{"id":9798,"date":"2014-10-06T22:34:31","date_gmt":"2014-10-07T02:34:31","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=9798"},"modified":"2014-10-06T22:35:01","modified_gmt":"2014-10-07T02:35:01","slug":"mp3-no-good-deed-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=9798","title":{"rendered":"MP3: No Good Deed (2014)"},"content":{"rendered":"

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

\"NoGoodDeed2014\"<\/a>Score<\/strong>: Very Good<\/p>\n

Label<\/strong>: \u00a0Madison Gate Records<\/a><\/p>\n

Released:<\/strong>\u00a0 <\/span>September 9, 2014<\/p>\n

 <\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a015 tracks \/ (27:00)<\/p>\n

Composer:<\/strong> Paul Haslinger<\/p>\n

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

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

\n

 <\/p>\n

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

For this newest entry in the \u2018unwanted stranger\u2019 sub-genre, Paul Haslinger built his score around a two-beat motif which essentially forms the motor, propelling the film through its inaugural scenes of tension, and subsequent taunting and torment.<\/p>\n

Haslinger alternates with two, four, and six-beat versions of his theme, and it\u2019s a simple tactic that allows him to frequently change the shading of cues by emphasizing the coarseness of churning lower strings (especially with robust vibrato textures in tracks like \u201cWhy Are You Doing This?\u201d), changing tempo, and re-applying his motif via techno pulses, keyboards, and drums, adding little gestures to colour his tensed-up cues, including waves of gliding bass chords, the occasional high-pitched squeal or shimmering sound, and rare moments of warm instrumental timbres (\u201cWe Have to Leave\u201d).<\/p>\n

The score\u2019s least-unsettling cue is \u201cLeaving for the Weekend,\u201d signaling the intro of the heroine by transposing the tension motif to lighter instrumentation \u2013 keyboards and warm chords which evoke obvious innocence – while the rhythmic motif always relates back to the looming danger.<\/p>\n

Using mid and lower strings, Haslinger\u2019s dark palette consists of twisting textures and dark orchestral colours, but the addition of electronics gives the material scope in the lower end: notes and chords tend to drift downward; shrill sounds trail off and dissipate after reaching near distortion; and rare moments of harmonic peace (\u201cTerry\u2019s New Beginnings\u201d) remain locked in a middle ground where there\u2019s calm but no closure, safety but no security.<\/p>\n

Madison Gate Records\u2019 album is nicely mastered, and although Haslinger\u2019s cues tend to run between 1-2 mins., the album\u2019s tight sequencing ensures a gradual dramatic progression to give this suite-styled disc a good dramatic flow.<\/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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 <\/p>\n

Additional Links:<\/strong>
\nEditor’s Blog<\/a> —\u00a0Composer 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":"

For this newest entry in the \u2018unwanted stranger\u2019 sub-genre, Paul Haslinger built his score around a two-beat motif which essentially forms the motor, propelling the film through its inaugural scenes of tension, and subsequent taunting and torment…<\/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":[3058,3057],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2y2","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9798"}],"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=9798"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9798\/revisions"}],"predecessor-version":[{"id":9816,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9798\/revisions\/9816"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}