{"id":2560,"date":"2011-03-21T13:40:23","date_gmt":"2011-03-21T17:40:23","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=2560"},"modified":"2011-03-21T13:40:23","modified_gmt":"2011-03-21T17:40:23","slug":"mp3-brotherhood-2010","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=2560","title":{"rendered":"MP3: Brotherhood (2010)"},"content":{"rendered":"
\n
\n

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

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

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

Label: Lakeshore Records \/ Released: March 22, 2010<\/p>\n

Tracks & Album Length: 11 \/ (35:17)<\/p>\n

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

Special Notes: Downloadable album.<\/p>\n

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

Composer: Dan Marocco<\/p>\n

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

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

Review:<\/p>\n

Dan Marocco\u2019s score is a blend of acoustic, electric and mild electronic sounds, much in the way Dave Grohl focused on an intimate collection of sounds for Touch<\/strong> (1997).<\/p>\n

Lakeshore\u2019s album includes 3 source songs, making the total original score about 25 mins., and while it feels like an extended suite of instrumental themes, Marocco\u2019s writing is quite strong in spite the score\u2019s slightly minimalist design.<\/p>\n

The title track (\u201c$19.10\u201d) introduces the simple theme \u2013 basically a guitar riff \u2013 on grungy electric guitars, with sustained chords deepened by reverb and thick electric bass licks. Bass dominates the follow-up cue, \u201cRoslyn,\u201d with a small drum kit providing hi-hat and bass drum hits. While the cue is essentially a slow-burning crescendo of guitar, drums, and fuzzy distortion, it\u2019s indicative of the score functioning as a the underbelly of a scene\u2019s sound design \u2013 always furtively moving around in the background, and sometimes making a hard, edgy statement before a sudden cut-out or rapid fadeout.<\/p>\n

\u201cParty\u2019s Over\u201d is a great blend of various rhythmic taps, with grungy bass drones drenching the various percussion timbers created by striking drum surfaces & edges, and a metallic bell. The cue eventually winds down, running out of speed, and closes with a solo electric guitar version of the main theme. The final cue, \u201cOne Story,\u201d provides a tender closing variation for solo electric guitar.<\/p>\n

For Brotherhood<\/strong>, Marocco\u2019s writing style is a cross-blend of Dave Grohl and Tyler Bates, boasting the same finesses with orchestrations and performance. The sparse instrumentation and broad sonic design, however, capture the sense of a singular character being smothered by a violent event (a convenience store robbery), and his struggles to escape a mess as the coarse and crude elements that dragged him into a situation keep reappearing with taunting threats.<\/p>\n

It\u2019s a shame the score is so brief, but it\u2019s one of those memorable gems fans of brief acoustic fusion music (for lack of better nomenclature) like to pull out and spin once in a while (Molly Nyman and Harry Escott’s Shifty<\/strong> being a great example). It starts off with a grungy bang, and eventually loses its tension, ending with a quiet introspective finale.<\/p>\n

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

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

\u00a9 2011 Mark R. Hasan<\/p>\n

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

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

CD: \u00a0Shifty<\/a> <\/strong>(2008)<\/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>\/\u00a0B<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ B . Rating: Very Good Label: Lakeshore Records \/ Released: March 22, 2010 Tracks & Album Length: 11 \/ (35:17) . Special Notes: Downloadable album. . Composer: Dan Marocco . . Review: Dan Marocco\u2019s score is a blend of acoustic, electric and mild electronic sounds, much in the way Dave […]<\/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":[361],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-Fi","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2560"}],"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=2560"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2560\/revisions"}],"predecessor-version":[{"id":2569,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/2560\/revisions\/2569"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2560"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=2560"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=2560"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}