{"id":8538,"date":"2014-04-24T13:52:49","date_gmt":"2014-04-24T17:52:49","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=8538"},"modified":"2014-04-24T15:51:29","modified_gmt":"2014-04-24T19:51:29","slug":"mp3-privileged-the-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=8538","title":{"rendered":"MP3: Privileged, The (2013)"},"content":{"rendered":"

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

\"Privileged2013_MP4\"<\/a>Score<\/strong>: Very Good<\/p>\n

Label<\/strong>: Jagged Music<\/p>\n

Released:<\/strong> \u00a0March 3, 2014<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0 22 tracks \/ 44 mins.<\/p>\n

Composer:<\/strong> Jeff Toyne<\/p>\n

Special Notes:<\/strong>\u00a0 \u00a0n\/a<\/span><\/p>\n

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

\n

 <\/p>\n

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

Jeff Toyne\u2019s third film score for writer \/ director Leah Walker (after the short The Knockout<\/b> and prior feature film The Third Eye<\/b>) is an eerie, silky orchestral score pretty much bereft of brass instruments and overt electronics.<\/p>\n

Toyne\u2019s strengths are in creating very precise moods using strong themes, and the music of The Privileged<\/b> is anchored to a moving piece which lends itself to utterly bleak presentations (as in \u201cPrologue \u2013 Main Titles\u201d) and more heartwarming \/ hopeful incarnations (\u201cCottage Country\u201d). Using a simple set of ascending \/ descending notes, Toyne changes colours through shifting saturations of strings, sustained chords, and piano \u2013 the latter used to evoke either angelic, emotionally shattered sensations, or deeply pensive statements.<\/p>\n

The suspense score\u2019s star is the strings which Toyne applies in broad strokes, and occasionally has passages where they drift or twist into little bits of discord and dissonance. A few tracks have percussion, mostly to add momentum to the score\u2019s midsection (\u201cInto the Night,\u201d \u201cJohn Fox\u201d) and denouement (\u201cTara, Run!\u201d). A hurdy-gurdy makes a brief appearance in \u201cThe Shotgun Goes Off\u201d prior to a nice section of gnarled sounds, and although most cues tend to have been constructed to bleed in and out of scenes, their brevity doesn\u2019t detract from the score\u2019s ongoing shifts between desperation and faint hope (\u201cSara Steals the File\u201d).<\/p>\n

The Privileged<\/b> has an elegant classical structure, and the digital album is nicely sequenced and mastered, with the beauty of the strings\u2019 vibrato coming through very clearly.<\/p>\n

A podcast interview with Jeff Toyne is also available at Libsyn<\/a> and SoundCloud (audio only) and YouTube<\/a> (with video enhancements).<\/p>\n

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

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

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

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

\n

 <\/p>\n

Additional Links:<\/strong>
\nComposer on IMDB<\/a> \u00a0— \u00a0Composer Filmography<\/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":"

Jeff Toyne\u2019s third film score for writer \/ director Leah Walker (after the short The Knockout and prior feature film The Third Eye) is an eerie, silky orchestral score pretty much bereft of brass instruments and overt electronics. Toyne\u2019s strengths are in creating very precise moods using strong themes, and the music of The Privileged is anchored to a moving piece which lends itself to utterly bleak presentations…<\/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":[56,2662,2663],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2dI","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8538"}],"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=8538"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8538\/revisions"}],"predecessor-version":[{"id":8562,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/8538\/revisions\/8562"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8538"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8538"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8538"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}