{"id":7241,"date":"2013-11-13T20:30:25","date_gmt":"2013-11-14T01:30:25","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=7241"},"modified":"2013-11-13T20:51:08","modified_gmt":"2013-11-14T01:51:08","slug":"cd-terra-nova-2011","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=7241","title":{"rendered":"CD: Terra Nova (2011)"},"content":{"rendered":"

Return to<\/strong>:\u00a0Home <\/a>\/\u00a0Soundtrack \u00a0Reviews<\/a> \/ <\/em>T to U<\/a><\/p>\n

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

Label:\u00a0La-La Land Records<\/a> \/ Released: October 9, 2012<\/p>\n

Tracks & Album Length: \u00a0CD1: 23 tracks \/ (76:48) + CD2: 23 tracks \/ (55:10)<\/p>\n

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Special Notes: 20-page colour booklet with liner notes by Brian Satterwhite \/ Limited to 3000 copies.<\/p>\n

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Composer: Brian Tyler<\/p>\n

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Review:<\/p>\n

Sometimes a short-lived TV series tends to offer the most intriguing concepts, with enough meat to really inspire writers, directors, and composers to craft something unique, and certainly with Brian Tyler\u2019s score, the decision to use a full orchestra makes Terra Nova<\/strong> a really potent listening experience.<\/p>\n

Tyler\u2019s robust orchestral \/ rock \/ grunge Final Destination<\/strong> scores are superb, and often transcend weaker film entries, if not enhancing deliberately ridiculous sequences into guilty pleasures. TN features an unusual main theme (writer \/ composer Brian Satterwhite dissects its construction in his excellent liner notes) which immediately feels like music stemming from some netherworld – a hard to quantify stratum in which strange life may exist (which, in the series\u2019 concept, consists of dinosaurs).<\/p>\n

Tyler\u2019s writing is highly thematic, but his knack for muscular action cues means cuts like \u201cPatrols\u201d has a slow build before the percussion thunders, and violin figures seem to distort as their worm their way up the harmonic ladder. Not unlike Bear McCreary\u2019s Human Target<\/a><\/strong> (2010), Tyler opts for a more classical style, giving the series a punchy epic scope, if not the veneer of a big budget production.<\/p>\n

Many of the cues \u2013 either in their original length or in edited form \u2013 are very long, allowing for beautifully plotted thematic development. Just as Tyler created wry cues for his horror and action scores, there are some striking uses of colour, especially the initially quiet \u201cSave Your Spot\u201d with its warped string tones and sustained chimes from which pensive strings and whole chords rise before a fast turn to churning rhythms. Tyler\u2019s also one of the best writers for brass instruments and their addition \u2013 even in modest doses \u2013 gives several suspenseful cues extra urgency.<\/p>\n

Picked from the show\u2019s 13 episode run, La-La Land\u2019s CD set has a nice flow which totally immerses the listener into Tyler\u2019s epic world. This is a really fine score with minimal repetition, and fine orchestrations. Pity there won\u2019t be a second season, but like several aborted TV series, it\u2019s often the music that captures the creativity of what could\u2019ve been.<\/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>\/\u00a0T to U<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ T to U . Rating: Excellent Label:\u00a0La-La Land Records \/ Released: October 9, 2012 Tracks & Album Length: \u00a0CD1: 23 tracks \/ (76:48) + CD2: 23 tracks \/ (55:10) . Special Notes: 20-page colour booklet with liner notes by Brian Satterwhite \/ Limited to 3000 copies. . Composer: Brian Tyler […]<\/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":[2337,2338],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1SN","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7241"}],"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=7241"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7241\/revisions"}],"predecessor-version":[{"id":7257,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7241\/revisions\/7257"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7241"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7241"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7241"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}