{"id":9368,"date":"2014-08-04T23:23:53","date_gmt":"2014-08-05T03:23:53","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=9368"},"modified":"2014-10-09T16:54:01","modified_gmt":"2014-10-09T20:54:01","slug":"cd-test-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=9368","title":{"rendered":"CD: Test (2013)"},"content":{"rendered":"

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

\"Test2013\"<\/a>Score<\/strong>: Very Good<\/p>\n

Label<\/strong>:\u00a0MovieScore Media<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0<\/span>June 3, 2014<\/span><\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a016 tracks \/ (36 mins.)<\/span><\/p>\n

Composer:<\/strong> Ceiri Torjussen\u00a0<\/span><\/p>\n

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

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

\n

 <\/p>\n

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

After working on several high profile scores for Marco Beltrami, orchestrator-composer Ceiri Torjussen branches out with this often amusing dramatic score set in 1985, featuring ridiculously accurate renderings of Tangerine Dream (especially the band’s 1984 score for\u00a0Heartbreakers<\/strong>).<\/p>\n

It\u2019s an interesting choice to design a score so closely on the band\u2019s style (at least in the main titles), but Test<\/strong> quickly finds its own groove with Torjussen\u2019s original thematic material laid out by strings and keyboards, and in several decelerating cues that come to a close with almost ambient, introspective statements.<\/p>\n

Most of the tracks feature short thematic fragments \u2013 \u201cGoodbye Dawn\u201d is a brief looped piece with an increasingly denser cloud of moody tones appearing near the end \u2013 or they function as brief motors designed to propel scenes (such as the bass pulses in \u201cHello Sunrise\u201d).<\/p>\n

A podcast interview<\/a> with composer Ceiri Torjussen is also available.<\/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> —\u00a0 Soundtrack Album<\/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":"

After working on several high profile scores for Marco Beltrami, orchestrator-composer Ceiri Torjussen branches out with this often amusing dramatic score set in 1985, featuring ridiculously accurate renderings of Tangerine Dream…<\/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":[2934,526,2935],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2r6","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9368"}],"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=9368"}],"version-history":[{"count":6,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9368\/revisions"}],"predecessor-version":[{"id":9828,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9368\/revisions\/9828"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9368"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9368"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9368"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}

Whereas the vintage sounds of TD tend to be integrated by composers into sci-fi and horror films to enhance existing homages and director fixations (witness Cliff Martinez’\u00a0Only God Forgives<\/strong><\/a>, or Tyler Bates’\u00a0Doomsday<\/strong>), it\u2019s unusual to find the integration of classic electronica in a drama, evoking a highly specific period yet effectively supporting the characters without devolving into nostalgic mimicry.<\/p>\n