{"id":9954,"date":"2014-10-31T16:29:21","date_gmt":"2014-10-31T20:29:21","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=9954"},"modified":"2014-10-31T16:29:21","modified_gmt":"2014-10-31T20:29:21","slug":"mp3-canal-the-2014","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=9954","title":{"rendered":"MP3: Canal, The (2014)"},"content":{"rendered":"

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

\"Canal2014\"<\/a>Score<\/strong>: Excellent<\/p>\n

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

Released:<\/strong>\u00a0\u00a0October 7, 2014<\/p>\n

Tracks \/ Album Length:<\/strong>\u00a0 23 tracks \/ (51 mins.)<\/p>\n

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

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

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

\n

 <\/p>\n

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

It\u2019s been a while since musique concrete <\/em><\/a>has comprised the bulk of a score, but Ceiri Torjussen\u2019s managed to apply the experimental technique of combining raw sounds with assorted instrument scratching, banging, grinding, and knocking to create a bizarre world where there is virtually no warmth, light, or moment of sanity.<\/p>\n

The easy approach, one could argue, is to mine pre-existing sound libraries and shape sounds into broad blankets of sonic textures, but every organic cue in The Canal<\/strong> is hand-crafted to a specific level of a character\u2019s downward spiral, and Torjussen sticks with an intimate combination of strings, piano, tonal feedback, and a scratchy LP.<\/p>\n

Each cue consists of a gradual evolution of sounds with jarring interruptions or dramatic accents, and if there\u2019s any parallel to his approach, it\u2019s a combination of Christopher Young\u2019s early scores and non-film works of the 1980s (the \u2018immersion passages\u2019 within Hider in the House<\/strong>, or aspects of the Hellraiser<\/strong> films), and especially Ennio Morricone\u2019s giallo scores of the late sixties \/ early seventies where strings, percussion and piano where the core instruments from which weirdness was extrapolated. Like Morricone\u2019s work with the experimental Guppo di improvvisazione nuova consonanza<\/a>,<\/p>\n

Torjussen\u2019s cues have moments of loose, free-drifting sounds, and while the cues are much shorter than the Gruppo\u2019s sometimes epic creations, they\u2019re no less creative. The lone area where Torjussen applies colour occurs in \u201cPutrid Premonitions,\u201d a Morricone-styled cue where interwoven high pitched, squealing tones form a distracting aural blanket, over which a cluster of chimes suddenly erupt. On it\u2019s own, the cue is highly atmospheric, but when it occurs within the score\u2019s first third, it\u2019s terrifying because Torjussen\u2019s almost coddled the listener into accepting a limited range of sounds before colour crashes through the strained, sustained grubby chords.<\/p>\n

The Canal<\/strong> isn\u2019t for broad tastes, but those with an affinity for experimental works and gnashing giallo scores will relish this rare foray into weird terrain, using organic sounds in place of digital manipulations.<\/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>\u00a0— 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":"

It\u2019s been a while since musique concrete has comprised the bulk of a score, but Ceiri Torjussen\u2019s managed to apply the experimental technique of combining raw sounds with assorted instrument scratching, banging, grinding, and knocking to create a bizarre world where there is virtually no warmth, light, or moment of sanity…<\/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":[2934,3095,3094],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2Ay","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9954"}],"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=9954"}],"version-history":[{"count":1,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9954\/revisions"}],"predecessor-version":[{"id":9956,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/9954\/revisions\/9956"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=9954"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=9954"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=9954"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}