Andrew Lockington -微光城市 City of Ember Score[MP3]

资源信息：

专辑中文名: 微光城市
专辑英文名: City of Ember
艺术家: Andrew Lockington
资源格式: MP3
版本: Score
发行时间: 2008年11月04日
地区: 美国
语言: 英语
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概述:

专辑介绍:
故事设定在浩劫后的未来，一座设定只能运作200年的地下城市建成，用于维系人类最后的族群。这个黑暗城市中唯一的照明就是街道上的灯泡。随着城市运作近200年，停电次数越来越频繁，“微光市”里的居民开始恐慌起来。
少年莉娜和杜恩是一对好朋友，两人常在如迷宫般的城市地下管道中嬉戏。莉娜偶然发现一份残破的文件，她和杜恩将它拼凑起来，发现那竟是走出“微光市”的指引！难道在无尽的黑暗之外，另有天地？莉娜和杜恩将竭尽所有勇气和智慧去解开其中的秘密，从而拯救整个城市……一切必须赶在“微光市”的灯光熄灭之前！
养育了几代人的“微光城市”可能是人类最后的一个栖息之地了，住在里面的居民在这个散发着光芒的令人惊奇的世界里休养生息，处处是一片欣欣向荣的繁华景象。这座城市位于地下很深的地方，是作为人类最后的避难所建立起来的，一切能源都来自于一台巨大的发电机，它只能为这座城市供应200年的电力……现在的“微光城市”已经开始步入末路了，寿命慢慢走到尽头的发电机也随时都有“罢工”的可能，那些最初十分耀眼的灯光开始摇摆不定，渐渐地微弱了下来。
尽管所有的人都关心着这个被他们深受着的城市的未来命运，可是还在读书的年轻人却有着更加迫切需要面对的人生抉择。“微光城市”所有即将毕业的学生都延续着一个特别的“结业仪式”，他们通常管这一天叫“任务分配日”，市长会亲自站在那里，通过抓阄的方式，决定学生们未来的工作，看看他们都将会以什么样的方式为这座城市、这个社会奉献自己余下的生命：莉娜一直在虔诚地祈祷着，希望可以得到邮递员的工作，可是她最终却惊恐地发现自己被分派到了“管道工程组”，负责这座地下城市巨大的管道作业；莉娜的同学杜恩·哈罗也有着心仪许久的去处，他想进入城市的“心脏”，为发电机做维护工作，可是他却痛苦地发现自己抽到的是写着邮递员的工作签。
虽然“管道工程组”不能直接接触发电机，可是工作的范围却离得很近，所以杜恩提出与莉娜交换……对于能够得到自己梦寐以求的工作，莉娜是既恐惧，又充满感激和渴望，通过这件事，两个人的心也第一次靠近起来。
当上了邮递员的莉娜，很快就发现自己几乎跑遍了“微光城市”的大街小巷，为重要的人传递着更加重要的信件，包括市长本人……回到家中，她还要照顾已经上了年纪而且非常健忘的祖母，以及年纪尚小的妹妹波比。无意中，莉娜在家里的储藏室发现了一个老旧的金属盒子，祖母非常肯定地告诉她，这个盒子里隐藏着一个有关这座城市的终极秘密，可是健忘的她却怎么也想不起来这个秘密的具体内容了。
莉娜撬开了铁盒上已经锈迹斑斑的锁，发现里面尽是一些古老的文件，由于没办法把这些分散的纸张按顺序归拢到一起，莉娜怎么也弄不明白里面到底传达了一个什么样的信息，这个时候，她想到了杜恩。
由于能源即将用尽，“微光城市”的灯火管制越来越频繁，莉娜和杜恩意识到盒子里的文件很可能会拯救他们这个已经渐显疲态的城市和居民……现在，他们需要做的就是与时间进行赛跑，伴随着线索一点点被揭开，莉娜和杜恩聪明地用计谋与那些腐败的政客周旋，他们最终的目的，就是重建“微光城市”中的照明体系，恢复这个城市赖以生存的能源。
关于本片原声介绍:
A lavish sci-fi fantasy based on the novel by Jeanne Duprau, City of Ember is the second film from director Gil Kenan, following his animated 2006 debut, Monster House. The film stars Saoirse Ronan and Harry Treadway as Lina and Doon, two teenagers who live in the underground city of Ember, built several centuries previously when the surface of the Earth was left uninhabitable by an unspecified disaster. Lina and Doon begin to discover some dark secrets about Ember: the city is crumbling, both physically and morally, and the corrupt mayor Cole (Bill Murray) doesn’t seem to care. Taking the advice of several similarly disillusioned inhabitants of Ember, Lina and Doon take it upon themselves to escape from Ember, and a way back to the surface. The film, which also stars Mackenzie Crook, Marianne Jean-Baptiste, Martin Landau and Tim Robbins, boasts dazzling production design and special effects, and features an original score by up-and-coming Canadian composer Andrew Lockington.
Originally, City of Ember was to be scored by Kenan’s composer on Monster House, Douglas Pipes, but for whatever reason Pipes’ score was rejected and Lockington came in to replace him. If Lockington truly was a late addition to the post-production crew, it would go some way to explaining why City of Ember is not quite the score it could have been: while still enjoyable, it has the slight feeling of being just a little bit rushed, a little bit last-minute, and never truly comes across as being as well-structured as some of Lockington’s other works, such as Skinwalkers or Journey to the Center of the Earth.
Having said that, there is still a great deal to admire in City of Ember. Lockington’s mastery of using a full orchestra is still apparent, as is his knack for writing memorable main themes. The theme from City of Ember, first heard in the “Main Title”, is a typically strident and noble affair, full of dramatic horn chords and string string writing. The presence of Nicholas Dodd in the orchestrations and wielding the baton is also quite evident; some of the little touches and flourishes are obviously his work, as they carry over from the scores he orchestrated for David Arnold, Mychael Danna and Clint Mansell in recent years.
The bulk of the score, however, tends to be a tiny bit repetitive. The actual writing is fine, and some of the touches in instrumentation, or orchestral color, or performance technique, are quite superb. The problem, really, is that it seems to over-rely on performances of the main theme in every cue. It’s almost as though Lockington, in a valiant effort to give the score a sense of itself and an internal structure, decided to base almost every musical moment around his main theme, with the hope that having such an obvious core element would give it a cohesive flow. Unfortunately, and while the theme in itself is very good, the end result comes across as a one-idea score. As I mentioned before, this is quite likely a time thing: Lockington likely had so little time to invest in the creation of a sonic world for City of Ember, he just took his impressive orchestral know-how and through-composed.
Having said that, there are still several moments of musical excellence that are worth picking out. The main secondary theme, for “Lina Mayfleet” is a little more sprightly and energetic, making use of a more lyrical string element underpinned by a staccato piano motif and flighty woodwinds. Its second performance, at the beginning of “Job Exchange” is a nice continuation of the melodic content, while the tremulous pianos underpin several other cues, notably “Message for Clary”, where they come across like rapid-fire Morse code, filtered through John Adams.
There is also a great deal of impressive dissonance and throbbing action material, some of which includes a prominent ticking synth undercurrent, and the bulk of which makes up the score’s finale. Cues such as “Tunnels” and “Room 351” see the main theme is restated in a powerful action setting complete with choir, while “Map and Mole” has the string writing going into frantic overdrive. Later, cues such as “Fugitives” and “Loris’s Bike” are wonderfully vigorous and exciting, and as the score builds to its conclusion, through the stirring “Clockworks”, the thunderous “Control Room” and the dark, dramatic “Water Wheel”, you begin to feel a real sense of scope and emotion in Lockington’s writing. The penultimate cue, “Escape to Sunrise”, is a beautiful, poignant restatement of the main theme with an angelic choir accompanying it; the finale, “One Last Message”, is one of those overpoweringly heroic pieces with powerful major-key chord progressions which run tingles down the listener’s spine.
It may seem that my review is at odds with itself; on the one hand, I’m criticizing it for over-reliance on a single theme, whereas on the other hand I’m praising it for being stirring and powerful and impressive, and giving it four stars. The truth of the matter is that I’m actually a little torn: there’s no doubt that City of Ember, taken at face value, has a lot going for it, and will undoubtedly bring more fans into Andrew Lockington’s camp, especially having composed Journey to the Center of the Earth in 2008 as well. The thing is, I just can’t help this nagging little feeling that, had Lockington been on board the project from day one, and had he been given more time to work on his musical world, and not just simply be content to provide dozens of (admittedly very impressive) variations on the same theme, it might have been better still.
Running Time: 71 minutes 41 seconds (Thank you – Jonathan Broxton)
Thank you so much – Nachoherrmann
专辑曲目:
1. Main Titles (3:30)
2. Lina Mayfleet (1:30)
3. Assignment Day (2:19)
4. Job Exchange (2:29)
5. Blue Sky (1:10)
6. First Day (2:07)
7. Message for Clary (0:52)
8. Tunnels (6:59)
9. The Mayor (2:01)
10. The Box of Ember (2:52)
11. Blackout (1:57)
12. Map and Mole (4:58)
13. Room 351 (3:11)
14. Proof (4:32)
15. Fugitives (3:08)
16. Loris’ Bike (4:04)
17. Interlocking Keys (0:42)
18. Clockworks (5:42)
19. Control Room (4:36)
20. Water Wheel (2:53)
21. The Mayor Retreats (1:08)
22. Stalagmite Trance (0:48)
23. Escape to Sunrise (4:58)
24. One Last Message (3:05)

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