{"id":3653,"date":"2011-10-03T14:15:57","date_gmt":"2011-10-03T18:15:57","guid":{"rendered":"http:\/\/mondomark.com\/wordpress\/?p=2447"},"modified":"2011-10-03T14:15:57","modified_gmt":"2011-10-03T18:15:57","slug":"cliff-martinez","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=3653","title":{"rendered":"Cliff Martinez"},"content":{"rendered":"<p><a href=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/10\/CliffMartinez_headshot_b.gif\"><img loading=\"lazy\" class=\"alignleft size-full wp-image-2448\" title=\"CliffMartinez_headshot_b\" src=\"http:\/\/mondomark.com\/wordpress\/wp-content\/uploads\/2011\/10\/CliffMartinez_headshot_b.gif\" alt=\"\" width=\"150\" height=\"236\" \/><\/a>There was a two-year period where in my car I had a  tape containing Cliff Martinez\u2019s scores for <strong>Traffic<\/strong>, <strong><a href=\"http:\/\/www.kqek.com\/cd_lp_reviews\/s\/CD_0266_Solaris2002.htm\">Solaris <\/a><\/strong>[<a href=\"http:\/\/kqek.com\/mobile\/?p=2307\">M<\/a>], and <strong>Wicker Park <\/strong>(and weirdly, the suite of themes from Shane Carruth\u2019s <strong>Primer<\/strong>, because the cues stylistically  fit the mix).<\/p>\n<p>During that chunk of time it wasn\u2019t unusual to have the tape  sitting in the deck, playing again, and again, and again.<\/p>\n<p>A friend (fellow vowel brother MRI) once remarked how he too  would listen to Martinez\u2019s  music, but both of us were pretty fixed on <strong>Solaris<\/strong> as being the most haunting, addictive, soothing, and hypnotic.<\/p>\n<p>It\u2019s the best  thing Martinez, Steven Soderbergh\u2019s main composer since <strong>Sex, Lies, and Videotape<\/strong>, has written, and you just wish someone  would let him write more sci-fi \/ dramatically wrenching music, because his  combination of electronic, glass, metal, and orchestral instruments is second  to none.<\/p>\n<p>That\u2019s why I jumped at the chance to interview Martinez  regarding his latest releases which, alongside <strong><a href=\"http:\/\/www.kqek.com\/cd_lp_reviews\/j2l\/CD_0283_LincolnLawyer.htm\">Lincoln  Lawyer <\/a><\/strong>[<a href=\"http:\/\/kqek.com\/mobile\/?p=2811\">M<\/a>], form part of a rare cosmic  occurrence: 3 Martinez scores in one year.<\/p>\n<p>The <a href=\"http:\/\/www.kqek.com\/exclusives\/Exclusives_Martinez_2011_1.htm\">interview <\/a>[<a href=\"http:\/\/kqek.com\/mobile\/?p=3626\">M<\/a>] is up, as are reviews of his  latest albums: Soderbergh\u2019s <strong><a href=\"http:\/\/www.kqek.com\/cd_lp_reviews\/c\/CD_0314_Contagion2011.htm\">Contagion <\/a><\/strong>[<a href=\"http:\/\/kqek.com\/mobile\/?p=3636\">M<\/a>] (WaterTower Music), and <strong><a href=\"http:\/\/www.kqek.com\/cd_lp_reviews\/d\/CD_0313_Drive2011.htm\">Drive <\/a><\/strong>[<a href=\"http:\/\/kqek.com\/mobile\/?p=3642\">M<\/a>] (Lakeshore Records) for director  Nicolas Winding Refn.<\/p>\n<p>As for the question that\u2019s on your mind \u2013 Why would you  listen to an album over and over and over again? \u2013 the answer is simple. Well,  sort of. I rarely loop an album unless I\u2019m writing a script or am too lazy to  get up and grab another CD. In the case of <strong>Solaris<\/strong>,  two words: <em>Try it.<\/em><\/p>\n<p>Why? Because the first listen leaves questions. The second  offers a few musical resolutions you missed, the third affects you more  dramatically than the other two, and every other spin the CD gets is just aural  celestial gravy.<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><strong>Mark R. Hasan<\/strong>,  Editor<br \/>\n<strong>KQEK.com <\/strong>(  <a href=\"http:\/\/www.kqek.com\/Main_Index_Page.htm\">Main Site<\/a> \/ <a href=\"http:\/\/www.kqek.com\/mobile\/index.php\">Mobile Site<\/a> )<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Interview with composer Cliff Martinez, and reviews of his latest scores: Contagion (WaterTower Music) for director Steven Soderbergh, and Drive (Lakeshore Records) for director Nicolas Winding Refn.<\/p>\n","protected":false},"author":2,"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":[1],"tags":[782,783,784,779,299,300,785],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-WV","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3653"}],"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\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3653"}],"version-history":[{"count":0,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/3653\/revisions"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3653"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3653"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3653"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}