{"id":6037,"date":"2013-01-15T13:10:39","date_gmt":"2013-01-15T18:10:39","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6037"},"modified":"2013-01-15T13:17:12","modified_gmt":"2013-01-15T18:17:12","slug":"cd-pusher-2012","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6037","title":{"rendered":"CD: Pusher (2012)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>P to R<\/a><\/p>\n

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

Label: Silva Screen Records<\/a>\/ Released: October 8, 2012<\/p>\n

Tracks & Album Length: 26 tracks \/ (74:35)<\/p>\n

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Special Notes: Released on CD, as a digital album, and limited vinyl LP..<\/p>\n

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Composer: \u00a0Orbital (Paul Hartnoll, Phil Hartnoll)<\/p>\n

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Review:<\/p>\n

Perhaps to maintain some stylistic continuity with Nicholas Winding Refn\u2019s original film (not to mention the specific vintage electronic sounds in Refn\u2019s 2012 hit Drive<\/strong>), director Luis Prieto\u2019s remake features a rare full-length score by Orbital (brothers Paul and Phil Hartnoll), the electronic dance music pioneers whose film work tended to involve remixing themes (The Saint<\/strong>, Mortal Kombat<\/strong>), or occasional collaborations, such as The Beach <\/strong>(2000) with Angelo Badalamenti, and more notably Event Horizon<\/strong> (1997) with Michael Kamen.<\/p>\n

Orbital\u2019s theme is more of a short groove which is regularly reinterpreted in dance, vocal, pulsing techno, stripped-down ambient chords, and elliptical feedback versions, and while that should make the album a bit schizophrenic, the lack of lengthy dramatic cues strangely works. Even when separated from the film, the score functions as a lengthy series of impressions, each tailored for a specific cinematic mood or action event, and for the most part it\u2019s a succinct portrait of gradual mental disintegration.<\/p>\n

Fans of the band will welcome the iconic sounds of the gear which manifested itself in countless soundtracks by composers equally versed in electronic instruments. From bopping beats, pulses, or the synthetic metal chimes in \u201cHoken Bar\u201d which oddly recall bits of Goblin\u2019s prog-rock The Heroine Busters <\/strong>(1977), this is a work that drifts through decades of sounds \u2013 organic and recreated \u2013 which themselves are reworked before the album\u2019s upbeat final cue. The vocal cuts are part source and theme variations, and they add some variety to the album which otherwise offers a satisfying palette of cues in spite of the often brief lengths.<\/p>\n

Easily a musical companion piece to Cliff Martinez\u2019 Drive <\/a><\/strong>[M<\/a>] album, Pusher<\/strong> should offer further film work to the scoring duo, given they\u2019ve either collaborated on scores as Orbital (such as 2003\u2019s Octane<\/strong>, with Simon Boswell credited in a supervisory position), or solo works. Phil Hartnoll\u2019s own credits \/ separate collaborations include Cregan<\/strong> (2007 and Dummy<\/strong> (2008), whereas Paul Hartnoll lone effort so far is the slasher Tormented<\/strong> (2009).<\/p>\n

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\u00a9 2013 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB <\/a>— Soundtrack Album<\/a> — Composer Filmographies: Paul Hartnoll<\/a> \/ Phil Hartnoll<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0P to R<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ P to R . Rating: Very Good Label: Silva Screen Records\/ Released: October 8, 2012 Tracks & Album Length: 26 tracks \/ (74:35) . Special Notes: Released on CD, as a digital album, and limited vinyl LP.. . Composer: \u00a0Orbital (Paul Hartnoll, Phil Hartnoll) . . Review: Perhaps to maintain […]<\/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":[1800,1799,1796,1797,1798,1795],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1zn","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6037"}],"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=6037"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6037\/revisions"}],"predecessor-version":[{"id":6047,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6037\/revisions\/6047"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6037"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6037"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6037"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}