{"id":7175,"date":"2013-10-24T11:44:20","date_gmt":"2013-10-24T15:44:20","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=7175"},"modified":"2013-10-24T11:44:20","modified_gmt":"2013-10-24T15:44:20","slug":"cd-red-2-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=7175","title":{"rendered":"CD: Red 2 (2013)"},"content":{"rendered":"
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Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>P to R<\/a><\/p>\n

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

Label: La-La-Land Records<\/a> \/ Released: July 29, 2013<\/p>\n

Tracks & Album Length: 25 tracks \/ (61:04)<\/p>\n

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

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Composer: Alan Silvestri<\/p>\n

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Review:<\/p>\n

With a larger music budget for the sequel to Red<\/strong> (2010), Alan Silvestri opted for an almost 50\/50 split of electronics and orchestra, using brass and strings to boost the scope of select dramatic events, but always maintaining a digital edge by using heavy bass beats and subtle pulses. The strange thing about Red 2<\/strong> is Silvestri\u2019s choice of electronic sounds. The echoing distortion and rapping timbre in \u201cSpeaking of Sarah\u201d are modern, but the backbeats that launch the main theme are vintage late eighties \u2013 a little raw, maybe, with a rhythmic pattern tied to old-style drum machines.<\/p>\n

The combination of old, new, and classical sounds suit the multiple generations of spies and assassins in the sequel, and in the album\u2019s first set of cues, Silvestri layers in some familiar synth textures and light techno beats. (In \u201cHan\u201d there\u2019s even a synth shakuhachi flute, endemic to most 80s and 90s scores.) Hammond organ emulations add extra colour and humour to \u201cMarvin at Work,\u201d and perhaps more cleverly there are echoes of Christophe Beck\u2019s own Red<\/strong> theme in \u201cTo Paris,\u201d blended with Silvestri\u2019s urgent string patterns and reappearing in a more urgent variation in \u201cParis Chase.\u201d<\/p>\n

The blend between orchestral and electronic is seamless, as are the fluid transitions between restive cues, lighthearted moments, and surges in fast-pounding action, but Silvestri doesn\u2019t stray far from his chosen palette. The same 7-note B-section of his main theme is oft-repeated, however, making Red 2<\/strong> a little monotonous. The orchestral support in \u201cHole in the Wall\u201d enhances the desperation, and concluding tracks such as \u201cPlumbing\u201d have a heavier orchestral component, especially with brass instruments, but unlike Beck\u2019s Red<\/strong>, Silvestri\u2019s score seems designed to support onscreen action than character arcs. It\u2019s still a slick, wholly functional score, but it lacks some of the charm and freshness which made Beck\u2019s effort more affecting.<\/p>\n

La-La-Land\u2019s cleanly mastered CD also includes a synth demo of the main title music, which closes the CD\u2019s solid running time.<\/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>\/\u00a0P to R<\/a><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ P to R . Rating: Good Label: La-La-Land Records \/ Released: July 29, 2013 Tracks & Album Length: 25 tracks \/ (61:04) . Special Notes: 12-page colour booklet. . Composer: Alan Silvestri . . Review: With a larger music budget for the sequel to Red (2010), Alan Silvestri opted for […]<\/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":[2293,2294],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1RJ","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7175"}],"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=7175"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7175\/revisions"}],"predecessor-version":[{"id":7178,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7175\/revisions\/7178"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7175"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7175"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7175"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}