{"id":7426,"date":"2014-01-06T13:45:10","date_gmt":"2014-01-06T18:45:10","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=7426"},"modified":"2014-02-02T14:51:12","modified_gmt":"2014-02-02T19:51:12","slug":"mp3-pablo-2012","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=7426","title":{"rendered":"MP3: Pablo (2012)"},"content":{"rendered":"

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

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

Label:\u00a0Light Drop Music<\/a> \/ Released: September 1, 2013<\/p>\n

Tracks & Album Length: 18 tracks \/ 35:30<\/p>\n

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Special Notes: \u00a0n\/a<\/p>\n

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Composer: Lior Ron<\/p>\n

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Review:<\/p>\n

Newcomer Lior Ron provides a lively main theme for this needed documentary on influential graphic and film title \/ sequence designer Pablo Ferro. Anchored to a highly rhythmic Latin theme with acoustic guitar, trumpet, assorted skin drums, piano, marimba, and shifting tempi, this is a beautifully performed and orchestrated score which bubbles with the energy, class, and rebellious nature of Ferro\u2019s work which involved sometimes untraditional fonts, geometric shapes, intersecting patterns, and had traditional images blurring or passing though each other during famous title sequences for films like Bullitt<\/strong> (1968 )and The Thomas Crown Affair<\/a><\/strong> (1968).<\/p>\n

Perhaps the score\u2019s most attractive element isn\u2019t its Latin rhythms but Ron\u2019s heavy use of acoustic instruments, which mines the performers\u2019 expertise and gives the score a nice jazzy touch, especially in several extended sections for piano. The intimacy of the small ensemble \u2013 a contemporary jazz-fusuion combo \u2013 is sometimes augmented by slight synths and electric bass, and some elements of the main theme are spun off into purely rhythmic or wholly melodic versions with specific emotional slants. (A nice marriage of the two is \u201cStan Lee,\u201d with the jazzy trumpet \u2013 a major element in Ron\u2019s score – stepping back for a lengthy section for intersecting percussion.)<\/p>\n

The album features a nice programme of the score with tight editing, and while most of the cues tend to make steady use of the whole instrumental combo, the energy that bubbles from Ron\u2019s music is very addictive. Amid the inevitable lure in using synth emulations and material from a music library, it\u2019s nice to hear a score that\u2019s very<\/em> organic, and filled with robust musicianship.<\/p>\n

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\u00a9 2014 Mark R. Hasan<\/p>\n

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External References:<\/p>\n

IMDB<\/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","protected":false},"excerpt":{"rendered":"

Return to:\u00a0Home \/\u00a0Soundtrack \u00a0Reviews \/ P to R . Rating: Very Good Label:\u00a0Light Drop Music \/ Released: September 1, 2013 Tracks & Album Length: 18 tracks \/ 35:30 . Special Notes: \u00a0n\/a . Composer: Lior Ron . . Review: Newcomer Lior Ron provides a lively main theme for this needed documentary on influential graphic and […]<\/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":[2438,2437],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-1VM","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7426"}],"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=7426"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7426\/revisions"}],"predecessor-version":[{"id":7520,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/7426\/revisions\/7520"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=7426"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=7426"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=7426"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}