{"id":2036,"date":"2010-12-31T19:35:25","date_gmt":"2011-01-01T00:35:25","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=2036"},"modified":"2010-12-31T19:52:49","modified_gmt":"2011-01-01T00:52:49","slug":"cd-inception-2010","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=2036","title":{"rendered":"CD: Inception (2010)"},"content":{"rendered":"
\n
\n

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

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

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

Label:\u00a0Water Tower Music, \u00a0Reprise\u00a0\/ Released:\u00a0July 13, 2010<\/p>\n

Tracks & Album Length:\u00a012 tracks \/ (49:20)<\/p>\n

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

Special Notes: n\/a<\/p>\n

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

Composer: Hans Zimmer<\/p>\n

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

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

Review:<\/p>\n

One of the toughest biases to break for critics is the old Hans Zimmer, the composer of bombastic action scores with fat brass and percussion bludgeoning audiences when characters were Dying, Sad, Melancholy, or the hero has Just Lost The Girl.<\/p>\n

Something seemed to shift when Zimmer was given The Ring<\/strong> (2002), and although that was a score by committee (based on his themes, but scored in a specific style by three skilled protoges), he discovered the beauty of restraint, minimalism, and how to refine his use of might with care.<\/p>\n

It may also have helped that he wasn\u2019t any longer scoring Jerry Bruckhimer \/ Michael Bay excesses (The Rock<\/strong>), and the subject matter was more challenging. Angels & Demons<\/strong> (2009) has aged into a creepy, ferocious little gem that begins with a bang, and ends gradually with soothing tones and delicate harmonies. And with Christopher Nolan\u2019s first two Batman films \u2013 Batman Begins<\/strong> (2005), and more so with The Dark Knight<\/strong> (2008) \u2013 Zimmer, collaborating with James Newton Howard, discovered a realm where he could deepen a dark film with layers of grey, effortlessly moving between horror, shock, torment, love, and remorse.<\/p>\n

(It\u2019s also fair to say that Nolan prefers to deal with one mind \u2013 or two brilliant minds, as with Zimmer and Howard – which is why he wouldn\u2019t tolerate the multi-composer team and regurgitation of old Zimmer themes inherent to each of the first three Pirates of the Caribbean<\/strong> films, which collectively represent the Old Zimmer, and wretched score by committee approach of Media Ventures.)<\/p>\n

It\u2019s hard to say whether Inception<\/strong> could\u2019ve been scored without Zimmer having worked on the dour Dark Knight<\/strong>, but the former is one of Zimmer\u2019s best works to date because it weaves in and out of scenes, blends with sound design, rears up when there\u2019s kinetic James Bondian action (\u201c528491\u201d), and sits in a harmonic netherworld where nothing is resolved \u2013 a perfect musical mirror for a lead character (Cobb) who must confront the Id in his subconscious \u2013 dead wife Mal \u2013 in order to find peace and wrap up the caper so everyone can land safely in the U.S. without any legal issues.<\/p>\n

Zimmer reportedly structured the score to mimic the three dream levels and limbo, so as time slows down with each descent, so does the weight of the score, losing any semblance of memory, warmth, and resolution.<\/p>\n

There are a handful of elements Zimmer uses: a massive brass section that clusters together during the rotating hallway sequence (\u201cDream Within A Dream\u201d) with score way above any sound effects; the final confrontation with Mal in limbo; and the end credits (\u201cTime\u201d) which restate the hard personal life Cobb\u2019s endured because of guilt and an obsession to hold onto a dead figure from a once warm life.<\/p>\n

Zimmer also crafted a warm piece reflective of the couple\u2019s love (\u201cWaiting For A Train\u201d), and there\u2019s a light guitar solo over synths which captures Cobb\u2019s always active mind \u2013 ever on getting the caper completed \u2013 as well as just reflecting on whether life as a thief who weaves in and out of peoples\u2019 dreams is worth it anymore.<\/p>\n

Water Tower\u2019s CD contains the bulk of the film\u2019s main themes and cues, although like Dark Knight, perhaps a longer release will follow in 2011.<\/p>\n

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

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

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

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

Related links:<\/em><\/p>\n

BR \/ Film: \u00a0Inception <\/a><\/strong>(2010)<\/p>\n

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

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

DVD \/ Film: \u00a0Angels & Demons<\/a><\/strong> (2009)\u00a0— Dark Knight, The<\/a><\/strong> (2008)\u00a0— Ring, The<\/a> <\/strong>(2002)<\/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>\/\u00a0I<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ I . Rating: Excellent Label:\u00a0Water Tower Music, \u00a0Reprise\u00a0\/ Released:\u00a0July 13, 2010 Tracks & Album Length:\u00a012 tracks \/ (49:20) . Special Notes: n\/a . Composer: Hans Zimmer . . Review: One of the toughest biases to break for critics is the old Hans Zimmer, the composer of bombastic action scores with […]<\/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":[237,162],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-wQ","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2036"}],"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=2036"}],"version-history":[{"count":6,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2036\/revisions"}],"predecessor-version":[{"id":2042,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2036\/revisions\/2042"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2036"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2036"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2036"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}