THE TRIANGLE (2005/2006)
Music composed and produced by Joseph LoDuca.
21 Tracks (Playing Time = 53:00)
Performed by the Moscow Symphony Orchestra. Music conducted by Judd Maher, Bill Stromberg, and Joseph LoDuca. Orchestrations by Nathan Hofheins, Bill Stromberg, David DePalo, and Joseph LoDuca. Music recorded at LA East, Mosfilm Studio, and LoDuca Music. Engineered by Glenn Neibaur, Gennardy Papin, and Scott Davidson. Score mixed by Scott Davidson. Additional programming and recording by Joshua Matthews. Score edited by Jason Ruder. Album digitally edited and mastered by James Nelson at Digital Outland. Art direction by Mark Banning.
La-La Land Records LLLCD 1043
THE TRIANGLE is a Bryan Singer and Dean Devlin six-hour mini-series produced for the BBC and premiering on the Sci-Fi Channel this year. Joseph LoDuca, no stranger to television score fans, has a somewhat broader pallete to choose from here pulling together symphonic orchestral score, electronics, and even manipulated sounds like playing prerecorded orchestral score and percussion in reverse. The composer points out in the notes that there are three primary ideas present in the score and that this number is important to the music’s developmental process.
The music at times has a strong minimalist pulse moving in a three-note rhythmic motif which recurs throughout other tracks as well. There is a style at times that sounds like Danny Elfman’s darker side, or perhaps the sound of Beltrami’s score for HELLBOY, but the one thing that will strike listeners is that this score is close in sound to BATMAN BEGINS. In fact, the music here is far more interesting and engaging than that score which makes one wonder why LoDuca is not called on more often for large-scale films. His score for BROTHERHOOD OF THE WOLF (2001) is worth seeking out for those looking for a sample of what he can do.
The primary thematic idea winds its way throughout the score helping to anchor the various tracks. Even the more unusual manipulated sections sound right in the mix making musical sense rather than sounding like some compositional trick. The urban beat patterns are similar to that heard in other of LoDuca’s scores for XENA. “To the Edge” throws in electric guitar in an odd sound design that aptly illustrates the tracks title. Some of the tracks flow easily in and out from one another seamlessly giving the impression of a larger suite-like presentation. The gentle lyric line that appears in “Reality” is a respite from the stormier tracks that preceded it. Scored additionally for guitar it also includes some sound design elements and female vocalise. The latter appears in other tracks as well adding a human element to the sound. “The Adventurer” incorporates some of the Eastern European sounds that fans have come to expect. There are elements that also have a contemporary popular rhythmic beat that unlike other scores, seems less out of place in LoDuca’s music. And as the score plays on these various threads weave there way in and out of each track.
LoDuca fans will find a great deal to enjoy in this latest release that samples some of the music composed for this lengthy telefilm. Others will find a score that is interesting, immediately engaging, and rewarding on repeated listenings. There are plenty of fascinating nuances throughout that should satisfy his fans in the meantime. The recording is short even for La La Land, but provides a good sample of the music. Though it could have used an end title recap or something to give the disc a better sense of closure.
--Steven A. Kennedy , 18 April 2006
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