{"id":9374,"date":"2014-08-05T01:06:35","date_gmt":"2014-08-05T05:06:35","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=9374"},"modified":"2014-08-05T01:39:00","modified_gmt":"2014-08-05T05:39:00","slug":"cd-hellbenders-2012","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=9374","title":{"rendered":"CD: Hellbenders (2012)"},"content":{"rendered":"

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

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

Label<\/strong>: Screamworks \/ MovieScore Media<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0<\/span>April 29, 2014<\/p>\n

 <\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a013 tracks \/ (37 mins.)<\/p>\n

Composer:<\/strong>\u00a0Jeff Grace<\/p>\n

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

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

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

J.T. Petty\u2019s first crack as a writer-director was scored by versatile Jeff Grace (The Roost<\/strong>, The Innkeepers<\/strong><\/a>), and the story\u2019s balance of antiquated evil in contemporary times is reflected in a score that similarly juggles old and new world sounds.<\/p>\n

After a furious main title propelled mostly with orchestra, Grace eases in synth chords and processed sounds in subsequent cues, essentially starting the score with a bang before scaling back its aggressiveness with less instrumentation to emphasizes slowly materializing aspects of evil.<\/p>\n

\u201cSutr Loose\u201d is a low-key, kinetic track with an eighties keyboard pulse and rock beat, and \u201cMessiah\u201d uses a slower version of the propellant, with foggy tones and slight electric distortion. Like Grace\u2019s prior horror scores, Hellbenders<\/strong> features some great avant garde sounds, with the main theme twisted and reformulated in several gnashing versions, but the most impressive is \u201cTake the Iron\u201d where any semblance of harmony is torn to pieces by shrill metallic sounds, feedback, and the score\u2019s ongoing motif of dissonance. (\u201cManchild\u201d is similarly affecting due to the pairing of low, grinding strings, and slowly arching tones.)<\/p>\n

Hellbenders<\/strong> is a fairly compact score, never overstating or prolonging its material, and it\u2019s a great example of Grace\u2019s knack for creating horrific sounds that at one time used to be rooted in stability.<\/p>\n

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

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

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

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

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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":"

J.T. Petty\u2019s first crack as a writer-director was scored by versatile Jeff Grace (The Roost, The Innkeepers), and the story\u2019s balance of antiquated evil in contemporary times is reflected in a score that similarly juggles old and new world sounds…<\/p>\n","protected":false},"author":1,"featured_media":9378,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[20],"tags":[2939,2940,33],"jetpack_featured_media_url":"https:\/\/kqek.com\/mobile\/wp-content\/uploads\/2014\/08\/Hellbenders.jpg","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2rc","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9374"}],"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=9374"}],"version-history":[{"count":6,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9374\/revisions"}],"predecessor-version":[{"id":9413,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9374\/revisions\/9413"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/media\/9378"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9374"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9374"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9374"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}