{"id":6282,"date":"2013-03-21T14:54:03","date_gmt":"2013-03-21T18:54:03","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6282"},"modified":"2013-03-23T12:15:30","modified_gmt":"2013-03-23T16:15:30","slug":"call-the-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6282","title":{"rendered":"MP3: Call, The (2013)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>C<\/a><\/p>\n

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

Label: Lakeshore Records<\/a> \/ Released: March 12, 2013<\/p>\n

Tracks & Album Length: 22 tracks \/ (61:09)<\/p>\n

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Special Notes: Available digitally and on CD..<\/p>\n

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Composer: John Debney<\/p>\n

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Review:<\/p>\n

Following the unique audio design inherent to Brad Anderson\u2019s films, John Debney delves into a smooth amalgam of electronic and orchestral sounds, with traditional scoring elements largely subjugated by sometimes abrasive industrial sounds. It\u2019s a unique score within Debney\u2019s canon because he\u2019s written several large scale orchestral works which exploit the snarling sounds from masses of brass and percussion.<\/p>\n

The Call<\/strong> has a central theme \u2013 a soft, sparsely articulated keyboard piece \u2013 but much of the score\u2019s propelled by synthetic percussion textures. \u201cIntruder\u201d is mostly pulses and mounting distortion, and \u201cCasey Calls Jordan\u201d features industrial sounds blended with brass and synth chords in the cue\u2019s denouement.<\/p>\n

Other tracks feature reverberations, processed chimes and bell rings, sustained chords, and circular pulse patterns (\u201cShovel Kill\u201d is unusually mean, in spite of its brevity), but there are clear moments when Debney was allowed to build long aural material because of Anderson\u2019s patented visual design. Most of the director\u2019s films feature moments where sound is more vital to capturing a mood or effect than dialogue or the use of straight reaction shots, and Debney\u2019s score functions as score and sometimes sound design, with a mapped dramatic path (as evidenced by the sometimes brief reappearance of the score\u2019s tender keyboard theme in cues like \u201cLeah\u2019s Body is Recovered\u201d and \u201cFinding the Hiding Hole\u201d).<\/p>\n

Debney\u2019s always been skilled in writing melodic material as well as harsh dissonance, but his firm grasp of rhythm is featured in the short \u201cTour of the Hive\u201d with watery pulses and dynamic bass groove, and the 8-minute \u201cFreeway Chase,\u201d which draws from the score\u2019s major elements and features a strong electronic midsection with plenty of pulsing, flanging tonalities. The epic cue wafts through tragedy, eeriness, and rhythmic layers with snarling qualities reminiscent of his horror masterpiece The Relic<\/strong> (1997).<\/p>\n

Also available: a podcast interview<\/a> with composer John Debney.<\/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 Filmography<\/a><\/p>\n

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Select Merchants:<\/p>\n

Amazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0SAE<\/a><\/p>\n

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Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ C . Rating: Very Good Label: Lakeshore Records \/ Released: March 12, 2013 Tracks & Album Length: 22 tracks \/ (61:09) . Special Notes: Available digitally and on CD.. . Composer: John Debney . . Review: Following the unique audio design inherent to Brad Anderson\u2019s films, John Debney delves into […]<\/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":[1931,325,1932],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1Dk","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6282"}],"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=6282"}],"version-history":[{"count":4,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6282\/revisions"}],"predecessor-version":[{"id":6310,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6282\/revisions\/6310"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6282"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6282"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6282"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}