{"id":6512,"date":"2013-04-29T12:32:03","date_gmt":"2013-04-29T16:32:03","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6512"},"modified":"2013-04-29T12:32:03","modified_gmt":"2013-04-29T16:32:03","slug":"cd-battlestar-galactica-blood-chrome-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6512","title":{"rendered":"CD: Battlestar Galactica: Blood & Chrome (2013)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>B<\/a><\/p>\n

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

Label:\u00a0La-La Land Records<\/a> \/ Released: March 12, 2013<\/p>\n

Tracks & Album Length: 18 tracks \/ (68:17)<\/p>\n

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Special Notes: 12-page colour booklet with liner notes by composer Bear McCreary \/ Limited to 3000 copies.<\/p>\n

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Composer: Bear McCreary<\/p>\n

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Review:<\/p>\n

The lure of creating a new Battlestar Galactica <\/strong>franchise \u2013 unsurprisingly, another prequel \u2013 proved too irresistible for the SyFy network, but to differentiate the series from its father (as well as the first prequel, Caprica<\/a><\/strong>), composer Bear McCreary went for an edgier design, adding a variety of electronic sounds he previously minimalized in the main series.<\/p>\n

The use of melody, harmony, rich strings, and quotations of both his original thematic material and Stu Phillips\u2019 original series theme are present, but more so than prior series, this incarnation is all about rage (if not raging hormones), hence the unique inclusion of guitar feedback recorded hot with gnarled distortion. Not unlike Hans Zimmer and James Newton Howard\u2019s The Dark Knight<\/a><\/strong> score, feedback becomes a motif for a specific kind of action and menace, and McCreary uses the grinding noise as another instrumental colour, sometimes in tandem with a vintage screeching eighties guitar solo.<\/p>\n

The composer\u2019s affinity for large-scale, eighties action writing was evident in Human Target<\/a><\/strong>, and B&C is a bridgework featuring screeching sounds supported by a large orchestra, and regular clusters of sometimes insane rhythmic cues involving Asian drums and a wealth of syncopated rhythms. The CD\u2019s midsection features several soft, elegant theme variations with delicate woodwinds (\u201cCoker and Kirby\u201d) and provide needed rest spots between the aggressive action cues (the fuzzed up \u201cThe Last Battle of the Osiris\u201d being a highlight), and LLL\u2019s mastering will please BG fans used to that punchy McCreary sound that always gives a stereo a good workout.<\/p>\n

In spite of his years scoring all of the original and BG variants, McCreary can still craft a solid effort for each series, and maintain thematic continuity; and in spite of B&C\u2019s original design \u2013 ten 12-minute episodes originally broadcast as a digital series for Machinima.com (Mortal Kombat: Legacy<\/a> <\/strong>[M<\/a>]), and later rebroadcast on SyFy as a TV movie \u2013 the score feels wholly organic.<\/p>\n

A video of the recording sessions is available on Bear McCreary’s YouTube channel<\/a>.<\/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> — iTunes —\u00a0SAE<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0B<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ B . Rating: Excellent Label:\u00a0La-La Land Records \/ Released: March 12, 2013 Tracks & Album Length: 18 tracks \/ (68:17) . Special Notes: 12-page colour booklet with liner notes by composer Bear McCreary \/ Limited to 3000 copies. . Composer: Bear McCreary . . Review: The lure of creating a […]<\/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":[1999,41],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1H2","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6512"}],"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=6512"}],"version-history":[{"count":9,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6512\/revisions"}],"predecessor-version":[{"id":6528,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6512\/revisions\/6528"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6512"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6512"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6512"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}