{"id":7046,"date":"2013-09-19T13:42:42","date_gmt":"2013-09-19T17:42:42","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=7046"},"modified":"2013-09-19T13:42:42","modified_gmt":"2013-09-19T17:42:42","slug":"cd-conjuring-the-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=7046","title":{"rendered":"CD: Conjuring, 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: La-La Land Records<\/a> \/ Released: July 16, 2013<\/p>\n

Tracks & Album Length: 25 tracks \/ (46:22)<\/p>\n

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Special Notes: 12-page colour booklet<\/p>\n

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Composer: Joseph Bishara<\/p>\n

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Review:<\/p>\n

With a full orchestra at his disposal, Joseph Bishara (Insidious<\/strong>) was able to create a more robust orchestral-electronic hybrid of his nightmarish, almost oceanic sounds, and The Conjuring<\/strong>is really a work you really don\u2019t want to play late at night (especially with a subwoofer) in the dark unless you\u2019re an emotional masochist.<\/p>\n

Bishara sustains an atmosphere of terror using fast-shifting currents of grungy chords that are part insect \/ part industrial drones, and a few really nasty stabs where the lowest frequencies assault the listener with special brutality. The use of sampled voices and arching shrieks in \u201cMaurice\u201d recall the creepily arching voices in Wendy Carlon and Rachel Elkind\u2019s The Shining<\/strong>, although in \u201cHanging drop,\u201d the lone human voice is first treated like a prolonged tire screech, and later reappears as undulating tone similar to a dirty Theremin.<\/p>\n

Bishara recently released his score to Dark Skies<\/strong>, and that album\u2019s underdeveloped (if not far too brief) cues made for an unsatisfying listen, but Conjuring<\/strong> benefits from a much larger music budget, giving Bishara an orchestra to perform his abstract portrait of ghostly mayhem. Cues with any overtly thematic material are rare \u2013 \u201c\u201dSouls pulled in\u201d has a traditional build-up \u2013 but the human voice is the score\u2019s key marker, appearing in brief, ethereal form before it\u2019s morphed, flattened, processed, and re-emerges with an unholy ire.<\/p>\n

Those not into weird sonic soundscapes will likely find Bishara\u2019s score as a meandering meshing of noise, audio samples, and ambient racket, but connoisseurs of the strange and surreal will enjoy the whole instability which Bishara\u2019s coordinated into eerie and ultimately assaultive cues. The lone flaw in the score isn\u2019t the composer\u2019s design; perhaps to allow audiences to leave with some sense of closure, if not give the score \u00a0and \/or CD a selling point, Mark Isham was contracted to write \u201cFamily Theme,\u201d a cue that\u2019s melodic, deliberately soothing (if not owing a little to Beethoven), and stylistically different from Bishara\u2019s raging style. Pity Bishara wasn\u2019t allowed to write his own closing music, thereby allowing his own take on family wholesomeness to emerge from the score\u2019s mangled acoustics.<\/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>\/\u00a0C<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ C . Rating: Very Good Label: La-La Land Records \/ Released: July 16, 2013 Tracks & Album Length: 25 tracks \/ (46:22) . Special Notes: 12-page colour booklet . Composer: Joseph Bishara . . Review: With a full orchestra at his disposal, Joseph Bishara (Insidious) was able to create 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":[2230,2231],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1PE","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7046"}],"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=7046"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7046\/revisions"}],"predecessor-version":[{"id":7062,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7046\/revisions\/7062"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7046"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7046"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7046"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}