{"id":528,"date":"2010-01-25T03:49:46","date_gmt":"2010-01-25T07:49:46","guid":{"rendered":"http:\/\/mondomark.com\/?p=528"},"modified":"2010-01-25T03:49:46","modified_gmt":"2010-01-25T07:49:46","slug":"damn-fine-music","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=528","title":{"rendered":"Damn Fine Music"},"content":{"rendered":"<p>I couldn\u2019t perfectly time the review of the <strong>Legion<\/strong> soundtrack album (La-La Land  Records) with the last batch of reviews \u2013 <strong><a href=\"http:\/\/www.kqek.com\/cd_lp_reviews\/j2l\/CD_0184_Legion2010.htm\">Legion<\/a><\/strong>,  like <strong><a href=\"http:\/\/www.kqek.com\/dvd_reviews\/p2r\/3520_Pandorum.htm\">Pandorum<\/a><\/strong>,  also stars Dennis Quaid \u2013 so here it is, with some angles on John Frizzell\u2019s  use of a BIG orchestral sound.<\/p>\n<p><img loading=\"lazy\" class=\"alignleft\" src=\"http:\/\/i917.photobucket.com\/albums\/ad14\/wegeewegee\/Legion2010_s.gif\" alt=\"\" width=\"120\" height=\"120\" \/><\/p>\n<p>The reason I find Frizzell \u2013 as well as <a href=\"http:\/\/www.kqek.com\/exclusives\/Exclusives_Wiedmann_1.htm\">Frederik  Wiedmann<\/a> \u2013 so damn fascinating is the way he keeps pushing the envelope on  the way sounds can be digitally re-shaped within the realm of an orchestra.<\/p>\n<p>It\u2019s still less is more, but one suspects a lot more is going on; it\u2019s just the  way sounds are used with precision and refinement so as not to take away from a  score\u2019s scope or style (which in the case of <strong>Legion<\/strong>, is a theological thriller).<\/p>\n<p>Haven\u2019t seen the film, just the trailer (which debuted\u00a0<em>months<\/em> ago in theatres), but I would like to see if director\/co-writer Scott Stewart explains why the film\u2019s angry people have stretchee-bendee maws.<\/p>\n<p><img loading=\"lazy\" class=\"alignleft\" src=\"http:\/\/i917.photobucket.com\/albums\/ad14\/wegeewegee\/Legion_maw_s.gif\" alt=\"\" width=\"142\" height=\"142\" \/><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<span style=\"color: #000000;\">Paul Bettany looks like a pinhead from Hell in this shot,  doesn\u2019t he?<\/span><\/span><\/p>\n<p>Don\u2019t you dare complain about his Fudgesicles.<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\"><span style=\"color: #000000;\">Also, due to the <strong>Pandorum<\/strong>-centric blog, there wasn\u2019t  room to properly address the latest interview at KQEK.com, which is with  composer <a href=\"http:\/\/www.kqek.com\/exclusives\/Exclusives_Phillips_1.htm\">Winifred  Phillips<\/a>, a fine composer best-known for scoring high-profile videogames  like <strong>The Da Vinci Code<\/strong>, <strong>Speed Racer<\/strong>, <strong>Shrek the Third<\/strong>, and <strong>Charlie  and the Chocolate Factory<\/strong>.<\/span><\/span><\/p>\n<p><img loading=\"lazy\" class=\"alignleft\" src=\"http:\/\/i917.photobucket.com\/albums\/ad14\/wegeewegee\/WinifredPhillips_Studio.gif\" alt=\"\" width=\"180\" height=\"131\" \/><\/p>\n<p>Her latest score releases include <strong><a href=\"http:\/\/www.kqek.com\/cd_lp_reviews\/s\/MP3_0175_SporeHero2009.htm\">SporeHero<\/a><\/strong> and <strong><a href=\"http:\/\/www.kqek.com\/cd_lp_reviews\/s\/MP3_0147_SimAnimals.htm\">SimAnimals<\/a><\/strong>,  and in our Q&amp;A she discusses her work in the videogame genre, which clearly  embraces innovation and complex writing.<\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span><\/p>\n<p>Coming shortly: a review of the flawed\/frustrating thing  that is <strong>Surrogates<\/strong>, as well as  Richard Marvin\u2019s excellent score.<\/p>\n<p>&#8211; MRH<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Just added: soundtrack review of John Frizzell&#8217;s wonderful music for the stretchee-bendee theological thriller Legion, as well as an interview with composer Winifred Phillips&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[6,11],"tags":[],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-8w","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/528"}],"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=528"}],"version-history":[{"count":0,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/528\/revisions"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=528"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=528"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=528"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}