered":"

\"GirlInThePhotographs_s\"Score<\/strong>:\u00a0Excellent<\/p>\n

Label<\/strong>:\u00a0Lakeshore Records<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0April 29, 2016<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0 24 tracks \/\u00a045 mins.<\/p>\n

Composer:<\/strong>\u00a0Nima Fakhrara<\/p>\n

Special Notes:<\/strong>\u00a0\u00a0also available on CD.<\/span><\/p>\n

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

\n

 <\/p>\n

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

The last film executive produced by the late Wes Craven was graced by an inventive score by Nima Fakhrara (The Signal<\/a><\/strong>), which is built around \u201cColleen,\u201d a short theme rendered on piano that trails off like an elegant, long forgotten chamber piece before restarting and re-emphasizing the theme\u2019s inherent tragic tone. In its first incarnation, the theme mutates into fuzzy bass feedback and a trailing done, hinting at some of the intriguing experimental sounds the composer created using organic instruments recorded with a mix of analogue and digital gear.<\/p>\n

Girl in the Photographs<\/strong> is like a genetic musical string which doesn\u2019t exactly break apart, but is fractured, flattened, and wrinkled into some surreal sounds. Of note are the strained harmonics of \u201cPassacaglia\u201d which builds towards a cluster of distorted sounds and industrial pulses, and the low frequency pulses and grinding effects in \u201cThe Cave,\u201d which ultimately fuse into a shrill cluster. That contrast between uneasily soft (or barely perceptible) sounds and harshness are typical of the score, often inferring an environment that\u2019s not quite clean, or whole, or as still as it seems, but one of the highlights is the brief \u201cThe Lake House\u201d in which a swirling group of Herrmannesque chords eddy upwards from grungy tonalities, yet sound like the severe wow and flutter that plagues warped tape recordings.<\/p>\n

Most of the sounds in \u201cThe Camera\u201d breath and crawl across grubby surfaces instead of building like a traditional suspense cue, and the album does have its share of tracks that blur the line between sound design and score, but Fakhrara summarizes the score with a great recap of \u201cColleen\u201d in the \u201cEnd Credit\u201d track, which has two pianos \u2013 one in perfect shape, the other way<\/em> out of tune \u2013 playing in tandem to create a warped musical track that\u2019s more successful in conveying the mossy, malodorous presence of a ghost than a mass of digital filters.<\/p>\n

Lakeshore Records album features an excellent programme of cues. Several are quite brief (just around a minute), but Photographs<\/strong> is a small gem bereft of many typical horror scoring clich\u00e9s.<\/p>\n

 <\/p>\n

A podcast interview with Nima Fakhrara is also available<\/a>.<\/p>\n

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

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

\u00a9 2016 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":"

The last film executive produced by the late Wes Craven was graced by an inventive score by Nima Fakhrara (The Signal), which is built around \u201cColleen,\u201d a short theme rendered on piano that trails off like an elegant, long forgotten chamber piece before restarting and re-emphasizing the theme\u2019s inherent tragic tone…<\/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":[4539,2937],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3CJ","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13933"}],"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=13933"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13933\/revisions"}],"predecessor-version":[{"id":13940,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/13933\/revisions\/13940"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13933"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13933"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13933"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}