{"id":14472,"date":"2016-10-12T19:53:47","date_gmt":"2016-10-12T23:53:47","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=14472"},"modified":"2016-12-13T02:31:42","modified_gmt":"2016-12-13T07:31:42","slug":"cd-miss-peregrines-home-for-peculiar-children-2016","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=14472","title":{"rendered":"CD: Miss Peregrine\u2019s Home for Peculiar Children (2016)"},"content":{"rendered":"

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

Label<\/strong>:\u00a0La-La Land Records<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0October 14, 2016<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a021 tracks \/ 69 mins.<\/p>\n

Composer:<\/strong>\u00a0Mike Higham,Matthew Margeson<\/p>\n

Special Notes:<\/strong>\u00a0\u00a0(none)<\/span><\/p>\n

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 <\/p>\n

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

In a radical move for director Tim Burton, the score for his latest film was written by the collaborative team of Mike Higham and Matthew Margeson, both skilled in composing, orchestrating, and arranging for a diversity of projects (including several Hans Zimmer productions), and Higham himself a veteran music editor.<\/p>\n

Miss Peregrine\u2019s Home for Peculiar Children<\/strong> is a work aimed at the family audience, but there\u2019s a sense even if the film were rated PG-13, the score would still deliver the right measure of mystery, chills, and excitement for older crowds.<\/p>\n

With an intro theme that unravels to a ticking rhythm, Higham and Margeson have opted for an elegant Barryesque use of strings, and a gentle, breathy flute to ease in their eerie main theme, closing with some bold brass additions and choir before a gothic finale that\u2019s tinged with an organ.<\/p>\n

A recurring motif is the use of a series of wind-blown notes on flute, and ever so subtle electronics that blur sounds and soften edges instead of upgrading the score\u2019s contemporary orchestral sound (although one cue, \u201cHandy Candy,\u201d is blatant up-tempo electronica). The tail-end of \u201cThe Augusta\u201d illustrates the use of softened chimes and tones which appear as introspective tones before echoing off into the distance. The cue ends with a revolving pattern that\u2019s cross-mixed with airy sounds evoking a hissing leak from an air pressure valve.<\/p>\n

The combination of soft and fuzzy sounds are eventually overtaken by the score\u2019s darker elements, including low chords, electrified metallic vibrations, and snarling brass. \u201cI’ll Be Here Forever\u201d doesn\u2019t offer surprises \u2013 its menacing content is briefly quoted in the main titles \u2013 but its emergence with gusto creates a definite shift from mysterious to daunting.<\/p>\n

The most action-oriented cue is \u201cYmbrunes, Ymbrynes, Here I Come\u201d with its grim chords and addition of percussion, spiraling notes, and organ, but even though the cue kicks into gear with edgier percussion and a sharper ticking motor, Higham and Margeson\u2019s score is really a portrait of ever-shifting patterns and currents: it\u2019s rare when even a delicate theme dominates a cue, which is perhaps indicative of the story\u2019s narrative that seems to move with natural twists, turns, and undulations.<\/p>\n

Miss Peregrine<\/strong>\u2019s is meticulously performed and recorded, and cue lengths vary from just under 3 minutes to a few meatier cutes at twice that length. As an intro work, it\u2019s a fine showpiece for the composers, and when there are slight nods to Elfman \u2013 the most obvious being the jauntiness in the second half of \u201cEnoch\u2019s Dolls\u201d with rapidly accelerating rhythm and woo-woo Theremin \u2013 it\u2019s a cute and appropriately brief homage.<\/p>\n

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

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

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Additional Links:<\/strong>
\nEditor’s Blog<\/a> — DVD Review<\/a> — Composer on IMDB: Mike Higham<\/a> \/ Matthew Margeson<\/a> \u00a0— \u00a0Composers Filmographies: Higham \/ Margeson<\/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":"

In a radical move for director Tim Burton, the score for his latest film was written by the collaborative team of Mike Higham and Matthew Margeson, both skilled in composing, orchestrating, and arranging for a diversity of projects…<\/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":[4709,4710,4708,1247],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-3Lq","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/14472"}],"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=14472"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/14472\/revisions"}],"predecessor-version":[{"id":14932,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/14472\/revisions\/14932"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=14472"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=14472"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=14472"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

Separate podcast interviews with composers Higham and Margeson are also available<\/a>.<\/p>\n