{"id":3331,"date":"2011-08-01T14:39:18","date_gmt":"2011-08-01T18:39:18","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=3331"},"modified":"2011-08-01T14:39:18","modified_gmt":"2011-08-01T18:39:18","slug":"cd-devils-double-2011","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=3331","title":{"rendered":"CD: Devil’s Double (2011)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>D<\/a><\/p>\n

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

Label:\u00a0Lakeshore Records<\/a> \/ Released: July 25, 2011<\/p>\n

Tracks & Album Length: 28 tracks \/ (75:25)<\/p>\n

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

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Composer: Christian Henson<\/p>\n

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Review:<\/p>\n

To capture the terrifying saga of Latif Yahia<\/a>, the one-time bodyguard of Saddam Hussein\u2019s sadistic son Uday<\/a>, composer Christian Henson (The Secret of Moonacre<\/a><\/strong>) heavily restricted his instrumental palette to a handful acoustic and synth sounds to create a narrow sonic spectrum that perfectly suits the hellish world in which everything one sees, hears, tastes, and touches is under someone else\u2019s firm control.<\/p>\n

Using strings, keyboards, ethnic strings and percussion, and digital effects, Henson captures the sense of being in a world that\u2019s enshrouded in secrecy, yet prone to fits of spontaneous rage & brutal violence. Clusters of percussion or distortion often erupt from neutral chords and during theme quotations, and Henson\u2019s main theme is deliberately abrupt \u2013 symbolizing Uday\u2019s dim existence in a world of debauchery and cruelty, and Yahia\u2019s own stunted growth as he was forced to mimic his subject, and be his bodyguard simultaneously.<\/p>\n

Perhaps the most powerful theme statement comes in the guise of \u201cMetamorphosis,\u201d where the addition of strings adds desperation to the moment where Yahia underwent physical changes to further resemble Hussein. Henson thickens the strings in the cue\u2019s finale, hammering home Yahia\u2019s permanent position in never being able to reclaim his original body.<\/p>\n

Henson\u2019s score goes through specific mood changes, of which the midsection is the more interesting for the often limited sonic palette that\u2019s treated with distortion and coarse sound effects. Once in a while a cue is softened with a fragmented theme appearance, but there\u2019s an unrelenting dread from the first cue \u2013 source instrumental \u201cLiberation\u201d excepted \u2013 that never lets up.<\/p>\n

Strings are kept to a minimum in the score until the finale, where in \u201cThe Market\u201d they\u2019re given more urgency to underscore Yahia\u2019s desperate desire to escape his monstrous oppressor. Henson\u2019s managed to craft a tense representation of pure evil exacting its might on innocents, and Lakeshore\u2019s CD features a generous selection of cleanly mastered cues.<\/p>\n

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\u00a9 2011 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<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0D<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ D . Rating: Very Good Label:\u00a0Lakeshore Records \/ Released: July 25, 2011 Tracks & Album Length: 28 tracks \/ (75:25) . Special Notes: n\/a . Composer: Christian Henson . . Review: To capture the terrifying saga of Latif Yahia, the one-time bodyguard of Saddam Hussein\u2019s sadistic son Uday, composer Christian […]<\/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":[630,632,631],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-RJ","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3331"}],"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=3331"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3331\/revisions"}],"predecessor-version":[{"id":3335,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3331\/revisions\/3335"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3331"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3331"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3331"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}