- No upcoming events available
Varèse Sarabande Records will release a two-CD [a.15019]House of Cards: Season 3 Original Netflix Series Soundtrack digitally on [da.2015-09-11]September 11 and on disc [da.2015-10-02]October 2, 2015. The soundtrack features original score composed by [c.674]Jeff Beal. The [t.33760]House of Cards [a.9738]Season 1 and [a.12329]Season 2 soundtracks are also available from Varèse Sarabande.
"Beau Willimon felt season three was all about President Underwood needing to govern," said Beal. "The energy of those storylines, such as America Works, and the Middle East negotiations with the Russian President Petrovhad their own sound."
Playing both the trumpet and the piano on the show's main title theme, Beal sets the tone for the central themes of power, greed and...
Fort Lauderdale, FL. Reelcause, Inc. (OTC:RCIT)and music optimization pioneer Fliktrax Music proudly announce the launch of “Get Your Song On” talent search competition.
It is a competition for amazing artists to showcase their talents, gain fans, win cash, raise money for cancer research & more!
The showcase kicked off on Monday, July 27 and runs through September 25, 2015.
Reelcause has made entering and voting for your favorite artist easy:
● Artists create an account and upload original music video tracks to: http://reelcause.com/getyoursongon/.
● Videos are shared to fan bases, social networks and beyond by the musician in order to gain votes for the music video.
● A portion of the proceeds go to the American Cancer Society and the Women’s Cancer Research Fund.
● Winners and runners up will be chosen based on the number of votes and announced after the contest concludes. Independent judges will also identify trendsetters who will also receive VIP Treatment on the Omnicom Music Library from Fliktrax. There is also a Cancun Getaway Prize selected by Hot Rock TV and another is the possibility to play in New York City via the Talent Army Music.
About Reelcause, Inc.
Reelcause (https://reelcause.com) is a groundbreaking, leading-edge program dedicated to a smarter way to generate revenue and donations. Beyond social networking for fundraising, Reelcause provides members with significant revenue opportunities, while providing a tangible rewards platform to an endless number of personal networks. Revenue channel users are also afforded unparalleled opportunities to partner with other organizations to collaboratively reach goals and fundraise to achieve the greater good. Your creativity and dreams are continuously rewarded through the Reelcause dynamic PeopleSourcing © network.
About Fliktrax Music
Fliktrax Music is a highly optimized online outlet where independent musicians share their music with a broader audience. The Fliktrax team is comprised of professional touring musicians, trained studio engineers, industry respected media composers, and ethnomusicologists who understand that sometimes music is a piece in a much larger puzzle. Our painstaking “meta-tagging” process helps to describe each and every track with exacting detail to make your search quick and accurate. Unlike other music library services that accept any and all submissions, we listen to each in full and only accept what we consider to be the highest quality artists and audio available. Discover the difference today at http://www.fliktrax.com/index.php/ .
Notice Regarding Forward-Looking Statements
This news release contains forward-looking statements, which reflect our views with respect to future events and financial performance. These forward-looking statements are subject to certain uncertainties and other factors that could cause actual results to differ materially from such statements. Readers are cautioned not to place undue reliance on these forward-looking statements, which speak only as of the date the statement was made. We undertake no obligation to update or revise any forward-looking statements, whether as a result of new information, future events or otherwise. For all such forward-looking statements, we claim the safe harbor for forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. The Company disclaims any obligation to update any forward-looking statement made herein.
Christine Kelley Storch, Vice President of Corporate and Client Social Media Reelcause, Inc.
Patrick Finnegan, CEO
With female driven, YA dystopian fiction being all the rage at the multiplex, one of the genre’s first, unintended entries was a 1973 post-nuke diary written by a sixteen year-old survivor named Ann Burden. As penned by “Mrs. Frisby and the Rats of NIMH” author Robert C. O’Brien, (and posthumously completed by his wife and daughter), the award winning book “Z for Zachariah” details the the life of Ann and her beloved dog Faro in a radiation-free Shangri La. located somewhere in rural America, She’s settled into a comfortable, if yearning existence since her family vanished years ago seeking civilization. When the lone scientist Loomis shows up, Ann is at first happy to discover she isn’t the last person on earth. But her initial joy becomes the far stronger emotion of fear when her new visitor displays an increasingly dangerous sense of a survivor’s guilt.
While intended as an adult novel before ending up a staple of school bookmobiles for decades, “Z for Zachariah” now returns, but with a far more muted and up-aged approach in the hands of director Craig Zobel (“Great World of Sound”), whose film adaptation adds Chris Pine’s hunky Caleb to the now-romantic mix between the attractively aged-up Ann (Margot Robbie) and Loomis (Chiwetel Ejiofor). But don’t expect the dramatics of mutants on the prowl or CGI atomic skies, as “Z for Zachariah” takes an intimate, realistic approach to the unthinkable and the possibility of new hope, as given a movingly subtle elegiac (and non-radioactive) atmosphere by composer Heather McIntosh. Her hauntingly poignant, rural score for strings, piano and organ coalesces with slowly-drawn attraction as Ann must make her pick between the men who will literally bring more life to her lonely self-contained existence.
With this second director-composer collaboration between Zobel and McIntosh, “Z for Zachariah” has significantly opened up their visual-musical landscape from the suffocating fast food locker room that mostly served as the location of “Compliance,” McIntosh’s creepily innovative string-and-percussion score showed the depths of human behavior as an innocent worker is tortured by a prank-calling psychopath, who finds the perfectly gullible accomplices to enact his humiliating desires. Though certainly not without its feeling of foreboding psychology, “Z for Zachariah” is a breath of fresh, non-toxic air in particular for McIntosh, who brings an impressively subtle orchestral voice to her work here, one that still remains indie-irradiated in a cool way.
A busy player with such artists as Animal Collective, Bright Eyes and Elephant 6, McIntosh’s composing debut with Zobel’s “Compliance” caught ears with the movie’s attendant controversy, leading to a fellowship at the Sundance Institute and stylistically engaging work on such films as “The Rambler’s” disturbing road trip, the sinister “Honeymoon” and the sweet cross-cultural romance of “Amira & Sam.” While still within that independent scoring framework for “Z for Zachariah,” McIntosh’s mesmerizing, empathetic work looks to bring a new range of journeys to her distinctive, and empathetic voice in a young woman who hopes to discover an outside world now impossibly forbidden to her.
Could you talk about your path into film composing?
I studied composition, electronic music and cello in college in Athens, Georgia. I spent the rest of my time playing cello in bands and working at a video store. My band “The Instruments” (not a smart name when it comes to Google-ability) provided some music for a documentary directed by Astra Taylor called “Examined Life.” That showed me the possibility of really being a film composer. I actually mixed cues from the road with Gnarls Barkley over in Europe. I just started playing bass with them at the time.
“Compliance” was my first narrative feature. I started writing from the script and developed themes long before the picture was shot. I was so surprised when I visited the set and folks working on the production end were telling me they liked the music. It was rad to know the music was showing up as a character so early on.
As “Z for Zachariah” has been a favorite “YA” novel since the 70s, had you read the book ever before getting the film?
I knew about it and I knew people who had to get permission from their parents before reading it in class. Mary Lattimore, who played harp on the score was one of those kids and traumatized by the book as a young reader!
After literally being stuck in a locker room for your last film with Craig Zobel, was it good to get out in the open for “Z for Zachariah?” And did that change the nature of your collaboration for this film?
We knew the score had to have a bigger, more open pastoral feel. We’re in such a beautiful outside space, but the drama is also quite intimate at times. It gave us a really dynamic range to play with. Once again I started work very early on from an early draft of the script.
The pipe organ in the small church that Ann’s father built is where she essentially plays her theme. Did you work her melody out before shooting began?
Yes, that was the first cue I scored. I sent Craig a few different themes, some of which were a little too protestant hymn-y. We knew it needed to nod to her faith and work on the pedal organ, but also be a theme that could be developed in a more thematic way for Ann. Once we got to a good place with the theme, Margot was given the chart and practiced before shooting. I actually went to set and recorded that organ in the film (along with a bunch of other instruments state-side) to find the proper tone.
Ann is a God-fearing, salt-of-the-earth type that could easily be in a faith-based movie. How did you want to represent her religiosity with the score?
It’s interesting. Originally the score had a more brooding tone. Way more old testament, angry God stuff. I think making the shift to follow her journey with sincerity, to really be with her gave her character depth.
The love triangle of “Z for Zachariah” is created for the movie. Do you think that opened up new romantic areas for your music to explore?
Definitely. I loved being able to write for a larger string ensemble. Pulling the mics back and really hearing the instruments in the room added so much to the romantic tone in of itself. There is still tension in the music like my other scores, but there is warmth and yearning there too.
Do you think it emotionally helps being a female composer when you’ve got a movie driven by a woman?
I’m sure it doesn’t hurt! It’s interesting, I initially approached the music as an observer, the tone was more ominous, percussive and darker right out of the gate. Upon further reflection this approach needed to be softened. The audience needed to be with Ann in her world. I’m not sure if a male composer would have a harder time doing that, but I know it was important to see the story through Ann’s eyes. To really be in the valley with her.
How did you want the score to differentiate between Loomis and Caleb? And were you ever trying to play “favorites” as it were?
We definitely developed themes for both, but we also didn’t want to push the themes in a “Here’s the good guy, here’s the bad guy” kind of way.
Did you have any experience with genre films before getting “Z for Zachariah,” and are they something you appreciate?
I love genre films. I composed the music to Leigh Janiak’s “Honeymoon” starring Rose Leslie and Harry Treadaway that give a fresh look to the traditional science fiction horror film.
On the other hand, were there any apocalyptic scores that inspired you for “Z for Zachariah?”
Not so much film scores, but I did study 20th century organ works in preparation for the film. I originally thought extended techniques on the pipe organ would play a much bigger role in the film, so I studied a bunch of scores, especially Gyorgy Ligeti’s “Volumina” and William Albright’s “Organbook III.” At the end of the day, the three antique pump organs I recorded ended up playing a much more important role in the score. Self imposed parameters can often help get the ball rolling, but it is equally important to release yourself from them and really do what best serves the picture and the drama itself.
Z for Zacariah is essentially driven by very restrained character emotion, as opposed to the violence we usually see in post apocalyptic films. How did Craig’s very subdued approach influence your score?
There’s a lot of space in this film. We knew from the beginning that the score would be an important part of the story telling. Navigating human interaction as the last folks on earth really ups the stakes, and I think the score accentuates the push and pull of that dynamic throughout the picture.
Do you think your own indie band work played into “Z for Zachariah?”
Many of my friends from Athens, Georgia started from a multi track approach to writing songs. A deep love of artists like the Beatles and the beach boys along with equal love of electronic music composers like Karlheinz Stockhausen and Pierre Henry inform our approach to sound, but in a home studio kind of way. I still multi track extensively and have a core group of players that I love to play with, so I will travel to get them in the mix. My dear friend Mary Lattimore (a lovely harpist from Philadelphia) and Jeremy Thal (French horn) are featured.
My good buddy and super talented engineer Derek Almstead really helped me refine the mix. The first phases, of which we did on the road, in dressing rooms while opening for our friends who play in a band called Neutral Milk Hotel (with our band called Circulatory System). We then went on to mix at Derek’s studio in Athens, Georgia before the film’s final mix in New York.
There’s an almost overwhelming, longing quality to your score that reminded me of such melodically “sad” minimalists as Arvo Part. Did those composers influence your own overall musical approach?
I really hoped to capture the solitude and longing of a young woman living in the bucolic south, who hasn’t had a chance to experience love and is left to experience her adult life on her own. I’ve listened to the Arvo Part quite a bit when I first discovered the minimalists in high school, but when it comes to my own listening these days, I’m really more a George Crumb, Toru Takemitsu, Charlie Haden, Ornette Coleman kinda girl.
Though intimate, “Z for Zachariah” is still the largest sounding score you’ve done for a widely distributed film. What was is like getting that opportunity, and working with the orchestra?
I used to believe my approach to scoring by multi tracking in my studio or with my remote rig was all I ever needed. My first exposure to having my music performed by a large ensemble was At the Sundance Music and Sound Design Lab at Skywalker in 2013. My mind was eternally changed! There is something so magical to hearing a group playing live in a room. The energy is palpable. I knew this would be necessary for the sound of “Z for Zachariah.” I’ll never completely abandon my multi tracking roots, but I love the extended range and color of a bunch of musicians playing together in a room.
As well as its assured string passages, did you want the score to also have a sort of “handmade” quality to it to show how Ann is surviving?
I hadn’t necessarily thought about it this way, but it’s an interesting idea!
Could you talk about the score’s eerier effects, especially in the cue “A Visitor” and “The Hunt?”
The more dangerous experimental and atmospheric cues are some of my favorites. They had clanking metal and a massive concert bass drum drive the cue, and other concrete tape manipulation of pump organ tones create the tension underneath. I had a blast pitch shifting the analog sounds with quarter inch tape and running tape loops down long hallways. Starting a project from the script really gave me the opportunity to truly experiment with the pallet.
Could you tell me about the other main instruments were used in “Z for Zachariah?”
It’s a predominantly chamber string palette, with some of my favorite soloists in the mix. John Lindaman, an amazing guitarist and specialist in the way of delayed atmospheric electric guitar loops and tones, helped with the underlying tension of the cues like “The Hunt” and “Electricity.” Gideon Crevoshay and his ensemble the Starry Mountain Trio, elevated the choral wonder of finding a valley unaffected by the apocalypse.
In the end titles, Ann’s organ melody is taken over by a full orchestra, which is the biggest sound the film achieves. Was that lush approach something you deliberately wanted to hold off until the very end, and how do you think it represents the future for her?
I think there is a subtle lushness to the whole score, but yes, the final cue opens up in a different way.
Would you want “Z for Zachariah” to take you from “art” movies to the more musically “conventional” mainstream? Or do you think indie movies are the best place to nurture your musical voice?
I want to do everything. I think that’s the most exciting thing about being a composer now. Composers don’t have to be defined by one specific genre. I’m ready for action heroes, sci fi, romance and the art house!
How you describe the state of “indie” scoring right now?
I’m not sure that film music composers used to hang out as much as they do now (or at least within my crew of friends out here). Festivals like Sundance and SXSW and composer organizations like the Society of Composers and Lyricists, and Academy of Scoring Arts, and the Alliance for Women Film Composers bring together folks who traditionally work in a very solitary way.
There doesn’t seem to be a right or wrong way to score for films these days. When I first moved to Los Angeles four and a half years ago, I thought that since I didn’t have a formal Film Music composition degree I was behind. I had to figure out the “industry standard” on my own. I attended every panel and event, and read every book on the subject I could possibly soak in. I have always been a deeply nerdy researcher. This is just another way I was able to immerse myself in this newfound craft. Somewhere along the line, I realized I have been developing my voice as a composer throughout the years as a weirdo indie session and touring musician (Elephant 6 bands, touring with bands like Gnarls Barkley and Lil Wayne) and it’s pretty dang strong. I think we’re all excited about hearing new voices, unheard voices, and there’s room for more of this in film. I think we as viewers and listeners are hungry for it.
“Can you tell us about your upcoming projects, particularly “Manson Family Vacation?”
“Manson Family Vacation” is directed by J. Davis and stars Jay Duplass and Linas Phillips. It’s a dark comedy that premiered at South By Southwest, and will be distributed by Orchard and Netflix. Yes, Charles Manson is present in the story line, but the story is pretty sweet too. I know that sounds a little hard to imagine! J. Davis, the director, is a super musical guy. He made this great mix tape of musical ideas and influences to consider as I started developing the character of the music. He also was present for many of the recording sessions that lead to some fun explorations with our super talented performers. The score is more a small ensemble piece: percussion, cello, bass, keys, guitar, clarinet and harmonica. I’m so excited about the harmonica in the opening number. Ross Garren is a virtuoso on that harp!
I am also excited for a documentary on Hal Ashby directed by Amy Scott and produced by Christine Beebe that was just selected for the 2015 IFP Project Forum. I have a few other exciting things coming down the pike, but I can’t talk about them yet!
If you were the last woman on earth and these two guys showed up, whom would you pick?
I just got hitched, so I’d like to think my new husband and I would be resourceful enough to make it on the other side of the apocalypse! Hope hope!
Visit Heather McIntosh’s website HERE
Lakeshore Records will release the [a.16301]Pay the Ghost Original Motion Picture Soundtrack digitally on [da.2015-09-18]September 18 and on CD later this year. The album features the film's original score by [c.114]Joseph LoDuca.
"There are three aspects to my music for [m.43905]Pay the Ghost that made the experience memorable," said LoDuca. "I am pleased with the result of my close collaboration with Uli Edel (director) on a horror/thriller score that relied primarily on electronic sound. Over several sessions together, creating dark atmospheres with a gnawing sense of tension was our primary objective."
"The first piece I wrote was 'The Portal Song,' which is sung in Gaelic by a children's chorus," described LoDuca. "Their chant sets the third act in motion....
Announced this week were new composer assignments for [c.1015]Aaron Zigman ([m.44405]Mr. Right), [c.1738]Brian Byrne ([m.44402]The Secret Scripture), [c.1065]Ramin Djawadi ([m.43000]The Great Wall), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here.
There were 24 new soundtrack albums released this week. [da.2015-08-17]Click here for the full schedule.
Opening nationwide this week are (with music by): [m.40895]American Ultra ([c.1061]Marcelo Zarvos), [m.41410]Hitman: Agent 47 ([c.14]Marco Beltrami), and [m.41686]Sinister 2 ([c.868]tomandandy).
Among all new theatrical releases, we are tracking song credits for:
- [m.40895]American Ultra (14...
Lakeshore Records will release [a.16195]Zipper Original Motion Picture Soundtrack digitally on [da.2015-08-28]August 28, 2015. The film features original score by [c.5889]H. Scott Salinas.
"Scott and I have been long time collaborators--he composed the score for my first feature [m.]Conventioneers--and I started talking to him about [m.44253]Zipper when it was still a script," said director Mora Stephens. "He got sucked into the obsession early on (bless him!) and was watching dailies, and experimenting with music while we were early in the cut. I wanted the music to be dark, brooding, emotional, sexy, intense, psychological, visceral, bold--to heighten the thriller elements of the story, but most importantly, pull us further into our hero's emotional subjective...
Madison Gate Records announces the release of [a.16206]Outlander: Original Television Soundtrack - Vol. 2 on CD and digital formats on [da.2015-09-25]September 25, 2015. Fans can pre-order the album on iTunes and Amazon and receive an instant download of an exclusive, all-new extended version of the series main title theme, "The Skye Boat Song." The exclusive full-length track was adapted and produced by Emmy Award-Winning Composer [c.1238]Bear McCreary and features vocal performances by Raya Yarbrough.
The soundtrack contains original music and period-accurate song adaptations by McCreary from across Season One of the [t.39804]Outlander television series, with a focus on the last eight episodes. In response to demand from fans, the album also includes "Wool Waulking...
Soundtrack Picks: ‘CAT’S EYE‘ is the top soundtrack to own for August, 2015
Also worth picking up BACKLIGHT, THE FANTASTIC FOUR, HELIX, JONATHAN STRANGE AND MR. NORRELL, LUV, SHAUN THE SHEEP, SPY and many more!
To Purchase the soundtracks from this list, click on the CD
THE TOP PICKS
1) BACKLIGHT (500 edition) / LUV
Price: $19.95 / $18.99
What Is It?: Portuguese composer Nuno Malo has displayed a powerful, and distinctive dramatic voice in a number of English-language films, from the new-age enabling orchestra of “The Celestine Prophecy” to the “Godfather”-esque sweep of American anarchists in “No God, No Master.” Now the release of two older, and vastly powerful Malo titles show his talent at pulling characters toward their inexorable destinies.
Why Should You Buy It?: As with “The Celestine Prophecy,” spirituality and the draw of destiny infuse Malo’s beautiful mesh of symphonic and synth atmospheres for “Backlight,” Fernando Fragata’s 2010 American-shot, Portuguese production mystically shows how seven characters are drawn to a desert lake, their interconnected stories dovetailing a la “Crash.” There’s a real, melodic flow that mystically joins these spiritual crises in Malo’s consistently melodic, and oft times soaring work. His emotions wear themselves on their sleeves with rich melodies, yet remain uncondescending in being uncompromising about it. With his thematic threads coming together much like a vision quest, Malo brings his shamanistic quality with his women’s voices, transfixing rhythm, the use of such neo-religious ethnic elements as the Diduk and strumming guitar work that recalls Gustavo Santaolalla’s interconnect scoring for “Babel,” Tapping into a symphonically pastoral spirit that nicely brings to mind Thomas Newman, Malo indeed sees the “Backlight” from on high with a universal, affecting sense of cosmic consciousness, as heard on a GPS directional device.
Extra Special: Far more down to earth, but no less enervating for it, “LUV” shows that Malo has just as much of an impressive, neo-alternative range. Made in 2012, this African-American drama finds Common’s ex-prisoner uncle showing his sister’s son the quite perilous Baltimore street life during the course of an eventful day, with family bonds emotionally, and violently tested. Malo goes for long, ethereal passages, whose sparkling grace and religioso voices create a sense of haunted redemption, with guitar feedback the inner anguish of a boy on a very trying ride-along. It’s a way of using synths and samples to create a sound that’s far more otherworldly than urban, amounting to a poignant, almost eerie vibe of a kid seeing his very flawed uncle-idol through an increasingly fraying magical haze. When it comes time to go for big emotion, Malo brings in his string ensemble to shattering, soulful effect, along with an acoustical grittiness that resonates with the characters’ hard lives. Like much of Malo’s work, “LUV” is an affecting discovery that deserves to be seen, and heard.
2) CAT’S EYE
What is it?: When it came to electronic beats that marked early 80’s soundtracks, one of the main synth movers and shakers was a bright young composer named Alan Silvestri who truly rocked the Yamaha and Synclavier sound with the disco-ready rhythms and exotic atmospheres of such crime-fighting TV shows as “CHiPS,” and “Manimal.” Silvestri’s groovy talent would send him onto much larger symphonic things on the big screen, but for fans of the musician’s innovative all-synth scores from back in the day like “Clan of the Cave Bear,” Flight of the Navigator,” “Delta Force” and “No Mercy,” one especially eerie and frenetically propulsive score was for 1985’s “Cat’s Eye.” Coming off of his ripping adaptation of Stephen King’s “Cujo,” director Lewis Teague’s thoroughly fun King anthology followed up the success of “Creepshow,” with the big difference being using original, short story-based segments as opposed to E.C. comics for source material. Where John Harrison did an overtly ghoulish score for that movie’s crypt keeper, Silvestri would combine atmospherically ethereal horror music with a truly catchy beat as its titular kitty raced between segments, from a smoker given a lethal urge to quit to a cheater desperately making his way around a building ledge, finally landing in the bedroom of an adorable girl plagued with troll-induced sleep apnea.
Why should you buy it?: The trick of anthology scoring for any true musician worth this thematic salt is to give each cinematic short story a distinctive identity, while wrapping up the entire film in a motivic bow. Silvestri starts off “Cat’s Eye” with a fun, scampering rhythm as crafty as a feline, with an overall feeling of black humor that fits like an ironic glove over a film that’s going for fun thrills as opposed to outright terror. As he’d soon show on “The Abyss,” Silvestri could conjure long, entrancing passages from undulating electronic effects, which cast an exceptionally creepy, heartbeat-spell pulse in “Quitter’s Inc.,” making an already fidgety James Woods totally freak over a conspiratorial self-help agency, organ-like sounds and voice-like samples complementing its bewitching sense of grand guignol should he slip with a cigarette. The suspense is even more sinisterly gripping in “The Ledge,” as Robert Hayes crawls about the outside of a building to satisfy a homicidally-crazed husband whom he’s screwed about on. Silvestri’s chiming, hesitant percussion gets across every grueling step and near-catastrophic stumble of the gripping journey, giving especially dire menace to a pecking pigeon before the villains’ hyperbeat comeuppance. But the most distinctive musical personage belongs the lurching, lurking motif of the jester-outfitted, troll that inhabits the wall of sweet Drew Barrymore’s bedroom, the synths all the more guttural for this percussively sneaky beast, as Silvestri’s theme angelically becomes the sleeping, then suffocating little girl. Where this kind of dread would surely be atonally played if there was a God-forbid remake, the real charm of Silvestri’s work through all of the segments is how melodic it is, capturing the ethos of such fellow, humorously sinister horror scores of the era as Brad Fiedel’s “Fright Night.”
Extra Special: “Cat’s Eye” had only been issued once on vinyl – perfect when you need something to dispatch a troll on at 78 RMP, but not so ideal when said LP has been hard to get, (even in this new Mondo age of vinyl soundtrack resurrection). Thankfully, Intrada has brought back “Cat’s Eye” in complete form with exceptionally improved sound, and enjoyable liner notes by John Takis. Hearing the pulsing, creeping frequencies of “Cat’s Eye” shows just how much of a creepy storyteller a composer can be who’s the general of his technical, and melodic craft, all with just a wink for the disco grooves that got him into the big time.
3) GREMLINS 2: THE NEW BATCH (3,000 Deluxe Edition) / THE TROUBLE WITH ANGELS
What is it?: The late, great Jerry Goldsmith was a master of nearly every musical genre, from the intimate drama of “A Patch of Blue” to the soaring historical adventure of “The Wind and the Lion” and the sci-fi spectacular of “Star Trek – The Motion Picture.” But amidst wars, romances, cosmic battles and satanic suspense, perhaps the one type of movie where he might not have been Mozart was comedy. Not that he had the chance to do a lot of them, even if his scores for “The Flim-Flam Man” and “The Lonely Guy” were fun enough, while the less said about “Fierce Creatures” and “Mr. Baseball” the better. However, the expanded re-releases of his frequently cartoonish scores for and “Gremlins 2: The New Batch” and “The Trouble With Angels” definitely give new reason to re-appraise Jerry Goldsmith as a master of combining pleasant, thematic melody with musically animated jokes worthy of Carl Stalling.
Why should you buy it?: Catholic high school girls were in “Trouble With Angels” for this 1966 comedy, which teamed Goldsmith with the positively progressive director Ida Lupino, a star who also had a prolific and unsung filmmaking career. Yet it certainly wasn’t the first time Goldsmith had done time with the Sisters, as 1964’s “Lilies of the Field” had him building a chapel with Sidney Potier. Except here the tone is far less rustic, and way funnier at fitting in with a bunch of nuns, using a novel combination of Rosiland Russell’s ever-patient faith with the wacky teen hijinks of Haley Mils. Church-like bells and a lush, sweet theme are the clothing of Goldsmith’s habit, as stretched to the fun breaking point with a circus-like pipe organ and sneaky pizzicato brass trying to give the penguins’ ever-watchful military marches the slip. Even given this cleverly thematic tug-and-pull between comedy and sentimentality, “Angels’ is full of unexpected, energetic delights right from Goldsmith’s cartoon music for the animated opening, whose following score has soft-shoe shuffle to horse racing trumpets and pop rhythms, all very much in a 60s pop (and even Cha Cha) vein as Goldsmith embodies young ladies who’d much rather be anywhere else. But for all of its franticness that might offend the Catholic Legion of Decency (especially when the theme is played by the most deliberately awful band of all time), there are truly lovely passages to be had for piano and lush, finally soaring strings, suggesting a higher calling for at least one of the characters beyond the present need to grab a smoke. While few might say that Catholic school was fun, Goldsmith’s take on the experience is an absolute delight, especially with a heavenly sonic upgrade from the devilishly bad Mainstream recording that longtime fans of this score have been used to, with Goldsmith’s complete score on hand along with “Angels’” album presentation, now fully revealed to show Goldsmith’s wickedly fun sense of humor.
Extra Special: Ironically for a career filled with so much memorable musical drama. Jerry Goldsmith would say, “That’s all Folks” with his score for 2003’s “Looney Tunes: Back in Action,” a wacky mix-up between WB cartoon characters and live action actors made by frequent filmmaking collaborator Joe Dante. He can be credited with allowing Goldsmith to find renewed popularity at mixing horror and humor with 1984’s “Gremlins,” which gave the composer one of his most iconic, and crazed themes with its fiendishly teasing “rag.” Goldsmith brought back that picture’s alternately goofy, and menacing themes, along with the adorable sweetness of Gizmo for Dante’s thoroughly cartoonish 1990 sequel “The New Batch.” Not only would Goldsmith get his second “Gremlins” onscreen cameo (segueing from The Time Machine to an frozen yoghurt stand). Goldsmith was very much in on Dante’s movie geek tip of the hats here, from using a Phantom-esque organ to riffing on the mean Asian percussion of his Rambo scores when Gizmo goes rogue. The goofy gang is all here for Varese’s terrific new edition, starting off with frequent Goldsmith orchestrator (and “Star Trek” composer) Fred Steiner’s Carl Stalling-esque music for “The New Batch’s” cartoon opening, with Goldsmith’s soon swinging in to show off perhaps more stylistic diversity than he’d ever had in one score, mixing up his knowingly perilous orchestral sound with synth-pop percussion. Among the many dotty highlights of “Gremlins 2” with a particular highlight being a rousing, Jewish-dance Broadway preamble to “New York New York.” “The New Batch,” which sounds terrific given Varese Sarabande’s expansion to over 70 minutes by producer Robert Townson, who provides the very appreciative liner notes, showing why it is indeed a good idea to feed a Goldmsith-obsessed record label after midnight.
4) THE FANTASTIC FOUR / JUSTICE LEAGUE: GODS AND MONSTERS
Price: $10.79 / $19.99
What Is it?: Whether you’re rooting for team Marvel or DC, comic book movie assemblages tend to pack more bang for the buck from composers tasked with assembling earth’s mightiest heroes, whether it comes from a one musicians’ singular sense of creativity, or putting together composing talents at the top of their respective musical fields.
Why Should You Buy It?: There was no hiding the secret identities of Brian Tyler and Danny Elfman when it came to their fans playing “spot the style” on the seemingly unlikely duo’s wholly entertaining work for this summer’s “Avengers: Age of Ultron.” While the teaming of Marco Beltrami and Philip Glass on “The Fantastic Four” seems a bit of a head-scratcher, the very few cues where you can hear Glass’ minimally hypnotic touch indeed mesh nicely with Beltrami’s way more multiplex-friendly film detours into the repetitive Avant garde, particularly when dealing with the sci-fi genre in “Knowing,” “I, Robot” and “Snowpiercer.” Given that it’s unlikely Marvel would go for a full-on Glass approach (at least until the “Dr. Strange” movie comes along), it’s seemingly mostly Beltrami’s touch that powers the studio’s lackluster, down-aging revisionism of the FF. Give the glum proceedings, Beltrami’s score can’t really have the overt comic book “fun” of Christophe Beck’s retro “Ant-Man” or the no-holds-barred action of “Ultron.” Yet Beltrami is still one of the best things going in the movie (so good in fact that you can only imagine it playing over a way better take on the FF), capturing a wondrous sense of optimism as four scientifically-minded, barely above drinking age dimensional explorers, come back in mutated form. There’s a nice sense of going boldly to Beltrami’s work, with the otherworldly nature of their abilities given an effectively played for fright as much as empowerment. Also helping with the score’s sense of humanity is its overall melodic and bright orchestral sound, especially in thematic use of noble brass. But when their co-voyager Doctor Doom finally gets worked up to make the picture significantly more interesting, Beltrami announces it’s clobberin’ time as be brings on his howling, clanging brass, rampaging percussion and growling electronics to enervating, apocalyptic effect, all while letting his heroic themes really have their day As a pure listen, “The Fantastic Four” is an immensely likeable, highly listenable score stands as this summer’s underdog superhero soundtrack, making one look forward to the next Beltrami / Glass teaming where these respective titans could truly fuse their talent to uniquely memorable effect on a worthier picture.
Extra Special: With such colorfully costumed toon adventures as the Green Lantern series, “Son of Batman” and “Batman Vs. Robin,” Frederik Wiedmann has become the scoring Superman of the DC animated Universe – a realm that’s proven to be way more spectacular and involving than its Darkseid-ruled live action counterpart. However, it’s not as if these feature toons aren’t afraid to go on disturbing, if not surprisingly violent tangents themselves, especially when Wiedmann has accompanied the Justice League with “The Flashpoint Paradox” and “Throne of Atlantis,” for which he unified the various characters into a muscular, mean-ass superhero sound. Indeed, there’s nothing like a twisted take on the JLA to bring out Wiedmann’s energetic, take-no-prisoners attitude, as they do in director Bruce Timm’s alternate universe spin that posits Superman as a true illegal immigrant, Batman as a bloodsucker and Wonder Woman as an intergalactic Amazonian. It’s this icon of female masculinity that gets the most distinctive treatment here with an exotic Diduk and sweeping emotion that opens up her literal shield a bit. But for the most part, Wiedmann unifies this violent JLA with a rock and roll defiance. It’s a more contemporary, rhythmic sound that goes from throttling electric guitar to mythic chorus and a dynamic orchestral performance that gives the relatively limited players the power of a far greater symphonic force. But while the music is certainly dark as the JLA fights a government who’d like nothing better to destroy them, Wiedmann conveys the characters’ tragic pasts with more of an emphasis on screwed-up nobility than outright, morose tragedy. It’s an approach that brings the true, valorous nature of these iconic characters to the fore especially when the world needs rescuing. Wiedmann delivers electrifying derring-do, no matter if the characters might have changed for the less-than-likeable on the outside. As always, Wiedmann’s suspensefully exciting punches get delivered with no small amount of melodic propulsion as the composer once again proves himself worthy of graduating into DC’s flesh and blood world.
What is it?: James Horner’s unexpected death was a true body blow for the legion of fans who’d been drawn to his work, perhaps mainly for the Oscar winning composer’s symphonic talents for romantic epics (“Titanic”), swashbuckling fantasy (“Krull”) and heroic historical drama (“Braveheart”). They might be hoping for uplift in one of Horner’s last film scores, but what they’ll get is a gut punch from “Southpaw,” a mainly electronic score as muscularly bare-boned as Jake Gyllenhaal’s wrecking ball boxer.
Why should you buy it?: Horner’s music seethes with a barely controlled, tragic anger that not only brings out his dark side in spades, but also his talent for tender, thematic melody as a father desperately trying to get his daughter’s respect back. It’s a yin / yang of innocent beauty and a punch-drunk beast that evidently attracted Horner to do the score for “free” as it were. Like the hero who gets luxury ripped away, this budgetary body blow has robbed Horner of an orchestra that might have made this score more easily accessible to his usual string-loving audience. Yet it’s not as if Horner hasn’t been down the path of economically portraying emotion in such synth-heavy works as “The House of Sand and Fog,” “The Boy with the Striped Pajamas” and “The Life Before Her Eyes,” not to mention his continued ability to get off the ropes when so many of his 1980’s- scoring compatriots have been TKO’d by a rock-pop Hollywood. Horner showed he could stay in the ring with those beat-loving young Turks, staying fresh with the mega-budget likes of “The Amazing Spider-Man” (while still providing the accustomed symphonic goods with the forthcoming “Wolf Totem”). With the gnarly rock guitars and samples that power “Southpaw,” Horner dances in the industrial ring a la Trent Reznor, creating a miasma of steam-hissing hurt. Yet the composer’s trademarks are there, from his elongated cues to clicking percussion and a simple, devastatingly effective theme that gives “Southpaw” its soul.
Extra Special: While it might not satisfy in an “easy” conventional way, “Southpaw” is a somewhat demanding, deeply psychological portrait of a palooka’s rise, fall and rise again, lightening up just a little by the time if gets to the big fight, which delivers on the heroism and percussive beats downs. The fact that Horner didn’t go down the Bill Conti route says much to the integrity of his uncompromising approach to “Southpaw,” as well as his fan’s potential to appreciate this downbeat work.
ALSO FOR YOUR CONSIDERATION:
. THE AFTERMATH
What if Bernard Herrmann scored a deliciously cheesy, ultra-violent post-apocalyptic movie with an orchestra seemingly even smaller than had been afforded to him on “It’s Alive,” all whilst hell-bent on delivering a soundtrack on the order of “Jason and the Argonauts?” Well, that answer is here in John Morgan’s emphatically fannish score for 1980’s “The Aftermath,” the latest release to proclaim Dragon Domain Record’s desire to leave no cult obscurity unturned. But there is very much reason to do a radiation-baked archeological dig on John Morgan’s first score, as he’d later wade through the exploitation likes of “Deadly Dancer and “Killing Streets” to turn into a composer of far more original talent with such scores as “Nukes in Space” and “Starship Troopers 2.” Just as importantly, he’d exceptionally reconstruct Herrmann’s actual music for such excellent new performances of “Fahrenheit 451” and “Battle of Neretva” and as heard on the late, lamented Tribute Film Classics label. But those days were far ahead in the future when “The Aftermath” hit, as Morgan does his darndest to pay near-psychotic homage to his favorite composer. Trilling flutes, noble horns, rampaging percussion, stroked harps and the attempted lush strings of any baker’s dozen Bernard scores try to conjure a far more melodically expansive wasteland that what director/ leading man Steve Barkett could conjure as he brawnily battled Sid Haig and his band of cannibal ravagers. It’s a score that’s at once inept and completely loveable, with allusions to greatness that Ed Wood’s music department would marvel at. But given that Morgan didn’t exactly have the Fox orchestra to work with, he had “The Aftermath” performed by USC student musicians. They may have been not-ready-for-prime time players, yet the result was quite listenable in complementing Morgan’s ambitions. At times, “The Aftermath’s” allusions of grandeur make it sound like the perfect, over-emphatic soundtrack to fill a triple drive-in double bill of “Panic in the Year Zero” and “Teenage Cavemen” (or at least a cockamamie episode of “Lost in Space”), all while doing its musical darndest to prod a Cyclops out of its cave. The fact that at the least Morgan is trying so hard at re-animating Herrmann’s bones at least gives the soundtrack to “The Aftermath” real charm, especially when you’ve got genre liner note specialist Randall Larson treating the endeavor with all the passion of the real deal – even if what he’s talking about is the swedded version of Herrmann, if you will.
The disease-killing doctors are in for this creepy SyFy Channel series from “Battlestar Galactica” rebooter Ron Moore, who made his already dark sensibilities as black as alien oil in bestowing lethal immortality and island cult frenzy during the show’s first two seasons, whose Reinhold Heil cues have been collected for examination on La La Land’s double CD. But then, it doesn’t take a brain surgeon to realize that this subject matter isn’t going to ooze happiness in Heil’s hands, it’s a mix of melody and musical anti-matter that slimes the listener to continuously interesting effect as the scores spreads from a slow, hallucinatory crawl to berserk, race-against-time rhythm. Having gotten the electro-pulse style of scoring off to speed along with Johnny Klimek and Tom Tykwer on the seminal “Run Lola Run” before making a suspensefully pulsing duo with Klimek on “One Hour Photo,” “Land of the Dead” and “I, Frankenstein,” “Helix” represents Heil’s first big solo stint. While hearkening back to his past, collaborative style, “Helix” is very much its own virus in its ominous, coalescing menace, whether it’s reflecting the coldness of the Arctic or an isolated spot of land. “Helix” is a bravura showcase in the outer reaches of synth sampling, with weird, spine-tingling vibrations coming together with always-interesting momentum. While often in the twilight zone between music and sound effects, “Helix” is so listenable by avoiding the morass of dissonance a less capable, or experimental composer might have taken this into, mixing up the pulsations with aching violin, heavy metal guitar and piano, with ethereal atmospheres that enticingly conjure heaven in the midst of bio-warfare hell. While not quite as crazy as Brian Reitzell’s work on “Hannibal,” “Helix” definitely pushes the often-ambient realm of television’s more daringly bleak shows in a way that makes one want to get infected by Heil’s new, unfolding voice as a composer. Besides, when’s the last time you’ve heard Bossa Nova or Tchaikovsky’s “Swan Lake” so brilliantly twisted about for the vector apocalypse?
. INDIAN SUMMERS
While hip takes on India’s ancient rhythms can be left to Thomas Newman when checking into the Best Exotic Marigold Hotel, or A.R. Rahman’s accompaniment of a Slumdog Millionaire, it’s composer Stephen Warbeck who takes a more traditional approach for the decline of the good old English-ruled days (at least for the Brits) in a proper, but no less intoxicating manner for the British television series “Indian Summers.” Here it’s recalling the summer of 1932 (as well as such past BBC miniseries as “The Jewel in the Crown”), as the entitled colonists romantically, and politically mix it up with their quite dissatisfied subjects. A composer who’s exceptionally gifted when playing the romantic weight of history with the likes of “Captain Corelli’s Mandolin” and his Oscar-winning soundtrack to “Shakespeare in Love,” Warbeck is an exceptional fit for this material. He loosens stiff-suited Anglo characters in the tropical heat, pianos capturing simmering attraction, elegance and snooty classicism. The score’s strong orchestral quality further accents western music on foreign grounds it thinks it can control, with strings that are especially rapturous in building forbidden attraction and the inevitable anguish that will come with it, subtle electronics further enhancing a sense of mystery. Warbeck is equally adept at using the Indian culture’s beautiful wind instruments and tabla percussion, at times rhythmically going into subtle ragas, or building with oppressed anger to play two musical cultures entwined with each other, though set to break apart. It’s a coolly dramatic, intoxicating season in this enrapturing album that shows just how well two musical cultures can co-exist in harmony, certainly when it comes to proper, costume drama “Indian” soundtracks such as this fateful “Summer.”
. JONATHAN STRANGE AND MR. NORRELL
Described as the adult answer to Harry Potter, BBC’s adaptation of Susanna Clarke’s books finds England, circa the Napoleonic War era, abounding with magic and its practitioners – among them these two titular sorcerer supremes. Casting their musical spell over the series are “The Triplets of Belleville’s” Benoit Charest and Benoit Groulx (“The Carbon Rush”), who experienced the fantastical as an orchestrator on “A Sound of Thunder” and “An American Haunting,” as well as serving said task for Charest. Put these Canadian mages together, and you’ve got a truly clever, period-centric spin on an eldritch England. Taking a mischievously eerie tone akin to Danny Elfman, Charest and Groulx use Old Scratch fiddles, equally devilish waltzes, eerily dancing strings and militaristic-minded percussion to convey a country already on the edge with the possibility of real-world destruction when not dealing with sinister spells and conjured creatures. The delightful effect is akin to exploring some haunted manor, the musical explorations yielding urgently dire, classically haunted music, complete with organ and ghostly female voices emanating from the darkness. It’s a tone that’s wonderfully spot-on as it wafts between dramatic urgency (and even tragedy) and spooky-ooky humor, but without tipping into the other. But perhaps the best spell in “Jonathan Strange” is the sweepingly melodic orchestral sound that Charest and Groulx cast, conveying a world of enchantment that takes material fit for a costume drama into a whole other, malefically fun dimension for some of the cleverest, and classiest scoring heard on genre TV now – of course next another doctor-driven BBC show that’s a bit more sci-fi than supernatural.
. MR. HOLMES
Carter Burwell is once back on the composing case for filmmaker Bill Condon for what’s easily the best evidence of their collaboration’s achingly beautiful power since 1998’s “Gods and Monsters.” Ian McKellan once again essays a brilliant, iconic figure battling the haze of memory, going from the tormented “Frankenstein” director to playing a “real” version of Arthur Conan Doyle’s far more publically accepted detective. Yet there’s a thematic line of poignant, melodic regret running through both British characters, as given a bit more of a Victorian-era tone in Burwell’s violin-heavy score here. As Holmes tries to essay his final case that was gravely embellished by the good doctor Watson, Burwell’s somber, yet interested melody for Holmes delicately peels back the years, and pulls the listener along into the fog of a 93 year-old’s memory. A composer who’s excelled in arty, often surreal scores like “Being John Malkovich” and “Fur,” Burwell brings in such interesting sounds as a glass Armonica, while Japanese radiation-driven winds give the score a tantalizing, exotic nature. As the game becomes increasingly afoot, Burwell’s very gentle rhythmic approach gets across the thrill of the hunt for clues, but not at a pace that would send Sherlock spilling, yet another clever way the score distinguishes a character who “really” existed with a superhumanly clue-solving figure of literary myth. As “Mr. Holmes’” comes to terms with his fate, Burwell invests some of the most gently moving emotion that the character has arguably gotten in all of his musical adventures for the big screen, of which this beguiling movie and score can indeed rank itself high.
Critics went after Adam Sandler with more of a vengeance than Donkey Kong’s mad-on for Luigi, and really with way more fury than this decently enough entertaining movie deserved. Composer Henry Jackman had been already been down this road for the way more critically admired, Oscar-nominated “Wreck-It Ralph.” But as opposed to going for a score once again full of 8-bit electronic effects, he’s pretty much hammered that approach in favor of an energized orchestral sound for “Pixels.” If there’s an antecedent for a film, and score backed by geek street cred, than one might check out David Newman’s “Galaxy Quest” to hear how big, melodic strings, heavenly voices and an overall tone of action and wide-eyed wonderment can turn zeros into heroes. But instead of over-the-hill actors modeled on a has-been “Star Trek”-ish show, “Pixels” posits expert, adolescent arcade players turned into adult sad sacks. Jackman’s sense of fun pumps the characters up with militaristic, patriotic as they face the sci-fi menace of space invaders and dig-dugs. The results is a flurry of marches, tingling anticipation and rollicking action that’s pretty much as different from “Ralph’s” gargantuan videogame building smasher as can be – the score’s spirit most definitely in the John Williams vein as opposed to having a grandly kitschy time with Casio keyboards. From suspensefully following the patterns of Centipede to the daredevil car dodging of Pac Man and the chest-thumping, barrel-dodging peril of the climactic Donkey Kong match, “Pixels” is thoroughly good fun that affirms Jackman’s place as a composer who knows how to capture the affectionate energy of every retro genre from spy thrillers (“Kingsman”) to superhero beat-ups (“Kick-Ass”) that come his way, his finger going rapid-fire on the multiplex pleasure machine with the fun of a guy who obviously loves playing the high-concept entertainment scoring game.
. SHAUN THE SHEEP: THE MOVIE
From Harry Gregson-Williams and John Powell’s kazoo-blowing “Chicken Run” to Julian Nott’s fiendish “Curse of the Were-Rabbit,” Aardman Animation’s cute, animal-centric stop motion creatures have inspired no end of antic musical movement from the composer lucky enough to lay hand on these pictures. Now it’s Ilan Eshkeri’s turn to go to take on Aardman’s farm-friendly critters with “Shaun the Sheep.” A composer mainly tasked with serious subject matter like “Still Alice” and “Black Sea” (though given a chance to classically romp with “Austenland”), Eshkeri hits the wackily rural rhythms like a duck to water, with banjos, fiddle, whistling and a happy chorus creating an alternately whimsical, and rollicking hoedown of a score (with even a Baa Baa A capella chorus adding to the sly humor). When Shaun the Sheep’s Day Off creates no end of problems for his clueless farmer, Eshkeri gets to take his barnyard to the big city, bringing in such distinctly non-rural styles as villainous heavy metal and silent movie piano chases, yet with a consistent dose of sentimentality and lullaby bells (a sleepy, sheep-counting given), all given the kind of Williams / Powell rhythmic energy that definitely hips this kind of scoring up – though thankfully not too crazily. “Sean” is a bouncy, pleasant soundtrack whose sentimental, symphonic message is there’s no place like being home on the farm, its album abetted by its delightful songs (co-written by Eshkeri), from Tim Wheeler’s Beach Boys-esque song “Feels Like Summer” to Vic Reeves’ rocking calypso sheep rap.
. THE SEARCHERS
When it comes to Max Steiner archivists, venturing into the Brigham Young University must resemble something just slightly more compact than the ending of “Raiders of the Lost Ark,” a treasure trove filled with much of the over 240 scores that the Austrian expatriate composed during a career that not only won Oscars for the likes of “Dark Victory,” but established the very technique of film scoring itself with “King Kong.” But while such classics as “Gone with the Wind’ and “Casablanca” have seen multiple releases and re-performances, the original tracks for Steiner’s seminal 1956 western score for “The Searchers” has never quite gotten its respect until now, a slight very much rectified by BYU’s latest Film Music Archive Production release. While this recording is definitely archival, the stirring resonance of Steiner’s work has never been more powerful. The composer certainly had his experience on westerns right from his first major score for 1930’s “Cimarron,” going on to compose such now (thankfully) politically incorrect bad injun movies while accompanying Custer’s last stand in “They Died With Their Boots On,” gunning with “The Oklahoma Kid” and taking “The Sante Fe Trail.” But there was never quite an acting match for the musician’s take on Hollywood’s old west like The Duke, who relished the emotionally fraught manliness in his Civil War vet’s search of Natalie Wood’s Indian-napped daughter. It’s an overwhelming sense of perilous drama that fuels “The Searchers’” famed quest. Sure, those up for the classic movie music tropes of Big Evil Chief war drums, sagebrush guitar strumming and rousing cavalry charges will get their energetic thrill here. But it’s the uncommon rage that fills “The Searchers” that really makes Steiner’s throttling work transcend its musical genre – of which this score was certainly a trendsetter. In fact, “The Searchers” itself was BYU’s first CD release via their exclusive distributors Screen Archives Entertainment back in 1996. Now its sonic spurs have been polished like never before, and its booklet and notes re-configured to be all the more lavish with new photos and excellent writing by James V. D’Arc and Ray Faiola. The icing on the cake is Stan Jones’ rustically heroic title song “The Searchers” by The Sons of the Pioneers, a tip to John Wayne’s cowboy hat if there ever was one while Steiner’s impactfully vengeful music pays off his righteous, injun’ killing rage.
In a year awash with such great retro spy scores as “Kingsman,” Rogue Nation,” “The Man from U.N.C.L.E.” and even “Ant-Man,” composer Theodore Shapiro has perhaps the most impossible mission of all in trying to convince listeners that the not-obviously athletic Melissa McCarthy has the right Bondian stuff. But it’s a credit to how well he crosses old-school 007 grooves with today’s need for propulsive action speed that his “Spy” soundtrack bestows her with a license to kill, and then some. Having had fun playing satirical sports and ‘Nam music in “Blades of Glory” and “Tropic Thunder,” Shapiro knows how to nimbly walk a tightrope between playing seemingly inept characters’ adventures, as heard for real in their own heads, while letting audiences mostly laugh with them instead of at them. For “Spy’s” CIA analyst who finds herself out of the office and in hot international waters, Shapiro creates truly dynamic action set pieces, gripping suspense and even unexpectedly dramatic emotion as it shows a self-effacing woman getting her super-agent mojo on, jetting from Italian to Eastern European ethnic rhythms as deep brass, ominous strings and high-tech percussion rippingly accompany her with the feeling of the world at stake. With just a wee nudge to the slightly less bright side in his complex orchestrations, you could imagine “Spy’s” fun score easily accompanying a pre-depressingly dark Bond film, which shows just how spot-on this unexpectedly lavish, and lush espionage score is, right down to Ivy’s Levan’s throaty performance of the Barry-Black worthy title song “Who Can You Trust.” In fact, just stop the guessing game for which “Spectre’s” main theme artist will be and put this onto the opening credits. No one would guess that it’s McCarthy wearing the ersatz tuxedo, in the dynamite “Spy” score.
. WE ARE STILL HERE
Polish composer Wojciech Golczewski has been steadily making an indie horror impression in such films as “Dark Souls,” “Munger Road” and the grizzled vet-versus-werewolf movie “Last Phases.” Where the genre’s more intimate composers either find their specialties in either creeped-out melody or flesh-stabbing dissonance, Golczewski’s striking unique vibe has been discovering some eldritch middle haunting ground, no more impressively than in a possessed New England abode of the excellent ghost thriller “We Are Still Here.” Fans of such recent retro-scare scores as “It Follows” and “The Guest” will feel through their bones the pulsating, near-unholy experimentations that Golczewski achieves from his electronically created score, hiding in the basement furnace with simple piano chord themes, buzzing resonances and a miasma of razor-sharp effects. It’s experimentation as mixed with striking motifs, taking the classic John Carpenter approach of “The Fog” (of which both film and score are worthy successors) into modern day musical experimentation as well as an Avant-garde Bartokian realm. It’s hollow, echoing sound lurks in the shadows, until finally rearing its fiery, percussive head to claim percussive vengeance for terrible deeds done centuries ago. “We Are Still Here” manages something almost miraculous as both a film and score – it’s legitimately scary, entrancing stuff, its soundtrack both capable of shrieking, incinerating violence as it is hypnotically, slimily percolating to surround the listener with a feeling of eldritch, Lovecraftian evil. With “We are Still Here,” Golczewski has arrived to bring a new musical fear factor to the genre with one of its best pictures in many a moon.
CLICK on the album covers to make your hardcopy or download purchase, and find the soundtracks at these. com’s: Amazon, Intrada, iTunes, Moviescoremedia and Screen Archives Entertainment
Lakeshore Records will release [a.16160]One and Two Original Motion Picture Soundtrack digitally on [da.2015-08-28]August 28, 2015. The film features original music by [c.2976]Nathan Halpern, his second collaboration with director Andrew Droz Palermo.
"At its heart, [m.44310]One & Two is a fairytale--albeit a chilling one," said Halpern. "Thematically, classic fairytales speak to the most elemental oppositions of childhood: good and evil, love and abandonment, innocence and experience. So the score I created for the film was one of musical dualities: sweet melody and cruel dissonance; natural acoustic instruments and mangled electronics."
"Andrew Droz Palermo is a uniquely poetic director, and he created these very evocative images of the children in nature that...
Announced this week were new composer assignments for [c.1739]Nima Fakhrara ([m.44343]The Girl in the Photographs), [c.1097]Jonathan Goldsmith ([m.44337]Unless), [c.1231]Nathan Larson ([t.44345]Show Me a Hero), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here.
There were 39 new soundtrack albums released this week. [da.2015-08-10]Click here for the full schedule.
Opening nationwide this week are (with music by): [m.40398]The Man from U.N.C.L.E. ([c.1318]Daniel Pemberton) and [m.41486]Straight Outta Compton ([c.2507]Joseph Trapanese).
Among all new theatrical releases, we are tracking song credits for:
- [m.40398]The Man from U.N.C.L.E. (14...
Varèse Sarabande will release the [a.16139]Jenny's Wedding Original Motion Picture Soundtrack digitally on [da.2015-08-21]August 21 and on CD [da.2015-09-25]September 25, 2015. The album features the original music composed by [c.1738]Brian Byrne, Mary Lambert's "She Keeps Me Warm," and five original songs penned by Byrne, with lyrics by Kasey Jones, and performed by Kristina Train.
"This was a very last minute project that came to me," said Byrne. "The brief was it needed a light score to be written and recorded, and maybe with one new song but it had to be done on a tight budget and in 10 days. That one song turned into five original songs and a new arrangement and recording of a standard!"
In a matter of a few short weeks, Byrne not only composed and recorded a...
Announced this week were new composer assignments for [c.200]Howard Shore ([m.43533]The Free State of Jones), [c.14]Marco Beltrami ([m.41058]Ben-Hur), [c.16552]Clement Animalsons ([m.44320]French Tour), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here.
There were 34 new soundtrack albums released this week. [da.2015-08-03]Click here for the full schedule.
Opening nationwide this week are (with music by): [m.36210]The Fantastic Four ([c.14]Marco Beltrami and [c.74]Philip Glass), [m.43472]The Gift ([c.8161]Danny Bensi and [c.1781]Saunder Jurriaans), [m.41170]Ricki and the Flash (no composer), and [m.42606]Shaun the Sheep Movie ([c.1422]Ilan...
Varèse Sarabande will release the [a.16107]Sicario Original Motion Picture Soundtrack digitally and on CD [da.2015-09-18]September 18, 2015, the [dt.2015-09-18]same day that the Lionsgate film premieres in limited release, before opening wide on [dt.2015-09-25]September 25. The album features original music by Academy Award nominated composer [c.3198]Johann Johannsson.
[m.41837]Sicario debuted at the Cannes Film Festival earlier this year, earning rave reviews for both the film and the score. Vanity Fair Magazine called the score "rumbling, evocative" and "he [Jóhannsson] has a wonderful knack for balancing eye-popping technical flourishes with more organic texture and mood." Sicario is Jóhannsson's second collaboration with director Denis Villeneuve. ...
With its mod rhythms, shagadelic exotica, bold brass, bongo-driven percussion and sheer, string joy in death-defying adventure against world-conquering wannabes (while of course not musically messing up the hero’s Carnaby Street tailoring), the era-specific sound of spy jazz has been making a making a comeback at the cinema, played for delirious height of kitsch by Geoff Zanelli and Mark Ronson in “Mortdecai,” the “Kingsman’s” head-blasting drive by Henry Jackman and Matthew Margeson, or used for pure chase adrenalin by Joe Kraemer in “Mission Impossible: Rogue Nation.” But while those two movies are latter-day exercises in battling villainous Eurotrash, “The Man from U.N.C.L.E.” goes right back to the genre’s source with faithful, 60’s-set take on the NBC show that originally paired Robert Vaughn’s debonair spy Napoleon Solo and David McCallum’s Slavic Illya Kuryakin in the service of the United Network Command for Law and Enforcement.
While as much a stylish Bond imitator as any of the period’s numerous 007 spin-off’s off for film and television, “U.N.C.L.E.” created the kind of cult following that’s enabled director Guy Ritchie to give the material the kind of seditiously humorous, excitingly in-one’s-face attitude that he last used to energized the stalwart Sherlock Holmes, especially with its deliciously crazed fiddle-heavy score by Hans Zimmer. Now with ladykilling and spy-smashing humor to spare, Ritchie has re-suited up “Man of Steel’s” Henry Cavill and “The Lone Ranger’s” Armie Hammer as Solo and Kuryakin, and given them a buddy-cop cum-Cold War agent origin story as the duo attempt to defuse a scheme of course involving nuclear weapons and the very survival of the free world.
Where John Barry had applied a lush symphonic-pop sound when it came to James Bond beating S.P.E.C.T.R.E. and their ilk, the not quite-so extravagant TV music budget of “U.N.C.L.E.” had such fabled composers as Jerry Goldsmith, Lalo Schifrin, Morton Stevens and Robert Drasnin go for an ever jazzier, leaner and often more eccentric sound. That level of hepness has now been exaggerated to wonderfully dizzying extremes for the big screen by Daniel Pemberton, who takes his own distinctive shot at complementing Guy Ritchie’s sense of kinetic humor – though not taking its stars’ charisma and the mushroom cloud threat into Austin Power’s satire land.
A Brit composer with a prolific background in television before landing an impressive theatrical debut with the ghost story chills of “The Awakening,” Pemberton has since shown his talents at the twisted crime dramas of “The Counselor” and “Blood” while displaying his Latin dance talents for “Cuban Fury.” But the creative gloves are off like never before with the classic spy music stylings of “The Man from U.N.C.L.E,” Russkie cimbaloms dance tango break-outs, hammering percussion throttles through the rhythmic Italian streets of Rome, and howling Spaghetti western voices rock with electric fuzz guitars for good measure, creating a kitchen sink jam session of all that’s ear-catching about the spy sound. It’s s score that infuses a rebooted Solo and Kuryakin with impossibly hip energy to spare, a winning shot at the genre that truly puts Pemberton on the Hollywood map.
Could you tell us about what led you to composing?
Wow. Big question. There’s a very long answer and a relatively short one. I will give you somewhere in the middle. When I was about 10 years old my dad took me to the Planetarium, which used to be in Baker Street, to watch the laser show. The soundtrack was a load of synthesizer music by Jean Michel Jarre, Vangelis and people like that. Before then I wasn’t massively interested in music but I had never heard anything like this before. It was like a switch was pressed in my head. Suddenly I became obsessed by it. I listened non-stop to any electronic and instrumental records I could get my hands on. I saved up money to buy a synthesizer and a tape machine. I started writing music and recording it in my bedroom. I made tapes of my stuff and gave them to anyone who’d be interested. By the time I was 16 a record label wanted to put them out. I had an album called “Bedroom” released – quite a mad record of Avant-garde ambient electronic music. A director, Paul Wilsmhurst, heard it and asked if I’d liked to score a TV documentary he was doing. I said yes. I was still at school at this point and was scoring his shows after I finished my homework. It went well. I did his next one. Then someone else liked what I did and asked to work with me. This kept on happening and has never really stopped since then. It’s kinda amazing. I still joke technically I am on my year out from school. I was meant to go to university but I took a year off to see how the music would go. It’s just been a very long year… I had to teach myself as I went and I think that’s why people find my scores sound different. I’ve learnt through non-stop work for about 20 years now. When I first met Ridley Scott he said, “You’ve done your 10,000 hours in the garage.” I liked that.
You did a cool old-school spy score for the BBC miniseries “The Game” before taking on “U.N.C.L.E.” How do you think that helped set you up for the task ahead, while also being different from it?
Although both projects are about spies they are very different. “The Game” was a lot darker, both tonally, aesthetically and morally than “U.N.C.L.E.” “U.N.C.L.E.” is like a kaleidoscope of international color. “The Game” is like a brutalist slab of 1970’s concrete. I loved working on them both.
How did “The Man from U.N.C.L.E.” come your way? And once you got the gig, did you immerse yourself in the old show and its scores? How do you think the film is different from it?
Guy had heard every showreel in Hollywood and then someone passed him mine. It wasn’t even that great but he said it was the only one that didn’t sound exactly the same as all the others. Did I want the job? Yes please. I did not need to immerse myself in anything as I’d spent most of my life absorbing it already. So many of my favorite scores were from that era and genre. Composers like Lalo Schifrin, John Barry, Jerry Goldsmith, Quincy Jones, Roy Budd, Edwin Astley, Ennio Morricone. I’d listened to so much of their work religiously by then that I knew all the tricks and things I loved and would want to hear myself as a fan of that genre. And hopefully I got to play with them all in U.N.C.L.E!”
What do you think made U.N.C.L.E.” different from such other Bond spin-offs as “Mission Impossible,” as well as Bond himself? And do you think taking an outright period approach further helps differentiate the film and score?
Firstly writing a score set in the 1960’s was for me, a dream come true. There is a boldness about the music then and the way it was written and recorded that I absolutely love. When you talk about spy music everyone still really thinks of that era. I think it’s hard to pull off that kind of music in a modern film as it has so many connotations to that past. But if you are scoring that era then you can just go nuts and have the most fun with it you can. Which is what I tried to do. UNCLE has it’s own feel and vibe. We very consciously made sure it didn’t feel like a Bond rip off musically as it’s such an easy route to end up going down when you are doing a spy series. I mean it’s a fun route but we just tried to steer clear of it.
Were there any particularly inspirational classic spy scores that influenced you here, not to mention songs from the early 60’s day, of which this album offers plenty.
Blimey. There are so many I don’t even know where to start. OK some random scores and films. “The Knack.” “The Taking Of Pelham 123.” “The Ipcress File.” David Axelrod. The Beatles. Nina Rota’s Fellini films. “The Italian Job.” Serge Gainsbourg’s film scores. Francis Lai. “Get Carter.” Pretty much every ITC TV series (“The Prisoner,” “he Saint,” “The Persuaders” etc.). This could go on forever…
Having presumably watched the scores that Guy Ritchie got for his “Sherlock Holmes,” did you get the sense of him taking a sort of punk rock approach to hipping up classical period sounds? And how do you think that applied to “U.N.C.L.E?”
Guy doesn’t want his films to sound like everything else that is out there. As a composer that is a real blessing. It also makes it very challenging as he always wants to hear something that feels fresh and new and you have to constantly re-invent the wheel with every cue. But he loves crazy ideas and he loves really allowing music to have a huge part in his films. That is such a gift for any composer who likes trying to do things differently.
When you’ve got the sound of “retro spy” music mostly used for comedic affect, what’s the trick to using it in a way that keeps the characters light on their feet, but not in a way that they become targets for outright humor?
The right sounds. A harpsichord can sound really cool but can also be quite funny too. Basically just get a harpsichord and you’re sorted!
Could you tell us about the Eastern European nature of “Uncle’s,” some cues like “We Have Location” has a cool “Third Man” quality to them with the cimbalom?
Basically the cimbalom is such a great instrument I love an opportunity to use it. “The Third Man” – which, nerd point alert, is actually all on the zither and not a cimbalom – is probably for me the greatest film score of all time. The idea of managing to write an entire score on one instrument which is so instantly recognizable yet also carries so many different emotions, is like the holy grail for me. But I haven’t done it yet!
Some of the action cues like “Escape to East Berlin” have an almost improvisatory quality to them, especially when it comes to the flute. Do you think there’s a jazz-like quality to the score in that way? And did the scoring sessions almost become jam sessions?
Yes and no. Pretty much every note in the score was written down before we got to record it. But I wanted to give the players as much room and freedom to get the best performances out of them and sort of worked that into how I would write so we could jam as well. With the flute I did a lot of early work with the flautist – an amazing player called Dave Heath – while I was writing and we worked out things that would sound cool or different that you can’t get just writing dots down or replaying samples. Guy absolutely loved that sound, as it feels different to what you’d expect in a spy film – but not out of place – so we ended up using a lot of it in the end.
You’ve also got some particularly interesting use of percussion, especially in “The Drums of War” and “Fists.” How did you want to use rhythm here?
Anytime we were stuck on a scene the film’s editor James Herbert – who is an amazing, amazing talent and also brilliant with music, would just shout, “Throw some mad bongos on it” at me as a solution. It was sort of a running joke throughout the film. But everyone loved the percussion, especially the more unusual or chaotic it was. The Drums Of War cue was insane. It has a ton of different parts, some of which go in and out of time with the others, until they all come together at the end. Order out of chaos. Easy to say but was damn hard to get perfect! Basically never get involved with overlapping multi tempo maps. It is not fun. It’s like hard math with Steve Reich as your teacher.
There’s also a fun Spaghetti Western vibe to the score, complete with howling voices and rocking guitars in “Take You Down.” And it’s downright “Once Upon A Time in the West”-ian in “The Red Mist.” You wouldn’t necessarily expect to hear these kinds of grooves in a spy score.
I love those scores. They have such a visceral quality to them and we really wanted to capture some of that in the film. Morricone’s “Navajo Joe” is one of the most amazing pieces of film music ever. It’s just so crazy, yet so powerful. Just that crazy scream. We wanted to do something that was out there and I really didn’t think it’d make the final film. But I’m so pleased it did, as it’s one of my favorite moments in the score. To get away with that in a modern Hollywood studio film was just so cool. That track sounds HUGE! It also has amazing drums on it. We recorded two drummers at the same time, and it just sounds so large. I love how it turned out. I hope there’s a bunch of sequels and they keep re-using it.
Another great example of an unexpected ethnic detour is taking a tango approach to “Breaking Out.” Were you always thinking about how to spring those kinds of musical surprises in the score?
Guy always wants something new every few minutes in his film. He likes surprises or different ways of looking at things. Although, if I am totally honest, that cue was also heavily influenced by the fact we learn that Illya was at one stage in his life an undercover Spanish speed boating champion. But those important facts got cut from the scene! However everyone loved that piece so much by then it just stuck, which was lucky, as I had run out of ideas for it by that point!
Was there any pressure in your head that you’re potentially launching a new franchise here?
Yes and no. Early on everyone there was lots of talk about using themes, or the great original theme by Jerry Goldsmith, or doing new themes. But Guy doesn’t really like conventional scoring. He likes big, big tracks that all feel unique. So you have to write a score as if you are writing a ton of big tracks. Which is great but also really hard, as it still has to do all the things a score does – you just can’t notice that! But once we’d worked that out I think it’s a really cool way to make the whole film feel different to everything else. I could totally do more “U.N.C.L.E.” films. I’d love to do one set in China and just get let loose making crazy funky tracks on Chinese instruments.
Let’s go back to your earlier work, where you began with lots of TV films and documentaries. You also had the opportunity to score three episodes of the English version of Gordon Ramsay’s “Kitchen Nightmares,” as well as shows for the famed cook Jamie Oliver. What was that experience like, and how do you think scoring reality differs between the UK and America, especially when it comes to Ramsay’s shows?
At one stage I sort of did every cooking show in the U.K. I was the go to guy for music as someone chopped up an onion. I even ended up giving a lecture at the Royal College Of Music about it. It was quite surreal. I think I was lucky. I started off when reality TV in the U.K. was being born. And while now I kinda think a lot of that stuff being done now is pretty awful, at the start it was really good fun. You basically had these high concept shows – send some people back in time to be in a 1950’s army, live like an Edwardian and so on – and they needed tons of tracks. You weren’t scoring to picture so much you just had to write music and they would use it. They didn’t care so much as long as it worked – you had free reign. So I would just write all this crazy stuff and somehow it would get on prime time TV. Me playing the kazoo, or singing down a drainpipe. I would just mess around. I loved it. It went down really well and I did a ton of it and had a lot of fun and learnt a lot of tricks in the process.
I don’t really like the way the U.S. does reality TV, which I think has crept over to the U.K. Now so much of it is just pizzicato string samples and big over the top string rises. Every moment is this ludicrous high drama. Everything is HUGE. I think it’s dishonest. I like playing the absurdity of situations and I think it’s something the British are very good at.
I first became aware of your work with the excellent, period ghost story “The Awakening.” Could you tell us about that experience, and how you wanted to do a suitably old-school supernatural score?
That came about because of a fantastic director called Nick Murphy. We had worked together a lot on TV and that was his first film. He asked me to do it with him and I’m so grateful as that was how I really entered the film world. He is a fantastic talent who understands music so, so well and is a real joy to work with. We did a TV series last year “Prey,” which was really great as well. “The Awakening” was my first real film score and it’s still probably one of my favorites. I loved working with a big choir for it.
The label Movie Score Media did a good job of getting your music out there to an international audience with titles like “Dirk Gently” and “Blood” (and most recently “The Game”) which showed a real versatility in taking on oddball subjects, as well as incredibly depressing ones! What was it like to get a label behind your work like that to really get your name out there, and how do you think other international composers of discovery can get that kind of break?
If you wanna get a CD of your scores out you have to be a pain in the arse. I have always been a pain in the arse trying to keep hold of my rights and so on or make sure there is an allowance to get a soundtrack released, otherwise it never happens and gets caught up in corporate red tape land. TV is getting smaller and smaller with a few companies making everything. They want to own every single right but do nothing with it. It gets me really worked up! I don’t mind if they own it but not if it just dies in a box never to be heard. So I am on their case from the start to make sure I can get a release out because that helps me focus and do a better score as well. I have sometimes turned jobs down because I know the company are just too greedy or too much of a pain to deal with. In retrospect I have never regretted that either! Those are often the people who don’t really care if your music is any good in the first place…
Your first big Hollywood break was on Ridley Scott’s “The Counselor.” What was it like to work with him on such an especially blackly comic crime film, and were you surprised by the almost violent reaction the film got?
The way I like to look at it is Ridley did a film before that got completely slated at the time it came out – Bladesomething, cant remember it exactly – but then, over time, people judged it differently. The weird thing is while a bunch of people hated it the people who love it REALLY LOVE IT. I mean you meet someone who likes that film and they won’t shut up about it. I meet them. They don’t shut up. They have so many questions. They have watched it so many times. Any film that gets that sort of reaction is great in my book. I loved working on that film and to work with Ridley was a dream come true. But yes it was a hard film to crack musically because it was so different to the usual Hollywood output.
We’ll be hearing you next on “Steve Jobs.” Could you give us a glimpse at your score, and what was the challenge of scoring a film where dialogue is key, especially when given a script by Aaron Sorkin?
I seem to specialize in scoring films that don’t want to be scored in an obvious way. Steve Jobs is similar in that respect – it’s unique and you have to find a way to deal with that. Right now its all top secret. But the film is in three acts and I am writing almost three different scores. It’s trying to find a similarly novel way to tell a story. That’s all I’ll say at the moment… Hopefully it’s gonna work! But the film is going to be fantastic…
“The Man from U.N.C.L.E. is riding the recent wave of retro scores like “Kingsman,” “Mortdecai” and “Mission Impossible: Rogue Nation.” Why do you think there’s such a renewed interest in that scoring style? And if “UNCLE” is a hit, how do you think your music will continue to bring back audiences back to the glory days of spy swing?
YES PLEASE. If this means we get the groove back, the swing, the boldness I am all for it. So I hope it is a hit ‘cos I could definitely enjoy doing this kinda score again and again!
“The Man from U.N.C.L.E.” opens in theaters on August 14th, and Daniel Pemberton’s score is available from Watertower Records HERE
Listen to Daniel Pemberton’s releases on Movie Score Media HERE
Visit Daniel Pemberton’s website HERE
Varèse Sarabande will release the [a.15866]Z for Zachariah Original Motion Picture Soundtrack digitally [da.2015-08-28]August 28 and on CD on [da.2015-09-04]September 4, 2015. The album features the original music composed by [c.3137]Heather McIntosh.
"This is my second time working with Craig Zobel, so our director-composer language is pretty well developed," explained McIntosh. "With our last collaboration, the ensemble was super minimal, super biting, but minimal. This time we wanted to push ourselves with the score and it's thematic development. Really go for it, you know? Though it is a chamber work, we wanted the sound to be full and orchestral."
McIntosh had the opportunity to write for organ in a scene where Margot Robbie's character plays the instrument...
Varèse Sarabande will release the [a.16097]Extinction Original Motion Picture Soundtrack digitally [da.2015-08-14]August 14, 2015. The album features the original music composed by Spanish composer [c.8463]Sergio Moure.
"Collaborating with Miguel Angel Vivas [director] is a real treat," said Moure. "He is a director who leaves you a lot of creative freedom, but at the same time he knows what to tell the composer to show him the way to find the right emotional tone. He asked me to focus on the emotional aspects of the story and the relationship between the characters, without leaving aside the idea that it has to be a genre score."
"This is the second time Sergio and I have worked together, after [m.]Kidnapped," said Vivas. "And now he has gone and exceeded it...
Lakeshore Records will release the [a.16051]Grandma Original Motion Picture Soundtrack digitally on [da.2015-08-14]August 14 and on CD [da.2015-08-28]August 28, 2015. The album features the film's original score by [c.5223]Joel P. West with songs performed by Angus and Julia Stone, and West's bands The Tree Ring and Flood Coats.
"In a lot of ways, [m.42701]Grandma is a road trip movie even though it just takes place in Elle's neighborhood," explained West. "Paul [Weitz, writer/director] wanted to capture that energy in the moments that Elle and Sage are connecting in the car, so we incorporated a lot of folk music elements to capture that fun, rollicking feeling of driving around with a friend."
"Since this film focuses on Elle as she reflects on her life, I...
Announced this week were new composer assignments for [c.1238]Bear McCreary ([t.44278]Damien), [c.10168]Stephen Rennicks ([m.44276]Room), [c.1743]Alec Puro ([m.44260]The Runaround), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here.
There were 31 new soundtrack albums released this week. [da.2015-07-27]Click here for the full schedule.
Opening nationwide this week are (with music by): [m.42191]Vacation ([c.139]Mark Mothersbaugh) and [m.38497]Mission: Impossible - Rogue Nation ([c.631]Joe Kraemer).
Among all new theatrical releases, we are tracking song credits for:
- [m.42191]Vacation (28 songs)
- [m.38497]Mission: Impossible - Rogue Nation...
Video Games Live, the largest, most successful and longest running video game concert in the world continues its 13 year history of solidifying the game industry as a legitimate art form by proudly announcing 45 new performances across the globe. Through its record-breaking chart topping album sales and continuous SOLD OUT shows around the world, Video Games Live continues to set Guinness World Records for the longest running symphony show of its kind.
Having already performed 21 shows in 2015, Video Games Live will be performing 16 shows on 4 continents over the next month including the historic Red Rocks Amphitheatre in Colorado with the Colorado Symphony as well as teaming up with Gamescom (the biggest video game convention in the world) for 4 shows in Cologne, Germany. Aside...
La-La Land Records is proud to announce the release of the [a.15671]Mission: Impossible - Rogue Nation soundtrack CD being released exclusively at [url.http://www.lalalandrecords.com/]lalalandrecords.com [da.2015-07-28]July 28 and other retail outlets [da.2015-08-04]August 4, 2015. The digital album will be released [da.2015-07-31]July 31. The album features the original music by composer [c.631]Joe Kraemer.
Kraemer composed a motif for Ethan Hunt that is "a sort of upside-down answer" to Lalo Schifrin's original theme for the TV show. "In keeping with the goal of paying homage to original show, while still sounding relevant to today's audiences, I decided I would only use instruments that were available in 1966, when the TV show began," Kraemer stated. "That meant no...