{"id":6938,"date":"2013-08-29T16:49:38","date_gmt":"2013-08-29T20:49:38","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=6938"},"modified":"2013-08-29T16:49:38","modified_gmt":"2013-08-29T20:49:38","slug":"cd-young-justice-2010","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=6938","title":{"rendered":"CD: Young Justice (2010)"},"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:\u00a0La-La Land Records<\/a> \/ Released: July 16, 2013<\/p>\n

Tracks & Album Length: 44 tracks \/ (73:45)<\/p>\n

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Special Notes: 16-page colour booklet with liner notes by John Takis.<\/p>\n

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Composers: Kristopher Carter, Michael McCuistion, Lolita Ritmanis<\/p>\n

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Review:<\/p>\n

Music from the 2-season spin-off series Young Justice <\/strong>gets its own CD release, and composers Kristopher Carter (Batman: Gotham Knight<\/a> <\/strong>[M]), Michael McCuistion and Lolita Ritmanis (Batman: The Animated Series<\/strong> [M]) managed to craft a wholly unified sound that\u2019s a 70 \/ 30 split between electronic and orchestra elements, giving the show a punchy futuristic sound with a few overt classical underpinnings.<\/p>\n

Action cuts like \u201cMera Attacks\u201d are still structured around cresting brass and interwoven tones with organic percussion and breathy woodwinds, but there\u2019s heavy inclusion of sampled voices and sequences pulses. Parts of the rhythms also hark back to more vintage sounds \u2013 early cues on the CD have a tangible Sylvester Levay (Airwolf<\/strong>, Hot Shots!<\/strong>) feel, and there are slight evocations of John Carpenter in \u201cRed Tornado Saves the Earth\u201d \u2013 but being digitally crafted, there\u2019s a sleekness to the orchestrations and pristine sonics.<\/p>\n

Grungy feedback is melded with orchestral surges in the ambient, mystical \u201cPsimon Says Forget,\u201d and a nocturnal jazz beat is electronically rendered in the eerie \u201cMorrow Lab Source\u201d which also builds to a large orchestral jazz finale, albeit derived from obvious samples.<\/p>\n

The blending of select organic and diverse samples actually works for the score because of its futuristic and other dimension-like veneer, and in a world where powers vary in potency and ability, and characters live in a perpetual state of self-defense, it makes sense the bulk of the score cuts consist of moody textures, thick bass lines, pulses, and recurring action cues where bold sounds dominate. Cues like \u201cRevenge Mode\u201d and \u201cMeet Lobo\u201d are big on fat bass chords and processed tones, and sharp modernist chords rendered from brass samples start off the kinetic \u201cWally Sacrifice,\u201d one of the CD\u2019s longer cues.<\/p>\n

La-La Land\u2019s CD features tightly edited tracks, and although one wishes some of the action material was able to build and remain sustained for longer periods, the average cue length of 1-2 minutes doesn\u2019t affect the album\u2019s flow. John Takis\u2019 liner notes provide a good overview of the show\u2019s music, composed by a skilled team of composers well-versed in the needs of DC\u2019s animated ventures. The same trio also scored the animated series Teen Titans: Trouble in Tokyo<\/a><\/strong> (2008).<\/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:\u00a0La-La Land Records \/ Released: July 16, 2013 Tracks & Album Length: 44 tracks \/ (73:45) . Special Notes: 16-page colour booklet with liner notes by John Takis. . Composers: Kristopher Carter, Michael McCuistion, Lolita Ritmanis . . Review: Music from the 2-season […]<\/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":[495,2182,2183,2186],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1NU","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6938"}],"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=6938"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6938\/revisions"}],"predecessor-version":[{"id":6959,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/6938\/revisions\/6959"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=6938"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=6938"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=6938"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}