{"id":1550,"date":"2010-11-18T03:07:47","date_gmt":"2010-11-18T08:07:47","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=1550"},"modified":"2010-12-20T21:50:34","modified_gmt":"2010-12-21T02:50:34","slug":"cd-terminator-2-judgment-day-1991","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=1550","title":{"rendered":"CD: Terminator 2 – Judgment Day (1991)"},"content":{"rendered":"
\n
\n

Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a><\/em><\/p>\n

.<\/span><\/p>\n

\"\"<\/a>Rating: Excellent<\/p>\n

Label: Silva Screen\u00a0\/ Released: August 17, 2010<\/p>\n

Tracks & Album Length: 20 tracks \/ (53:43)<\/p>\n

.<\/span><\/p>\n

Special Notes: 12-page colour booklet with liner notes by Brad Fiedel<\/p>\n

.<\/span><\/p>\n

Composer: Brad Fiedel<\/p>\n

.<\/span><\/p>\n

.<\/span><\/p>\n

Review:<\/p>\n

It\u2019s rather unfortunate that Brad Fidel\u2019s stepped away from active film scoring, because he\u2019s one of the main pioneers of industrial synth music blended with classical orchestral scoring from the eighties and nineties, and one wonders what he would\u2019ve brought to a large-scale production such as\u00a0Terminator 3: Rise of the Machines<\/strong> (2003) or\u00a0Terminator Salvation<\/strong> (2009) with his knack for melody, rhythm, and industrial sounds.<\/p>\n

His earliest work includes multiple TV movies (Popeye Doyle<\/strong>,\u00a0Hostage<\/strong>), series themes (Midnight Caller<\/strong> being an instant classic of sleek jazz and synthetic lounge), and the odd feature film (The Serpent and the Rainbow<\/strong>), but the original\u00a0Terminator<\/strong> was the film that singled him out as a new voice on the scoring scene.<\/p>\n

The leanness of that score consisted of a rare love theme nestled between synthetic steel hits, rapping pulses, and spiraling fugues, and Fiedel\u2019s approach was a perfect match for James Cameron\u2019s tight sci-fi drama where the arrival of a killing machine from the future sets in motion one long extended chase scene, as well as an impossible romance between victim and savior.<\/p>\n

Because that film concluded with a woman being pushed into the role of a heroine for humankind, Fiedel\u2019s music for T2 had several important roles: score the requisite action, follow the progression of Sarah Connor as a trained, driven savior, and periodically remind audiences what she\u2019s lost in her quest to pro-actively train her son for a nuclear future.<\/p>\n

Action highlights include the pulsing \u201cSarah on the Run\u201d where Fiedel mimics flanging metal sounds with pneumatic, echo-processed pulses; and the kinetic \u201cSWAT Team Attacks,\u201d in which the composer focuses on a simple group of motifs \u2013 rapping textures, brass emulations, and deep bass notes \u2013 but demarcates their range to very specific areas so bass notes, for example, startle the listener and match specific highpoints in the battle.<\/p>\n

The same approach was used in the elliptical \u201cHelicopter Chase,\u201d and the brilliantly conceived \u201cTanker Chase,\u201d where Fiedel takes his arsenal of industrial sounds and matches the already intense rhythm of Cameron\u2019s chase montages.<\/p>\n

The Terminator theme is naturally quoted in the film\u2019s \u201cMain Title\u201d sequence, but Fiedel\u2019s variations include the metallic percussion line supporting brief synthetic brass lamentations, the more melodic variation \u201cJohn & Dyson Into the Vault\u201d with light synth pulses; and the stripped-down rhythmic version with no melodic content in \u201cHasta La Vista, Baby.\u201d<\/p>\n

In his liner notes, Fiedel expresses his continuing surprise that fans and composers are inspired by a score largely composed with two big\u00a0Fairlight machines<\/a>, and Ross Levine\u2019s electric violin (used in the first\u00a0Terminator<\/strong> score, as well as the\u00a0Midnight Caller<\/strong> theme).<\/p>\n

Perhaps it\u2019s a case of audiences evolving with soundtracks, being more attracted to the blend of score and sound design, but Fiedel\u2019s music demonstrates how the simplest of sounds are more affective than a soup of swirling digital samples. T2 does have a vintage sound, but its impeccable mastering have preserved the delicate nuances which Fiedel applied to his theme and industrial rhythmic variations.<\/p>\n

.<\/span><\/p>\n

.<\/span><\/p>\n

.<\/span><\/p>\n

\u00a9 2010 Mark R. Hasan<\/p>\n

.<\/span><\/p>\n

Related external links (MAIN SITE):<\/p>\n

DVD \/ Film: \u00a0Terminator Salvation<\/a><\/strong> (2009)<\/p>\n

.<\/span><\/p>\n

External References:<\/p>\n

IMDB <\/a>— Soundtrack Album<\/a> — Composer Filmography<\/a><\/p>\n

.<\/span><\/p>\n

Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a><\/em><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews . Rating: Excellent Label: Silva Screen\u00a0\/ Released: August 17, 2010 Tracks & Album Length: 20 tracks \/ (53:43) . Special Notes: 12-page colour booklet with liner notes by Brad Fiedel . Composer: Brad Fiedel . . Review: It\u2019s rather unfortunate that Brad Fidel\u2019s stepped away from active film scoring, because he\u2019s […]<\/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":[150,151],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-p0","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/1550"}],"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=1550"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/1550\/revisions"}],"predecessor-version":[{"id":1924,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/1550\/revisions\/1924"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1550"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1550"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1550"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}