{"id":5697,"date":"2012-11-16T00:40:37","date_gmt":"2012-11-16T05:40:37","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=5697"},"modified":"2012-11-16T00:40:37","modified_gmt":"2012-11-16T05:40:37","slug":"cd-trailerhead-triumph-2012","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=5697","title":{"rendered":"CD: Trailerhead – Triumph (2012)"},"content":{"rendered":"

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

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

Label: Immediate \/ Released: October 23, 2012<\/p>\n

Tracks & Album Length: 23 tracks \/ (76:00)<\/p>\n

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Special Notes: Gatefold case with mini-poster \/ CD contains 2 bonus mixes.<\/p>\n

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Composer: \u00a0Immediate Music<\/a><\/p>\n

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Review:<\/p>\n

The third and final volume of Immediate Music\u2019s Trailerhead<\/strong> series offers a meaty 21 selections of grandiose cues (23 tracks on the CD release), and most of the tracks are full-blown orchestral recordings, with few lacking the large chorals typical of the Immediate Music sound.<\/p>\n

Album producer \/ co-composer Yoav Goren\u2019s picked fairly lengthy cues for this CD, and the title track (\u201cDestiny of the Chosen\u201d) is a perfect example of the circular structure where the music builds, recede, rebuilds, recedes, and either ends with a series of large percussion stabs & choral declarations, or crests and ends with a bang. Tantamount is a sustained heroic mood, and Goren\u2019s cues wiggle their way through different instrumentation and tempi in classical, classical-rock fusion, or digital remixes with accelerated rock rhythms, as in \u201cTales of the Electric Romeo,\u201d or the techno-based \u201cBurden of Atlas,\u201d one of the CD\u2019 longest cues.<\/p>\n

Perhaps part of the reason the cues work on CD is due to our exposure to the orchestral-rock fusion and bombast perfected and perpetuated by Hans Zimmer – standard sound in late 80s \/ early 90s big budget scores. Goren\u2019s writing is specifically designed to make a statement, sustain a mood, and build towards the main credit or ad tagline caption that ends trailers. A prime example is \u201cBattle for the Soul of the Universe\u201d with its somber opening bars, and sudden switch to rock with massive brass and mixed chorus, which could easily work for an action film, spy thriller, drastic crime thriller, or epic sci-fi saga.<\/p>\n

The percussion hits, brief pauses, and sometimes near-hysterical chorus slam the listener hard, and because we\u2019re trained to respond to those sounds, it\u2019s not difficult to visualize explosions, montages of swinging punches smash-cut to exploding spaceships, and a neck-of time escape from a tunnel engulfed in fire. That reflects an almost hard-wired association among modern filmgoers with trailer music and specific montages, making the CD engrossing in spite of the cues not being part of a singular soundtrack.<\/p>\n

A few more somber cues \u2013 the ethereal lament \u201cState of Endless Grace\u201d \u2013 are interpolated between the clear-cut action cues, giving the listener some respite before the next assault or sudden switch to more militaristic fare like \u201cExcalibur,\u201d which could easily work in any<\/em> Michael Bay film. Other cues have slight evocations of things Goldsmithian (notably Total Recall<\/strong>) or even BT (namely Stealth<\/strong> in Goren\u2019s \u201cAgeless Empires\u201d), but it\u2019s more a use of rhythmic hooks from those scores instead of mimicry or soundaliking.<\/p>\n

Goren recorded large orchestras and choirs, and the payoff is music that has huge, sweeping scope, and small moments that offer more delicate contrast. The first-rate engineering ensures all the nuances of the orchestrations are crisp, and the CD\u2019s packaged in a retro, gatefold sleeve with a mini-poster for the cover art.<\/p>\n

Unlike the Themes for Orchestra and Choir <\/strong>\u2013 the professional library CDs used by music editors \u2013 the Trailerhead<\/strong> series is designed for editing + listening, hence the lack of repetitive alternate cues.<\/p>\n

Some might find the Immediate Music is too self-derived (which some cues are, not to mention the occasionally heavy-handed chorus), but this is a rare example where trailer music can function outside of its commercial realm and highly specific design.<\/p>\n

Other CDs in this series is the eponymous Trailerhead<\/strong>, and Trailerhead: Saga<\/strong>.<\/p>\n

Also available: a podcast interview<\/a> with composer \/ Immediate Music founder Yoav Goren.<\/p>\n

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\u00a9 2012 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>\/\u00a0T to U<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ T to U . Rating: Excellent Label: Immediate \/ Released: October 23, 2012 Tracks & Album Length: 23 tracks \/ (76:00) . Special Notes: Gatefold case with mini-poster \/ CD contains 2 bonus mixes. . Composer: \u00a0Immediate Music . . Review: The third and final volume of Immediate Music\u2019s Trailerhead […]<\/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":[1621,1382,1624,1623,1625,1622],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1tT","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5697"}],"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=5697"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5697\/revisions"}],"predecessor-version":[{"id":5703,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5697\/revisions\/5703"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5697"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5697"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5697"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}