{"id":1562,"date":"2010-11-18T03:01:19","date_gmt":"2010-11-18T08:01:19","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=1562"},"modified":"2010-12-20T21:49:22","modified_gmt":"2010-12-21T02:49:22","slug":"cd-town-the-2010","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=1562","title":{"rendered":"CD: Town, The (2010)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a><\/em><\/p>\n

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\"\"<\/a>Rating: Very Good<\/p>\n

Label: Silva Screen\/ Released: September 14, 2010<\/p>\n

Tracks & Album Length: 16 tracks \/ (41:58)<\/p>\n

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Special Notes: 6-page colour foldout booklet<\/p>\n

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Composers: \u00a0Harry Gregson-Williams, David Buckley<\/p>\n

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Review:<\/p>\n

Harry Gregson-Williams and David Buckley (TV\u2019s\u00a0The Good Wife<\/strong>) created an industrial synth score for Ben Affleck\u2019s bank robbery film, and like the former\u2019s industrialized score for\u00a0Spy Game<\/strong>(2001),\u00a0The Town<\/strong> is a blend of percussion textures, digital sound clusters, and quiet mood pieces meant to enhance moments of introspection, and add quiet emotional subtext to withdrawn, conflicted characters.<\/p>\n

What\u2019s nice about\u00a0The Town<\/strong> is the way it captures the journey as characters move between intense situations to quiet moments and bits of fleeting, civil normalcy. Sustained chords on electric guitar convey warmth in \u201cDoug Reflects,\u201d although the bass chord that closes the cue becomes gnarled, setting up the score\u2019s shift to intense, brooding material.<\/p>\n

\u201dFBI Show & Tell\u201d is synth textures layered with a fat analogue bass pulse, delicate waves of strings that recede in place of a heartbeat, and fuzzy electrified tones. The blurring of sounds \u2013 such as the reverse-processed notes in \u201cOxycontin\u201d \u2013 is nevertheless given some grounding and scope from the orchestral backing, and like most cues on the album, the moods tend to shift fast, and cue lengths average between 2-3 mins.<\/p>\n

Most of the score bleeds in and out, creating an impression of a dramatic bank robbery and the desperate perpetrators rather than covering lengthy montages. The composers sustain tension by combining unresolved chords with steady pulses, and conflicts are usually supported with percussive textures of which components are pulled back or isolated to specific frequencies, allowing for the introduction of heavier material. \u201cNuns with Guns\u201d is illustrative, as tension is created by pinched notes and swelling strings goosed with a steady increase of thick bass lines, blurred low tones, and rhythmic patterns with the tails of certain notes digitally clipped.<\/p>\n

The Town<\/strong> isn\u2019t an action highpoint in Gregson-Williams\u2019 work, but it\u2019s a good sampling of his punchy style scaled down to a more basic drama about characters and moral consequences rather than bombastic action.<\/p>\n

The 41 mins. album is beautifully engineered, and some of the featured musicians include Gregson-Williams on piano, and Heitor Pereira and Anthony Lledo (Frostbitten<\/strong>) on guitars.<\/p>\n

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


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External References:<\/p>\n

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

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Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews . Rating: Very Good Label: Silva Screen\/ Released: September 14, 2010 Tracks & Album Length: 16 tracks \/ (41:58) . Special Notes: 6-page colour foldout booklet . Composers: \u00a0Harry Gregson-Williams, David Buckley . . Review: Harry Gregson-Williams and David Buckley (TV\u2019s\u00a0The Good Wife) created an industrial synth score for Ben Affleck\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":[154,153],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-pc","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/1562"}],"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=1562"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/1562\/revisions"}],"predecessor-version":[{"id":1922,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/1562\/revisions\/1922"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1562"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1562"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}