{"id":9808,"date":"2014-10-06T22:54:12","date_gmt":"2014-10-07T02:54:12","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=9808"},"modified":"2014-10-06T22:54:12","modified_gmt":"2014-10-07T02:54:12","slug":"cd-damned-the-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=9808","title":{"rendered":"CD: Damned, The (2014)"},"content":{"rendered":"

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

\"Damned2013\"<\/a>Score<\/strong>: Excellent<\/p>\n

Label<\/strong>:\u00a0Lakeshore Records<\/a><\/p>\n

Released:<\/strong>\u00a0\u00a0<\/span>August 19, 2014<\/p>\n

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Tracks \/ Album Length:<\/strong>\u00a0\u00a022 tracks \/ (46:00)<\/p>\n

Composer:<\/strong> Frederik Wiedmann<\/p>\n

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

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 <\/p>\n

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

Perhaps in keeping with the apparent tradition of Spanish horror films being graced with muscular orchestral scores, director Victor Garcia\u2019s The Damned<\/strong> features a very robust score by Frederik Wiedmann, a composer known for combining classical orchestral writing with modernism and an organic use of electronic elements.<\/p>\n

With a child\u2019s ghost being the initial tormentor of a stranded family, Wiedmann\u2019s main theme isn\u2019t just a set of warped notes to evoke terror, but a full arc of rising and plummeting meanness. The composer uses just a few notes which, depending on the instrumentation and treatment, range from haunting to aggressively vicious, or in \u201cAlone\u201d appear like a bone-chilling presence whose wisps of misty disharmony tickle and taunt isolated and wary victims. Wiedmann\u2019s integration of processed voices \u2013 reversed or layered whispers \u2013 are effective in foreshadowing danger, but it\u2019s his emphasis on long, drawn-out notes, bowed to draw out as much vibrato as possible, that are really unsettling.<\/p>\n

His use of volume dynamics is equally important in maintaining a state of unease by acclimatizing the listener to the elongated pacing of his theme, having chords drift into silence, and then exploit the safety of silence by strategic bursts of rising strings that gnash and plunge into shrill clusters. The Damned<\/strong>, however, isn\u2019t a full-on symphony of aggression \u2013 Wiedmann maintains an even keel, sticking to a state of discomfort and periodically leaning into nightmarish terrain.<\/p>\n

Lakeshore\u2019s CD is well-mastered and offers a fairly generous selection of cues which should please fans of horror scores where subtle electronics and digital processing support a meticulously arranged, large orchestral body.<\/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>
\nEditor’s Blog<\/a> — Composer 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":"

Perhaps in keeping with the apparent tradition of Spanish horror films being graced with muscular orchestral scores, director Victor Garcia\u2019s The Damned features a very robust score by Frederik Wiedmann, a composer known for combining classical orchestral writing with modernism and an organic use of electronic elements…<\/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":[3062,58],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2yc","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9808"}],"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=9808"}],"version-history":[{"count":2,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9808\/revisions"}],"predecessor-version":[{"id":9819,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9808\/revisions\/9819"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9808"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9808"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9808"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}