{"id":5738,"date":"2012-11-21T13:50:59","date_gmt":"2012-11-21T18:50:59","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=5738"},"modified":"2014-05-22T13:44:42","modified_gmt":"2014-05-22T17:44:42","slug":"mp3-assassins-creed-iii-liberation-2012","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=5738","title":{"rendered":"MP3: Assassin’s Creed III – Liberation (2012)"},"content":{"rendered":"

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\"AssassinsCreed3_Philips_s\"<\/a>Score<\/strong>: Excellent<\/p>\n

Label<\/strong>:\u00a0Ubisoft Music<\/p>\n

Released:<\/strong>\u00a0\u00a0October 30, 2012<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a026 tracks \/ (63:43)<\/p>\n

Composer:<\/strong> Winifred Phillips<\/p>\n

Special Notes:<\/strong>\u00a0\u00a0n\/a<\/span><\/p>\n

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Review:<\/strong><\/p>\n

For UBISOFT\u2019s female-led spinoff game, Winifred Phillips composed a multitude of cues that carry forward the orchestral-electronic sounds of Lorne Balfe\u2019s Assassin\u2019s Creed III<\/a><\/strong>, yet typical of Phillips\u2019 writing, there\u2019s a wealth of thematic variations and a strong emphasis on orchestra detail.<\/p>\n

It\u2019s also one of Phillips\u2019 most muscular scores, perhaps going a little further than Balfe\u2019s material in the album\u2019s first third with a dominant brooding quality, often through the use of bass pulses and percussion. Cues like \u201cStealth\u201d are also emblematic of the little contrasts within several cues \u2013 looming danger, and some lamentation, as though the lead character has regrets for choosing a violent profession \u2013 while the main theme is evocative of the heroine\u2019s French-African heritage.<\/p>\n

That blend ensures Phillips\u2019 score is quite distinct from Balfe\u2019s, offering a mix of classical and African elements (the vocal ingredients in \u201cLiberation Main Theme\u201d and \u201cPoverty\u201d) versus the minimalism and slight Celtic tone of Balfe\u2019s work. Phillips\u2019 strengths have always been in the details, so while the score is based around a singular theme, her variations are diverse, and within each cue are finely nuanced orchestrations with solid production from producer Winnie Waldron.<\/p>\n

Most of the instruments are synth-based, and Phillips flows from chamber to large orchestral sounds, and pulsing synth action sequences (\u201cAbstergo Ops,\u201d and the lengthy \u201cAveline\u2019s Escape\u201d with dense percussion textures and electro-pulses reminiscent of Harry Gregson-Williams). There\u2019s also a short interval of period source cues (\u201cSociety Suite in 4 Movements\u201d) which show off her classical leanings and provide a short mood pause before a switch to more suspenseful orchestral-synth cues, and a heavier use of an ethereal female voice. Average cue timings hover between 2-3 minutes, but it\u2019s the details that ensure the album pulses along, recapping the main theme in progressive incarnations.<\/p>\n

Phillips other notable work includes Sim Animals<\/a><\/strong> (2008), Spore Hero<\/a><\/strong> (2009), and Legend of the Guardians: The Owls of Ga\u2019Hoole <\/strong><\/a>(2010).<\/p>\n

An interview <\/a>with Winifred Phillips is also available.<\/p>\n

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\u00a9 2009 Mark R. Hasan<\/p>\n

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Additional Links:<\/strong>
\nComposer on IMDB<\/a> \u00a0— \u00a0Composer Filmography<\/a>
\n\u00a0<\/span><\/p>\n

Select Merchants:<\/strong>
\nAmazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0Screen Archives Entertainment<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0 Score: Excellent Label:\u00a0Ubisoft Music Released:\u00a0\u00a0October 30, 2012 Tracks \/ Album Length:\u00a0\u00a026 tracks \/ (63:43) Composer: Winifred Phillips Special Notes:\u00a0\u00a0n\/a \u00a0   Review: For UBISOFT\u2019s female-led spinoff game, Winifred Phillips composed a multitude of cues that carry forward the orchestral-electronic sounds of Lorne Balfe\u2019s Assassin\u2019s Creed III, yet typical of Phillips\u2019 writing, there\u2019s a wealth […]<\/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":[1638,1637,50],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1uy","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5738"}],"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=5738"}],"version-history":[{"count":7,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5738\/revisions"}],"predecessor-version":[{"id":8931,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/5738\/revisions\/8931"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=5738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=5738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=5738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}