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▐▓▌▐█▌ Artist : Clinton Shorter ▐█▌▐▓▌
▐▀▄██ Album : District 9 OST ██▄▀▌
▄███▌ Label : District 9 Ltd. ▐███▄
▀███▌ Genre : Soundtrack ▐███▀
▐▄▀██ Street date : 2009-00-00 ██▀▄▌
▐▓▌▐█▌ Quality : 188 kbps / 44.1kHz / Joint Stereo ▐█▌▐▓▌
▓█▄▀▀ Encoder : Lame 3.97 -V2 --vbr-new ▀▀▄█▓
▓███ Size : 42.43 MB ███▓
▀ ▀█▌ Time : 29:45 min ▐█▀ ▀
▓▄███ Url : http://www.clintonshorter.com/ ███▄▓
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█▓▌ 1. District 9 6:28 ▐▓█
█▓▌ 2. I Want That Arm 2:13 ▐▓█
█▓▌ 3. She Calls 1:35 ▐▓█
█▓▌ 4. Exosuit 3:15 ▐▓█
█▓▌ 5. Harvesting Material 1:46 ▐▓█
█▓▌ 6. Heading Home 1:14 ▐▓█
█▓▌ 7. A Lot Of Secrets 2:27 ▐▓█
█▓▌ 8. Back To D9 1:45 ▐▓█
█▓▌ 9. Wikus Is Still Running 2:57 ▐▓█
█▓▌ 10. Get Him Talking 2:05 ▐▓█
█▓▌ 11. Prawnkus 4:00 ▐▓█
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▐▓▌▐█▌ Sold only on Amazon.com. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ http://www.discogs.com/release/1929488 ▐█▌▐▓▌
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▐▓▌▐█▌ REVIEW: ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ Every so often a film, and composer arrive out of nowhere to ▐█▌▐▓▌
▐▓▌▐█▌ promise they'll be a formidable presence on the cinematic ▐█▌▐▓▌
▐▓▌▐█▌ landscape. And that's literally the case with DISTRICT 9, ▐█▌▐▓▌
▐▓▌▐█▌ wherein an alien spacecraft shows up one day over the skies ▐█▌▐▓▌
▐▓▌▐█▌ of Johannesburg, South Africa- announcing itself with the ▐█▌▐▓▌
▐▓▌▐█▌ mournful ethnic-action strains of a Canadian named Clinton ▐█▌▐▓▌
▐▓▌▐█▌ Shorter. I can't pretend to having heard anything from Mr. ▐█▌▐▓▌
▐▓▌▐█▌ Shorter's active resume that's included such soundtracks as ▐█▌▐▓▌
▐▓▌▐█▌ CANADIAN ZOMBIE, SECRETS OF AN UNDERCOVER WIFE or NYC: ▐█▌▐▓▌
▐▓▌▐█▌ TORNADO TERROR. But you can bet I'll be listening now as his ▐█▌▐▓▌
▐▓▌▐█▌ breakthrough score creates a real voice for the clicking ▐█▌▐▓▌
▐▓▌▐█▌ language of the most impressive alien invasion to hit movie ▐█▌▐▓▌
▐▓▌▐█▌ theaters in years. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ The so-called "Prawns" of DISTRICT 9 have brought uncommon ▐█▌▐▓▌
▐▓▌▐█▌ socio-political luggage with them for their extended, ▐█▌▐▓▌
▐▓▌▐█▌ unwanted stay in the this ghetto that reeks of Apartheid. And ▐█▌▐▓▌
▐▓▌▐█▌ for all of their repellent habits and appendages, these ▐█▌▐▓▌
▐▓▌▐█▌ insectoids could just as well be the noble black folk who ▐█▌▐▓▌
▐▓▌▐█▌ were victimized for decades. Yet if DISTRICT 9 was some ▐█▌▐▓▌
▐▓▌▐█▌ heavy-handed political statement, critics and audiences would ▐█▌▐▓▌
▐▓▌▐█▌ have stamped it "Return to Sender" instead of making it this ▐█▌▐▓▌
▐▓▌▐█▌ summer's biggest sleeper hit. The same can be send of ▐█▌▐▓▌
▐▓▌▐█▌ Shorter's music, which is rife with melodic analogies, but ▐█▌▐▓▌
▐▓▌▐█▌ also delivers the kind of propulsive goods that are within ▐█▌▐▓▌
▐▓▌▐█▌ the realms of such bigger composing fish as John Powell and ▐█▌▐▓▌
▐▓▌▐█▌ Hans Zimmer. While Shorter's gone for that sound on what's ▐█▌▐▓▌
▐▓▌▐█▌ probably a fraction of their music budgets, it's exactly this ▐█▌▐▓▌
▐▓▌▐█▌ kind of slightly dodgy charm that makes DISTRICT 9 seem ▐█▌▐▓▌
▐▓▌▐█▌ completely "real" within a format that starts out as a sci-fi ▐█▌▐▓▌
▐▓▌▐█▌ mockumentary, and then goes for the throat. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ Like documentaries that are trying to make a heavy-handed ▐█▌▐▓▌
▐▓▌▐█▌ point, Shorter quickly unloads the portentousness right off ▐█▌▐▓▌
▐▓▌▐█▌ the bat with his main title "District 9," serving up the kind ▐█▌▐▓▌
▐▓▌▐█▌ of elegiac tribal voice that past scores have conditioned us ▐█▌▐▓▌
▐▓▌▐█▌ to scream "Africa!" upon hearing. Then there's the ▐█▌▐▓▌
▐▓▌▐█▌ overlapping beds of dark percussion and thematic melody, ▐█▌▐▓▌
▐▓▌▐█▌ mixed with a military tone that's on every secret agent's ▐█▌▐▓▌
▐▓▌▐█▌ headphones when going on a mission in the darkest ethnic ▐█▌▐▓▌
▐▓▌▐█▌ jungles. Except here Shorter's using that de rigueur style ▐█▌▐▓▌
▐▓▌▐█▌ for a goofball bureaucrat who's evicting prawns from their ▐█▌▐▓▌
▐▓▌▐█▌ hovels for a move to a bigger, better concentration camp. And ▐█▌▐▓▌
▐▓▌▐█▌ it's that combination of playing it stereotypically straight, ▐█▌▐▓▌
▐▓▌▐█▌ while using the clichΘ for satire that makes all the ▐█▌▐▓▌
▐▓▌▐█▌ difference when it comes to the film and its music. It's so ▐█▌▐▓▌
▐▓▌▐█▌ darned right that you couldn't imagine a different approach. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ Yet if you just heard these prawns as satiric metaphors, then ▐█▌▐▓▌
▐▓▌▐█▌ DISTRICT 9 and its score would have just been a cool one-joke ▐█▌▐▓▌
▐▓▌▐█▌ idea. It's Shorter's ability to make us musically care about ▐█▌▐▓▌
▐▓▌▐█▌ these characters that makes them as real, and truthful as ▐█▌▐▓▌
▐▓▌▐█▌ possible. The use of strings in such cues as "I Want that ▐█▌▐▓▌
▐▓▌▐█▌ Arm" and "She Calls" brings out the plight of Prawn and ▐█▌▐▓▌
▐▓▌▐█▌ human- unctuous creatures who are actually noble, and a ▐█▌▐▓▌
▐▓▌▐█▌ despicable government pawn who finds his soul by being ▐█▌▐▓▌
▐▓▌▐█▌ morphed into the other side of the tracks, as it were. Just ▐█▌▐▓▌
▐▓▌▐█▌ as John Powell has did with the innumerable BOURNE IDENTITY ▐█▌▐▓▌
▐▓▌▐█▌ scores that transformed the face of action scoring quicker ▐█▌▐▓▌
▐▓▌▐█▌ than any swallowed alien liquid, Shorter uses memorable ▐█▌▐▓▌
▐▓▌▐█▌ melody on top of rhythm to give the heroes emotional empathy, ▐█▌▐▓▌
▐▓▌▐█▌ even as they're firing alien weaponry. And Shorter has some ▐█▌▐▓▌
▐▓▌▐█▌ great metallic sounds up his sleeve in "Exosuit," the ▐█▌▐▓▌
▐▓▌▐█▌ percussion clanking with an awesome, slightly weird grinding ▐█▌▐▓▌
▐▓▌▐█▌ that embodies our unlikely hero's ultimate change into alien ▐█▌▐▓▌
▐▓▌▐█▌ super-weapon. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ But if Powell and Zimmer have taught us anything, it's that ▐█▌▐▓▌
▐▓▌▐█▌ you've got to have catchy percussion when you're blasting ▐█▌▐▓▌
▐▓▌▐█▌ your way through Africa or the Middle East. And in such cues ▐█▌▐▓▌
▐▓▌▐█▌ as "Harvesting Material," "A Lot of Secrets" and "Get Him ▐█▌▐▓▌
▐▓▌▐█▌ Talking," Shorter goes into full-on Bourne mode, unleashing ▐█▌▐▓▌
▐▓▌▐█▌ rhythmic African instruments over orchestral adrenalin and ▐█▌▐▓▌
▐▓▌▐█▌ his alien "heavy metal" sound, an approach that evoking ▐█▌▐▓▌
▐▓▌▐█▌ everything from BLACK HAWK DOWN to BATTLESTAR GALACTICA- an ▐█▌▐▓▌
▐▓▌▐█▌ effective mash-up of newfangled action and sci-fi scoring ▐█▌▐▓▌
▐▓▌▐█▌ that makes DISTRICT 9 rock. But where other scores of this ▐█▌▐▓▌
▐▓▌▐█▌ type can get lost in the beat, it's always the strong ▐█▌▐▓▌
▐▓▌▐█▌ emotional content that makes his score something to get ▐█▌▐▓▌
▐▓▌▐█▌ thrilled by, as well as to ponder. So that by the time we get ▐█▌▐▓▌
▐▓▌▐█▌ the calm after the alien vs. merc shitstorm with "Prawnkus," ▐█▌▐▓▌
▐▓▌▐█▌ you're left looking up at the skies with a subtle, yet ▐█▌▐▓▌
▐▓▌▐█▌ resounding feeling that you've just watched, and heard ▐█▌▐▓▌
▐▓▌▐█▌ something momentous. Something almost religious. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ Like such genre game-changers as THE TERMINATOR and THE ▐█▌▐▓▌
▐▓▌▐█▌ MATRIX (I'll give a mulligan to ALIEN NATION if you'd like ▐█▌▐▓▌
▐▓▌▐█▌ given this case), DISTRICT 9 takes any number of sci-fi and ▐█▌▐▓▌
▐▓▌▐█▌ soundtrack warhorses and creates something new and exciting ▐█▌▐▓▌
▐▓▌▐█▌ with them. Something you want to see, and hear more of. Like ▐█▌▐▓▌
▐▓▌▐█▌ the millions of prawn shantytowns that now litter ▐█▌▐▓▌
▐▓▌▐█▌ Johannesburg, Clinton Shorter has indelibly put himself on ▐█▌▐▓▌
▐▓▌▐█▌ the scoring landscape. And it's very likely he's got the ▐█▌▐▓▌
▐▓▌▐█▌ talent to stay there as the probable DISTRICT 9 sequels ▐█▌▐▓▌
▐▓▌▐█▌ advance the prawns' saga up the numerical system, not to ▐█▌▐▓▌
▐▓▌▐█▌ mention the new avenues the film's deserved success will send ▐█▌▐▓▌
▐▓▌▐█▌ this new hot property on. ▐█▌▐▓▌
▐▓▌▐█▌ ▐█▌▐▓▌
▐▓▌▐█▌ --Daniel Schweiger ▐█▌▐▓▌
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