{"id":7318,"date":"2013-12-11T11:01:06","date_gmt":"2013-12-11T16:01:06","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=7318"},"modified":"2013-12-11T11:01:06","modified_gmt":"2013-12-11T16:01:06","slug":"cd-doctor-who-the-caves-of-androzani-1984","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=7318","title":{"rendered":"CD: Doctor Who – The Caves of Androzani (1984)"},"content":{"rendered":"

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

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

Label: Silva Screen Records<\/a>\/ Released: March 25, 2013<\/p>\n

Tracks & Album Length: 35 tracks \/ (56:42)<\/p>\n

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Special Notes: Also available as a digital album and limited vinyl pressing.<\/p>\n

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Composer: Roger Limb<\/p>\n

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Review:<\/p>\n

Although several of the BBC\u2019s Doctor Who <\/strong>DVDs have featured isolated music scores, Silva Screen\u2019s CD marks one of the rare occasions a full score makes its debut on disc (and limited purple LPs), giving fans an opportunity to hear how well the show\u2019s electronic music holds its own outside of the series.<\/p>\n

Roger Limb stays rather exclusively in the realm of traditional suspense scoring, relying on a handful of eerie, cyclical motifs which give the score its momentum. A classic two-note arch forms the score\u2019s main theme, and Limb expands it into extended chords which trail off, punctuated by a synth chime, or layers in a collection of wooden rapping sounds, shakes and scrapes, and light percussion.<\/p>\n

Not unlike John Carpenter\u2019s electronic scores, the 56 minutes of music weaves in and out of various states of unease, but there are no extended confrontation cues or singular cathartic moment. Most of Limb\u2019s music is designed to sustain tension, and the strategic nature has most cues end without resolution.<\/p>\n

A march (\u201cDoctor Pursued\u201d) is the score\u2019s main action motif, and like Carpenter, Limb adds a throbbing bass line which provides some contrast against the mid-range rapping and arching synthetic strings. The epic \u201cMilk of the Queen Bat\u201d brings the score to a formal close, stitching together all the motifs into a 7 minute cue, but the edited material still mandates a restatement of Ron Grainer\u2019s classic series theme to bring the score to its end.<\/p>\n

Most of the cues average less than two minutes, but Limb\u2019s variations and instrumentation emulations provide a decent level of variety in what\u2019s essentially an hour-long suspense suite. Silva\u2019s mastering is clean and, and as fans of the BBC are aware, the score is in straight mono with the lone cue \u201cThe Magma Beast\u201d either being the only surviving stereo cue, or a curious exception or experimentation from Limb. Whether it was convention for pre-stereo shows or the BBC\u2019s in-house practices, the music from shows like Edge of Darkness <\/strong>(Eric Claption and Michael Kamen) and Tender is the Night<\/strong> (Richard Rodney Bennett) have only appeared in flat, dry mono recordings.<\/p>\n

Limb\u2019s other series contributions include The December Rose<\/strong> (1986), Steam Days <\/strong>(1986), Through the Dragon\u2019s Eye <\/strong>(1989), and Troublemakers<\/strong> (1990).<\/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>\/\u00a0D<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ D . Rating: Very Good Label: Silva Screen Records\/ Released: March 25, 2013 Tracks & Album Length: 35 tracks \/ (56:42) . Special Notes: Also available as a digital album and limited vinyl pressing. . Composer: Roger Limb . . Review: Although several of the BBC\u2019s Doctor Who DVDs have […]<\/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":[2370,155,2371],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1U2","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7318"}],"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=7318"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7318\/revisions"}],"predecessor-version":[{"id":7324,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7318\/revisions\/7324"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7318"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7318"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7318"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}