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█▄ ▀ █▄ ░▒▓ ... iS PRouD To PReSeNT ... ▓▒░ ▄█ ▀ ▄█
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┌────────────────────────────────────────────────────────────────────────────┐
│ │
│ John Ottman - Gothika OST │
│ │
└────────────────────────────────────────────────────────────────────────────┘
┌──[ ReLeaSe iNFo ]───────────────────┬──[ aLBuM iNFo ]──────────────────────┐
│ │ │
│ Ripper.......: TEAM SRN │ Source.......: CDDA │
│ Release Date.: 14-12-2003 │ Album Year...: 2003 │
│ Grabber......: EAC V0.9b4 Win32 │ Music Genre..: Soundtrack │
│ Encoder......: LAME V3.93.1 Win32 │ Record Label.: Varese Sarabande │
│ Bitrate......: 192kbps @ 44,1kHz │ │
│ Quality......: Full Stereo │ Internet URL.: varesesarabande.com │
│ │ │
├──[ aLBuM NoTeS ]────────────────────┴──────────────────────────────────────┤
│ │
│ Rushed at breakneck speed in an attempt to capture a Halloween audience, │
│ Gothika missed its mark and hit theatres at the height of the Christmas │
│ film releases. Its plot is leagues away from having the holiday spirit, │
│ with a criminal psychologist (Halle Berry) accused of murdering her │
│ husband and driven nearly insane in her search for truth. During her │
│ investigation, she fights the horrors of a dark prison and messages from │
│ ghosts that are giving her clues about their murders (that relate also │
│ to her own predicament). Despite some hefty star power (including Robert │
│ Downey, Jr. and Penelope Cruz in supporting roles), the film was │
│ introduced to composer John Ottman from the start as a 'low budget' │
│ horror project. While Ottman was not responsible for the film's late │
│ arrival, the same process that caused the film's delays also led Ottman │
│ on his own journey of frustration and breakneck artistry. Ottman is, of │
│ course, no stranger to the horror genre; he seems to excel with a sense │
│ of morbid pleasure when offered horror films to score, and he even │
│ directed, edited, and scored his own entry, Urban Legends: Final Cut, in │
│ 2000. For Gothika, Ottman would need to lend an organic sound to the │
│ psychological thriller, another task with which the composer is │
│ familiar. After presenting a demo for 15 minutes of the film in just two │
│ days (be sure to read the humorous tale of this event on Ottman's │
│ official site, including his internal response to the 2-day demo │
│ process: "Impossible! It will be shit!"), Ottman impressed the director │
│ and producer of the film with his living, breathing style of orchestral │
│ writing. In the latter stages of production, his score would be expanded │
│ to fit into nearly every dark corner of the film's running time, and the │
│ score had to be frantically placed into the film's scenes before running │
│ the film (in pieces) past the studio for approval. As proven in the │
│ past, however, Ottman is also no stranger to the art of quick-scoring, │
│ and his output for Gothika is impressive under those same circumstances. │
│ │
│ First and foremost, it's important to mention that Ottman's typical, │
│ lyrical style of providing a gothic atmosphere for his music is alive │
│ and well in Gothika. He occasionally loses that creative touch in the │
│ horror genre, as had happened with Trapped the previous year. But his │
│ knack for solemn themes, choral majesty, and unusual percussion comes │
│ into full play here, making Gothika a score that transcends the normal │
│ boundaries of 'fright and flight' thriller scores. The orchestral │
│ ensemble is not as pounding and relentless in its bold brass hits (as, │
│ for instance, we would hear in his, or Chris Young's or Graeme Revell's │
│ slasher works). One notable moment of shrill brass hits comes in the │
│ "Revelation" cue. Restraining the score to the psychological realm, │
│ however, Ottman provides personal themes for three elements in the film, │
│ and relies on scratching, tearing, and quivering sound effects with the │
│ ensemble for most of the traditionally scary accents. His piano and │
│ string theme for the primary character, Miranda, is soft and personable, │
│ highlighted by a three-note woodwind/choral motif over the top of key │
│ chord changes. This simple touch would prove to be the highlight of the │
│ score, because while Ottman would incorporate the full Miranda theme │
│ into a few other places throughout the score, the three-note motif, │
│ following the same compassionate appeal as the whole theme, is worked │
│ into many more cues throughout the effort. The motif serves as a │
│ reminder of the character's goodness, and provides hope in an otherwise │
│ troubled underscore. The theme for the little girl's ghost is mixed with │
│ the sound effects of disjointed whispering sounds. An oppressive theme │
│ for the prison itself is performed by cello and choir, and its empathic │
│ connection with the audience is established in "One of Us" and "You're │
│ Next." The latter cue serves as a suite, to some extent, of the film's │
│ thematic ideas, and the score finishes on a slightly optimistic │
│ rendition of Miranda's theme. For the sake of suspense, the cue "Final │
│ Escape" makes excellent use of timpani and an array of clicking │
│ percussion, satisfying Ottman collectors who prefer his keen sense of │
│ working an entire ensemble into each work. Overall, there is at least │
│ ten minutes of very enjoyable, thematic development in Gothika, and │
│ while the suspenseful underscore in between these minutes is nothing │
│ spectacular, Ottman fans should not hesitate to investigate his newest │
│ lyrical journey in the darkness. │
│ │
│ Enjoy another GREAT release from SRN!!! │
│ │
└────────────────────────────────────────────────────────────────────────────┘
┌────────────────────────────────────────────────────────────────────────────┐
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│ |_ _|.----.---.-.----.| |--.| |_|__|.-----.| |_ │
│ | | | _| _ | __|| < | | ||__ --|| _| │
│ |___| |__| |___._|____||__|__||_______|__||_____||____| │
│ │
│ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ │
│ │
│ 01 - Prologue [02:11] │
│ 02 - Miranda's Theme [01:50] │
│ 03 - Remembering Rachael [02:37] │
│ 04 - Final Escape [06:24] │
│ 05 - Road Block / First Contact [02:37] │
│ 06 - An Affair [03:05] │
│ 07 - First Escape [04:22] │
│ 08 - One Of Us / The Shower [04:03] │
│ 09 - Willow Creek [03:39] │
│ 10 - Recollections [03:19] │
│ 11 - The House / Dream [04:02] │
│ 12 - I'm The Mirror / Not Alone [02:24] │
│ 13 - Revelation [04:47] │
│ 14 - You're Next [02:44] │
│ 15 - I See Dead Kids [01:50] │
│ │
│ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ │
│ │
│ ToTaL TRaCKS: [ 15 ] · SiZe: [ 68,7 MB ] · ToTaL TiMe: [ 49:54 ] │
│ │
└────────────────────────────────────────────────────────────────────────────┘
()_()
(o o)
┌──[ GRouP iNFo ]────────────────ooO──`o'──Ooo───────────────────────────────┐
│ │
│ TEAM SiRiON was established in the beginning of March 2003 by a group of │
│ friends with a certain experience into the scene along a couple of years │
│ and with the desire of contributing with all our work and effort to it │
│ sharing our music with all of you. │
│ │
│ All we do is only and exclusively for fun, without purpose of profit. If │
│ you like this release then please go to the music store and buy it, │
│ otherwise you should delete it before 24 hours. │
│ │
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│ public forums, and so on; in a few words... NOTHING AT ALL. │
│ │
└────────────────────────────────────────────────────────────────────────────┘
┌──[ JoiN uS ]───────────────────────────────────────────────────────────────┐
│ │
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