{"id":9950,"date":"2014-10-31T16:28:49","date_gmt":"2014-10-31T20:28:49","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=9950"},"modified":"2014-10-31T16:28:49","modified_gmt":"2014-10-31T20:28:49","slug":"cd-from-inside-2008","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=9950","title":{"rendered":"CD: From Inside (2008)"},"content":{"rendered":"

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

\"FromInside2008\"<\/a>Score<\/strong>: Very Good<\/p>\n

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

Released:<\/strong>\u00a0\u00a0<\/span>October 7, 2014<\/p>\n

 <\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0\u00a021 tracks \/ (75 mins.)<\/p>\n

Composers:<\/strong>\u00a0Gary Numan, Ade Fenton<\/p>\n

Special Notes:<\/strong>\u00a0 (none)<\/span><\/p>\n

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

\n

 <\/p>\n

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

Gary Numan\u2019s second film score so far (after 1991\u2019s The Unborn<\/strong>) is a collaboration with Ade Fenton for John Bergin\u2019s own animated film version of his post-apocalyptic graphic novel. Unsurprisingly, the instrumental palette is comprised of industrial electronica, sampled and real chorals, feedback, and recurring motifs to accentuate the doom & gloom patina of Bergin\u2019s world.<\/p>\n

\u201cThe Train\u201d establishes the main theme through sampled vocals, as well as the score\u2019s industrial percussion style, whereas subsequent tracks offer broader thematic material and variations of the title track\u2019s rhythmic patterns. The reliance on a singular theme does get a little heavy by the album\u2019s final third, largely because the theme isn\u2019t fully developed, but there\u2019s a nice contrast between the grunge and the ethereal, especially in the use of chorals for gentler theme versions (\u201cOn a Red Lake\u201d), or a child\u2019s song that follows the motif of dragged metal in \u201cThe Empty House.\u201d<\/p>\n

The digitally processed sounds are warmly analogue, making some of the score\u2019s elements (such as sampled strings and reverse-processed sounds) soothing, and although the angry percussive material of early cues is largely diluted in subsequent stripped-down and impressionistic versions (notably for keyboard in the eerie \u201cCee, The Light\u201d), the shift to material that\u2019s more introspective and harmonic is affecting, and closes the score with a decisive dramatic mood in spite of there being no formal end credits (perhaps reserved in the film for a song).<\/p>\n

Lakeshore Records\u2019 album (an expanded reissue of their 61 min. 2012 release with five meaty new tracks) is nicely mastered, and fans of Numan\u2019s heavy electronic sounds should be pleased with the relative balance of addictive percussion and rather ethereal harmonics.<\/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>
\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":"

Gary Numan\u2019s second film score so far (after 1991\u2019s The Unborn) is a collaboration with Ade Fenton for John Bergin\u2019s own animated film version of his post-apocalyptic graphic novel. Unsurprisingly, the instrumental palette is comprised of industrial electronica…<\/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":[3091,3093,3090,3092],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2Au","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9950"}],"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=9950"}],"version-history":[{"count":1,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9950\/revisions"}],"predecessor-version":[{"id":9953,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9950\/revisions\/9953"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9950"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9950"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9950"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}