{"id":6825,"date":"2013-07-18T14:51:54","date_gmt":"2013-07-18T18:51:54","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6825"},"modified":"2013-07-18T14:51:54","modified_gmt":"2013-07-18T18:51:54","slug":"mp3-wolverine-the-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6825","title":{"rendered":"MP3: Wolverine, The (2013)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>V to Z<\/a><\/p>\n

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

Label: Sony Classical<\/a>\/ Released: July 22, 2013<\/p>\n

Tracks & Album Length: 22 tracks \/ (59:35)<\/p>\n

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Special Notes: n\/a<\/p>\n

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Composer: Marco Beltrami<\/p>\n

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Review:<\/p>\n

After a choice series of kinetic action films this year \u2013 A Good Day to Die Hard<\/a><\/strong> [M<\/a>] and World War Z<\/strong> being the biggies \u2013 the opportunity to score something less conventional must have seemed like a relief, because unlike his prior work, The Wolverine<\/strong> is more reliant on slow building cues with just a handful of genuine action set-pieces.<\/p>\n

It\u2019s a welcome change, because Wolverine<\/strong> shows off Beltrami\u2019s knack for crafting an understated score that\u2019s still a compelling work because it maintains a steady dramatic drive. Based around a two-note motif which morphs in and out of slight expansions, plus the odd longer version, the score has deft instrumental transitions (the shift from twanging metal to soothing flutes in \u201cTwo Handed\u201d is very, very<\/em> sleek) and a markedly different set of orchestral colours for what’s supposed to be another comic book movie.<\/p>\n

Whether influenced by the success of the Dark Knight<\/a><\/strong> [M<\/a>] reboot \u2013 in terms of the franchise\u2019s composers being given full permission to indulge in minimalism and avoid the clich\u00e9s of standard heroic and villain themes \u2013 Wolverine<\/strong>\u2019s quietness allows for uniquely rendered glassy sounds, ambient echoes, and a strangely mournful tone, which Beltrami delivers with pensive strings and dreadfully unhappy solos (\u201cThe Offer\u201d).<\/p>\n

Kinetic material isn\u2019t performed by massive brass and strings but a unique selection of percussion that embraces things lightly metallic, wooden, and glassy with just slight synthetic additions, and when the orchestra makes a full appearance, it\u2019s only for brief moments before Beltrami shifts back to his selective palette, as with the grungy string bass and harmonica in \u201cAbduction.\u201d<\/p>\n

One also senses some slight homages in the score, such as the subtle string material in “Threnody for Nagasaki” recalling Jerry Goldsmith\u2019s The Omen<\/strong> (1976), and the harmonica which, when paired with an ongoing repetition of the two-note theme in the closing \u201cWhole Step Haiku\u201d recalls an Ennio Morricone spaghetti western.<\/p>\n

As with all of Beltrami\u2019s work, Wolverine<\/strong> is beautifully orchestrated and engineered, although listeners will be a little perplexed by the slightly lower volume which seems like a deliberate cheat so the bass material in cues like \u201cNinja Quiet\u201d reverberate quite loudly, or the tension in \u201cKantana Surgery\u201d keeps restarting after orchestral emphasis on shrill strings, drums, and a great backbeat combo in the snarling finale. Either way, play this loud, especially with a subwoofer.<\/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<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack Reviews<\/a> <\/em>\/\u00a0V to Z<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ V to Z . Rating: Very Good Label: Sony Classical\/ Released: July 22, 2013 Tracks & Album Length: 22 tracks \/ (59:35) . Special Notes: n\/a . Composer: Marco Beltrami . . Review: After a choice series of kinetic action films this year \u2013 A Good Day to Die Hard […]<\/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":[526,2112],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1M5","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6825"}],"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=6825"}],"version-history":[{"count":1,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6825\/revisions"}],"predecessor-version":[{"id":6827,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6825\/revisions\/6827"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6825"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6825"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6825"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}