{"id":8119,"date":"2014-03-10T01:06:29","date_gmt":"2014-03-10T05:06:29","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=8119"},"modified":"2014-10-07T13:32:37","modified_gmt":"2014-10-07T17:32:37","slug":"cd-hours-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=8119","title":{"rendered":"CD: Hours (2013)"},"content":{"rendered":"

\u00a0<\/i><\/span><\/p>\n

\"Hours2013\"<\/a>Score<\/strong>: Very Good<\/p>\n

Label<\/strong>: Varese Sarabande<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0<\/span>December 17, 2013<\/p>\n

 <\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a012 tracks \/ (46:00)<\/p>\n

Composer:\u00a0<\/strong>Benjamin Wallfisch<\/p>\n

Special Notes:<\/strong>\u00a0 4-page colour booklet with director’s liner notes.<\/span><\/p>\n

\u00a0<\/span><\/p>\n

\n

 <\/p>\n

Review:<\/strong><\/p>\n

In a film where almost the entire drama occurs inside an abandoned hospital, Benjamin Wallfisch (Dear Wendy<\/b>, Hammer of the Gods<\/b>) adds both scope and subtext using a driving rhythm, and recurring fragments of a gentle main theme, often played on piano or accentuated with delicate woorwinds.<\/p>\n

\u201cHospital\u201d starts the score with an energetic, rhythmic motor, but \u201cAbigail\u201d is its antithesis, with sustained chords that gradually loosen for a swell of strings and delicate piano to accentuate the lead character\u2019s inner fight to process the impossible situation of losing his wife, but having a newborn struggling to survive in an incubator. It\u2019s an unusually long cue \u2013 a full 6 mins. \u2013 which allow Wallfisch to map out the full flow of shock, denial, anger, blame, and deep uncertainty, of which the latter dominates the father once he\u2019s alone with his daughter, hand-cranking a battery every 3 mins. to keep the newborn alive until help arrives.<\/p>\n

The flashbacks and a brief, hallucinatory visitation of his dead wife bring back warm sounds into what\u2019s ostensibly a cold, quiet, brooding score, much in the way James Horner used soft keyboards over dark chords in small dramas like Class Action <\/b>(1991). The score\u2019s rhythmic motor \u2013 a metallic, grungy pulse with echo, reverberating bass lines, and arcing chords \u2013 also evokes a bit of James Newton Howard\u2019s The Trigger Effect<\/b> (1996) \u2013 Hours<\/b>\u2019 not-too-distant cousin, in terms of a tale involving desperate people surviving in a literally powerless world, but Wallfisch\u2019 music really evokes the hollowness of the hospital, with echoing beats, drones, and digitally reversed sounds capturing the foreboding qualities of a dark building, and the watery danger seeping up from the basement.<\/p>\n

It\u2019s also a beautifully orchestrated work, with its small orchestral elements only slightly dominating the score\u2019s genetic makeup. The electronics and digital processing are very subtle, and Wallfisch scatters his evocative motifs for the building and recurring dangers with precision and restraint. In spite of its often lengthy cues, Hours<\/b> is a precisely designed work with a strong compassionate main theme, and a great sampler of Wallfisch\u2019 skills as composer & orchestrator.\u00a0<\/span><\/p>\n

\u00a0<\/span><\/p>\n

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

\u00a0<\/span><\/p>\n

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 <\/p>\n

Additional Links:<\/strong>
\nIMDB \u00a0<\/a>— \u00a0Composer Filmography<\/a> — \u00a0 Film Review<\/a>
\n\u00a0<\/span><\/p>\n

Select Merchants:<\/strong>
\nAmazon.ca<\/a>\"\" —<\/span> Amazon.com<\/a>\"\" —<\/span> Amazon.co.uk<\/a>\"\" —\u00a0BSX<\/a> —\u00a0Intrada<\/a> —\u00a0Screen Archives Entertainment<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

In a film where almost the entire drama occurs inside an abandoned hospital, Benjamin Wallfisch (Dear Wendy, Hammer of the Gods) adds both scope and subtext using a driving rhythm and recurring fragments of a gentle main theme, often played on piano or accentuated with delicate woorwinds…<\/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":[2589,2588],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-26X","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8119"}],"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=8119"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8119\/revisions"}],"predecessor-version":[{"id":9824,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8119\/revisions\/9824"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8119"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8119"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8119"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}