{"id":6522,"date":"2013-04-29T12:29:54","date_gmt":"2013-04-29T16:29:54","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6522"},"modified":"2013-04-29T12:29:54","modified_gmt":"2013-04-29T16:29:54","slug":"cd-evil-dead-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6522","title":{"rendered":"CD: Evil Dead (2013)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>E<\/a><\/p>\n

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

Label: La-La Land Records<\/a>\/ Released: April 9, 2013<\/p>\n

Tracks & Album Length: 17 tracks \/ (71:35)<\/p>\n

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Special Notes: 20-page colour booklet with liner notes.<\/p>\n

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Composer: Roque Banos<\/p>\n

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Review:<\/p>\n

Roque Banos score for Fede Alvarez\u2019 gory remake of Sam Raimi\u2019s 1981 film<\/a> is an instant candidate for the best horror score of 2013, and LLL\u2019s CD features a meaty 71 minutes of large-scale orchestral music (including expanded CD tracks) that neatly show off the composer\u2019s incredible ability to transition from abstract to linear musical ideas, and never lose sight of his main themes.<\/p>\n

Perhaps taking a motivic nod from The Grudge <\/strong> (2002), Banos has crafted the music equivalent of the guttural sound that marks the appearance of that film\u2019s malevolent force, and for Evil Dead<\/strong>, the motif is a hand-cranked warning siren that\u2019s a few octaves close to a wailing human voice. It\u2019s recurrence within the score signals an imminent assault of brass and all kinds of bristling, coarse sound textures, and Banos also evokes the siren\u2019s eerie tonal arc using instruments or a choir to infer its looming presence.<\/p>\n

There\u2019s also a four-note main theme that chimes and dangles over the orchestra, and Banos rarely develops any fuller theme variations, let alone anything broadly melodic. There are rare exceptions \u2013 \u201cCome Back to Me\u201d offers some rare tenderness, and the chorales in \u201cThe Pendant \/ Evil Tango\u201d are fairly linear before the cue switches to a cheeky homage to Jerry Goldsmith\u2019s The Omen<\/strong> (1976) \u2013 but this is a brutal, almost epic tribute to the mayhem of Raimi and Alvarez, and as Hellraiser<\/a><\/strong> (1987) put Christopher Young on the map for complex orchestral horror scores, Evil Dead <\/strong><\/strong>is Banos\u2019 calling card for further genre efforts.<\/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> — SAE<\/a><\/p>\n

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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0E<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ E . Rating: Excellent Label: La-La Land Records\/ Released: April 9, 2013 Tracks & Album Length: 17 tracks \/ (71:35) . Special Notes: 20-page colour booklet with liner notes. . Composer: Roque Banos . . Review: Roque Banos score for Fede Alvarez\u2019 gory remake of Sam Raimi\u2019s 1981 film is […]<\/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":[2000,2002,2001,876],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1Hc","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6522"}],"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=6522"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6522\/revisions"}],"predecessor-version":[{"id":6525,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6522\/revisions\/6525"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6522"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6522"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6522"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}