Filmmuziek nieuws

NEWS: Sony Classical Announces 'Professor Marston and the Wonder Women' Soundtrack

Soundtrack News - Zo, 01/10/2017 - 01:00
Sony Classical proudly announces the release of [a.21718]Professor Marston and the Wonder Women (Original Motion Picture Soundtrack)[]. Featuring composer [c.5141]Tom Howe[]'s original score, the soundtrack will be available digitally and on CD October 13. Stage 6 Films' [m.49411]Professor Marston and the Wonder Women[] premiered to rave reviews at the Toronto International Film Festival. On October 13, the film will be released in U.S. theaters in association with Annapurna Pictures. "Working with Angela was fantastic," exclaims Howe. "I was lucky enough to join the project before Angela filmed anything. Early conversations with her about the characters and story arc meant I was able to write a suite which she listened to on...

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Categorieën: Filmmuziek nieuws

NEWS: Ubisoft Announces Dan Romer as Composer for 'Far Cry 5'

Soundtrack News - Za, 30/09/2017 - 01:00
Ubisoft announced that [c.2590]Dan Romer[], the award-winning film composer, songwriter and music producer, is composing the score for [m.50683]Far Cry 5[] in addition to writing songs for the game. The [m.50683]Far Cry 5[] soundtrack will be available closer to the game's launch on February 27, 2018. Known for his film score work on [m.33502]Beasts of the Southern Wild[] and [m.42348]Beasts of No Nation[], and for producing the Grammy-winning single, "Say Something," and worldwide hit, "Treat You Better," Romer sought to create a soundtrack that transports players into fictional Hope County, Montana, where fanatical doomsday cult Project at Eden's Gate has taken over. Utilizing many Americana instruments, including...

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Categorieën: Filmmuziek nieuws

NEWS: Sony Music to Release 'The Foreigner' Soundtrack

Soundtrack News - Vr, 29/09/2017 - 01:00
Sony Music proudly announces the release of [a.21621]The Foreigner (Original Motion Picture Soundtrack)[] with the music by Grammy nominated composer [c.124]Cliff Martinez[] ([m.31372]Drive[], TV's [m.39039]The Knick[]). The soundtrack will be released digitally and on CD on October 13th, 2017. [m.46152]The Foreigner[] from STXfilms opens in U.S. theaters the same day. "This is a unique score for me - my first time doing a score for a nonstop action film," said Martinez. "Director Martin Campbell trusted me and left me alone to do what I do best. The music is all electronics with a couple of hardware synthesizers - it's really dark and tense." Martinez added, "There's a recurring theme in the film where Jackie [Chan] keeps...

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Categorieën: Filmmuziek nieuws

Interview with Nathan Barr

Film Music Magazine News - Wo, 27/09/2017 - 23:59

When Nathan Barr scores the grim reaper’s representatives on earth, one can be assured that he will be granting no pleasure trip for their one-way ticket to the great beyond. From the flesh eating disease of “Cabin Fever” to the thrill kill torturers inhabiting the “Hostel” and the immortal vampires of “True Blood,” Barr’s sanguine, multi instrumental talents have viewed death in terrifying ways – which is now what makes his latest voyage to the other side particularly unique for “Flatliners.

With a fresh young cast of afterlife thrill seekers, Director Niels Arden Oplev (“Girl With the Dragon Tattoo”) gives a new jolt to Joel Schumacher’s 1990 thriller, for which composer James Newton Howard originally provided a mixture of heavenly chorus and pulse-pounding thrills for medical student out-daring themselves to momentarily die for a glimpse of the other side. And as with that cult film, this reboot once again proves that there is some things that man was not meant to know, as forces from death’s domain hitch a ride back to the earthly plane to pull them back to the final destination.

Though Howard’s work, and much of the memory of “Flatliners’ precursor might be wiped from Barr’s memory, his soundtrack proves a worthy spiritual successor to score that first impressed with its mixture of hipness, wonder and fear. Using electro-rhythm like an EKG, Barr energizes his score with the thrill of stopping and starting hearts in the nick of time, while cool alt. rock rhythms impress with the groove of exhilaration, then fear. Creating an eerily transfixing atmosphere of unearthly sounds for visions of the afterlife, Barr elongates the score’s suspense, nervously waiting to shock the system before it’s too late. And when showing that the ultimate answer is left itself, Barr creates some of his most beautifully emotional orchestral work in his prolific career. It’s a new take on “Flatliners” that doesn’t sever its melodic chord to the past, all while showing how next-gen composers like Nathan Barr are pushing the boundaries of scoring with death-defying attitude to spare.

Though you’d begun your career with scores like “Beyond the Mat,” “Going Greek” and “Double Down,” were you surprised that genre scoring for films like “Cabin Fever,” “2001 Maniacs” and “Hostel” provided your most popular way into Hollywood?


A lot of composers first cut their teeth by scoring horror films, and I have been no exception. I happen to be a huge fan of the genre and so I was happy that many of my early scoring experiences lived within the world of horror films. I think my abilities as a composer span across many genres and my career has really begun to expand in many other directions as of late. I think if anything, my musical beginnings speak to an ability to walk between multiple genres and styles, and I am grateful I have a career that allows for that.

How did the first “Flatliners” impress you?

I have not seen the original film since it came out 27 years ago, so I remember very little about it other than that it freaked me out and left an impression.

“Flatliners” fits into the “mad doctor” genre. Do you have any favorite scores in that domain?

“Young Frankenstein” immediately comes to mind. Also, and it may be a bit of a stretch as far being a part of the “mad doctor” genre, but Coppola’s “Dracula” film with Tom Waits as the mad doctor has that beautiful score by Wojciech Kilar, which is one of my favorites.

How did this new take on “Flatliners” come your way?

I put together a reel for Spring Aspers who is the head of music at Sony. She distributed that to the director Niels and the producers and based on the strength of the 16 tracks on that reel I was brought on board to replace the first composer. I had 31/2 weeks to compose over an hour of score so the fact that I can write very quickly when required also put me at the top of the list.

What was your collaboration like with director Niels Arden Oplev, and what kind of fresh take do you think he brought the story?

I came onto the project so late in the process that we never had a spotting session. I was hired on a Monday and hit the ground running on Tuesday. And so three weeks later I had 45 minutes of score written and an orchestra session just days away. It was a wild ride!

Niels asked the picture editor Tom Elkins to give me direction at the very beginning because Niels was tied down with a mountain of visual effects and reshoots. And so I didn’t have my first conversation with Niels until I’d written about 20 minutes of music, or about 10 days into the process. Fortunately, Niels and Tom were generally in sync with what they wanted the music to accomplish, and Niels responded very favorably to that first batch of cues. From then on we were in regular touch.

If I had to sum up Niels’ direction for the score it was to always make sure that there was breath in the score so that each scene had the opportunity to develop organically. He wanted to avoid being too manipulative with the score. A couple times he humorously gave me the same note the King gives Mozart in Amadeus, “too many notes.” But I knew right away how to adjust, and so it was a good piece of direction. I really enjoyed my collaboration with Niels and the sense of humor he brought to discussions about serious things.

I avoided re-watching the original, as I know Niels wanted to approach the story through a contemporary lens, and I believe he achieved that. There’s a youthful energy to these characters that is a bit different from that of the original, if I remember correctly.

Could you talk about your approach to “Flatliners,” especially when it comes to the difference that music takes for young, hip doctors then and now, especially when it comes to the alt. rock elements in the score?

Having a strong electronic component in the score was important to Niels as he felt it was a good way to acknowledge the target audience of film that is rated PG-13. And so the orchestral elements were really about bringing some cinematic grandeur and emotional depth to the story, while the electronic elements were about the fun, intensity and ambition of the characters in this story.

What are your own thoughts about what happens when you die? And how were they reflected in the score?

My belief in what happens when we die varies from day to day so it would be hard for me to pin down a philosophy. Having said that I can say my own feelings about death was not a part of the composition process. It’s all up there on the screen for me to enjoy and interact with!

How did you want to approach the “flatlining” sequences?

Some of the more complicated sequences in the film to score from a technical standpoint involved navigating the back-and-forth between the afterlife and the hospital room while sounding cohesive. Oftentimes what a character is experiencing in the afterlife has quite a different emotional space than the panic of the hospital room where their bodies await their souls’ returns. And so finding a musical thread that could exist underneath both was a challenge.

How did you want the score to reflect the high-tech equipment the Flatliners are using to kill and resurrect themselves?

I think the electronic and synth elements that drive the score in many scenes all help reflect the high tech equipment and feel a part of that world.

Could you talk about the “heartbeat” of your score?

The heartbeat in the score is an electronic pulse that propels the score forward in a way that can feel contemporary even if there are orchestral elements over the top of it. It’s perhaps a bit on-the-nose at times to have a heart-beat element in a score about flatlining, but it’s also a way to have some fun with the overall conceit of the film.

Flatliners Scoring Session

How did you want to combine the electronic and orchestral elements of the score? And what do you think your approach has to say with the more human, emotional element of the story as opposed to the technology and excess the characters indulge in?

When Niels and I spoke about the score, he wanted to be sure the score was breathing with the characters and not forcing a feeling on the audience that wasn’t earned. Oftentimes he would give me a note that he wanted half as many chords in the cue. What I came to understand he was asking for was more space between chords so the scene had a chance to unfold without interference from the score. This note was largely limited to the orchestral elements in the score. I was constantly pairing the orchestral parts back as Niels felt they were too adult and traditional for these young characters. In another case he literally had me cut the tempo of a cue in half and that gave him the emotional impact he was looking for in that particular sequence.

Could you talk about your sampling here, from the eerier moments to the rhythmic element of the score?

As a general philosophy I shy away from using samples created by sample libraries. But when there is so little time to write a score I inevitably lean into samples more than I usually do. I definitely managed to get some of my homegrown sounds into this film, but in other cases I was grateful to have ready-made samples to aid in a jump scare or quick set of cuts that needed accenting.

What were some of the more unique instruments you used here?

I used an instrument called an Array Nail Organ which was built for me by Bill Wesley and Patrick Hadley who created another instrument I own called the Array Mbira which is essentially an electric kalimba. I love the way these guys think about creating and making musical instruments and had seen them demonstrate their Nail Organ online. It’s a series of nails of different lengths mounted to a resonant wooden box with pickups. Once you apply powdered resin to the fingertips and rub the top of the nail head it produces a pitch determined by the length of the nail. The highest pitches, or shortest nails, produce a whistle sound you will hear clearly in the main title track of Flatliners, as well as throughout the film.

I have a harpsichord and have all sorts of fun recording that and manipulating the sound afterwards. That can be heard in a couple of the film’s more tense moments as a 16th note pattern that floats over the top of various propulsive elements. Another favorite of mine that started all the way back with “Cabin Fever” is a bowed Indian instrument called a Dilruba. All of the above instruments are part of my process in bringing a unique sound to my scores.

How did you want to use voice in “Flatliners?”

Even though it’s a bit cliché at this point to musically associate voices and the afterlife, there is nothing more ethereal than a group of human voices, and so I, like many composers before me, leaned into that trope a bit in several of the afterlife sequences.

What about the score’s more horrific elements that go back to your more visceral genre work?

I’ve gotten pretty good with several of my bowed instruments at creating the sound of sheer terror and so I leaned into those a bit, as with the Dilruba I mentioned above.

How did you want the score to cross over from the wonder of near-death to the terror that comes back from the other side?

Niels wanted the scary moments to be scary regardless of whether they happened in the afterlife or post-flatline. And so there wasn’t much to do with the crossover between the two, so long as the emotional impact was achieved.

When you’ve got a film where characters might, or might not being imagining things coming to get them, what kind of freedom do you think those “hallucinations” give to the score?

The perspective of the score depends on what the director wants to accomplish in a given sequence. In the case of this film we wanted to play up the horror of certain moments regardless of whether it was in the character’s imagination or not.

I do think however that as a general rule hallucinations in films do free a composer up to really explore tone and texture and instrumentation just at the director might experiment with camera angle and color and editing. A sequence in “True Blood” and one from the first season of “The Son” both come to mind as musical moments that I had fun with because they occurred over hallucinations.

You’ve also been exceptionally busy on television with “Sneaky Pete,” “The Son” and “The Americans.” What kind of doors do you think the boom in the medium is opening up for you, and is there a particular kind of show you look for?”

I look for a show with characters I can imagine spending many hours with. In the case of the three shows you have mentioned, each one has very intriguing and complex characters that are a joy to write for. Interestingly, each of these shows centers around a protagonist who is the epitome of an anti-hero. And so it’s gratifying to take the con man from “Sneaky Pete,” two Soviet spies from “The Americans” and the murderous patriarch from “The Son”” and humanize them with the music so they become more relatable to audiences. I think on some level everyone likes the irony of rooting for the dark side of a human being who may be trying to achieve something good through dubious means.

I think we can all agree that some of the most entertaining, intriguing and smartest storytelling in the world right now is happening on television. It’s exciting to see so many companies committed to creating top-notch stories driven by complex characters.

You’ll also be dealing with death in your forthcoming score for “The Parting Glass.” What can you tell us about it?

“The Parting Glass” is a film directed by Stephen Moyer, written by Denis O’Hare, and starring Anna Paquin, three members of my “True Blood” “family”. It’s a deeply moving autobiographical story from Denis O’Hare’s life that deals with suicide and a family’s struggle to process and recover from it. Steve shot it in a very naturalistic style and so there is not a lot of score in the film, but when there is score, it’s very important. It was so great to be back in creative mode with these three talented artists.

From L to R_The Parting Glass composer Nathan Barr, director Stephen Moyer and singer Sam Lee

In your spare time, you’ve been assembling an organ? What’s your attraction to that instrument, and what do you hope to do with the end result?

Three to four months from now the studio I have spent the last decade-plus envisioning will be complete. I didn’t want to build just another recording studio, but instead wanted to create a unique space that really spoke to my diverse interests as a composer and musician and also showcased my large collection of musical instruments, some of which are quite large. I also wanted to build a space that would be a meeting place for musicians from all over the world to come together and record and make music and be inspired.

My imagination was first captured by a pipe organ when I was around 10 years old and my mother explained to me that when I pressed the keys on the organ’s manual at church there were pipes in rooms up in the walls that when filled with wind made a sound. This was a musical “aha” moment for me and filled me with wonder and mystery. Years later I heard a Wurlitzer Theater organ accompanying a silent film and it went straight into my heart and imagination and cemented my fascination with pipe organs.

Nathan and his unrestored Wurlitzer organ

I started to get to know people in the pipe organ community about 8 years ago, and when I mentioned I was keen on installing one in my studio, a gentleman who owned the former Twentieth Century Fox Studios Wurlitzer offered to restore and sell me that instrument. I jumped at the chance to include it in my studio. It “lived” on the scoring stage at Fox from 1928 to 1997 and was used by everyone from Bernard Herrmann in Journey To The Center Of The Earth to Alex North in The Agony And The Ecstasy to James Horner in “Cocoon,” and many more. It’s an instrument that physically occupies 6 rooms and so the possibilities for experimentation are endless given all the exciting pipes and other instruments that make up the entire beast of this organ.

Seeing the instrument restored and given a proper place to live has been an obsession of mine over the past couple years. I have literally built the building around the organ, and it speaks onto a scoring stage that will accommodate up to 60 players. I look forward to reintroducing this important piece of film music history to the world in new scores and music. The first film it will find it’s way into is my next collaboration with Eli Roth, “The House With A Clock In It’s Walls,” which stars Cate Blanchett and Jack Black and hits theaters next year.

In the end, do you think there’s a spiritual connection to your work and James Newton Howard’s original score?

I always strive to keep my voice as a composer as unique as possible and so I deliberately avoided listening to JNH’s score because I wanted this score to be as much my own as possible. At times being completely unique was a struggle on this one given the schedule gave me no time to experiment and a temp score existed that some were very committed to. But now that I am done, I intend to watch the movie again and give it a listen out of sheer curiosity. And if there are indeed similar elements, that would be pretty amazing, and then yes I would say there would be a spiritual connection between the two.

What do you think makes “Flatliners” different from the genre films you often score? And what does it show about where you can continue to venture in the worlds of horror, and now science fiction?

“Flatliners” is more sci-fi and psychological thriller than straight horror. And this was a conscious choice on the part of Niels. There are certainly some very scary moments in the film, but at its heart it wants to be more. And so there are a couple of story moments that allow for beautiful scoring that one might not expect in a straight-ahead horror film. In that way, I’d say “Flatliners” has more sci-fi elements than I have worked with before.

Do you think the ultimate mystery of death is both the creepiest and most wondrous thing you can score?

I don’t honestly know – certainly one of them!

If someone offered you the opportunity to flatline, with the surety of coming back, would you do it?

I don’t think I would because I would never look at life on planet earth the same way. I think there’s something very important in knowing that our time here is limited and that one day we will be gone from the planet with no idea of what’s next. Embracing the fear and excitement that comes with that brings a richness and mystery to life that would probably go away pretty quickly if we knew what existed on the other side.

“Flatliners” opens on September 29th, with Nathan Barr’s score available on Sony Classical Music

Visit Nathan Barr’s website HERE

Categorieën: Filmmuziek nieuws

NEWS: Sony Classical Announces 'Goodbye Christopher Robin' Soundtrack

Soundtrack News - Wo, 27/09/2017 - 01:00
Sony Classical announces the release of [a.21435]Goodbye Christopher Robin (Original Motion Picture Soundtrack)[] with an original score by Academy Award-nominated composer [c.24]Carter Burwell[]. The soundtrack will be released digitally on September 29 and on CD on October 20, 2017. The film will be released in the US on October 13, 2017. [c.24]Carter Burwell[] said about the score: "One of the riskier decisions Simon Curtis and I made with the score was to withhold the main theme until the middle of the film, when A. A. Milne begins to write and his friend Ernest Shepard begins to illustrate "Winnie The Pooh". We did this to make that moment especially noteworthy, to make it the turning point of the story. Before that point,...

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Categorieën: Filmmuziek nieuws

September Soundtrack Picks

Film Music Magazine News - Di, 26/09/2017 - 19:26

Soundtrack Picks: “IT” is the top soundtrack to own for September, 2017


To Purchase the soundtracks from this list, click on the CD cover



Price: $8.99

What is it?: This year has provided a virtual renaissance of great independent filmmaking, small-scale movies that have born similarly resourceful scores from budgetary resourcefulness. Perhaps none is more uniquely powerful than “Gook,” Roger Suen’s abstract city symphony, which plays in searing service of triple-threat writer, director and star Justin Chon. With a profanely in-your-face balance of humor and tragedy, that returns us to 1992, the year that LA’s ethnic enclaves were set upon during the city’s riots. Singled out were the stores belonging to Korean immigrants, strangers in a strange land trying to make a hardscrabble life from a financially devastated hood, the more vengeful members of whom use the titular slur for their perceived exploitators. “Gook’s” impactful emotion derives from the relationship between a black girl who hangs out at the truancy-enable shoe store owned by argumentative Korean brothers, a hilariously good-humored relationship that you’d expect to see in “Clerks” but ultimately turns to the far darker impact of “Do the Right Thing.” But thanks to Suen’s provocatively creative score, “Gook” manages to sample both films and their urban vibe to far better effect than either.

Why should you buy it?: With work as a programmer on “The Maze Runner: The Scorch Trials” and “X-Men Days of Future Past,” Suen’s additional composing is more in the superhero realm of “Daredevil” and “The Defenders,” with sole credits on the dramas “Sacrifice” and “Lady Bug.” Taking an alternately realistic and surreal approach here. With a malleable, intimate theme that varies from poignant piano to plucked bass, Suen captivates with his urban tone poem. He constructs an isolated store from melancholy guitar and lonely jazz trumpet, while giving its sneaker-hungry clientele oddball pep with a tango. Sometimes using retro synth beats straight outta Casio alongside free form jazz riffs, Suen casts an oddball mood for its unlikely cross-cultural friendship, charting the film’s course from humor to anger and reconciliation, then all out madness as a fire-lit night descends upon the area.

Extra Special: Suen handles the tonal shift of “Gook” with devastating results, while creating near unbearable tension for characters on a tragic collision course. He ends on a note of somber self-reflection that makes “Gook’s” can’t-we-all-just-get-along message all the more impactful as a female singer providing a heavenly elegy. In a movie where characters are constantly screaming at one another to hilarious and gut punch effect, Suen is a real voice to watch out for.


Price: $11.99

What Is it?: Since making his first Hollywood splash with the kinetic conspiracy score to 2008’s “Vantage Point,” Icelandic composer Atli Orvarsson’s action stylings have mainly veered to swords and crossbows with the entertaining likes of “The Eagle” “Hansel & Gretel Witch Hunters” and “The Mortal Instruments.” Now he comes roaring back to the present with “The Hitman’s Bodyguard,” a gleeful R-rated cavalcade of car chases, shootings, stabbings and barroom brawling.

Why Should You Buy It?:
Given a virtual checklist of multiplex action mayhem, both score and film invest a welcome screw-this attitude that thankfully makes this “Bodyguard” a bit more than going through the usual motions. One big reason is that a Sam Jackson is holding a gun in one hand and a harmonica in the other as he belts out the F-bomb blues. Similarly, this is a score that gloriously doesn’t give a shit as it’s pouring on a comic world of hurt. Orvarsson goes for a sound that’s way more caper than crime from its opening theme title track with voice, organ, funk guitar and orchestra, setting up a mighty fun ride. Like a descendent to Danny Elfman’s “Midnight Run” score on steroids, Orvarsson’s score is all badass attitude at embodying Jackson’s too cool for school assassin. It’s antic energy versus facepalm exasperation in how groovily “Hitman” gets its funk on, the fact that it’s playing in international locations making the approach all the more fun. A bit of sadness almost turns into a gospel lament, while “Kincaid’s Gospel” gets an Eric Clapton-style guitar theme that “Lethal Weapon’s” Martin Riggs would be proud to call his own (the theme even getting a sweet accordion and Hammond organ spin later on). Gary Oldman doing his scene-munching villain thang gets an evil Eastern European cimbalom, because who can musically call himself a tyrant from the region without one? Yet it’s a cliché that gets a big boost when a metal guitar roars in with an orchestra. Composer Dimitri Golovko is also on hand to abet this craziness with the retro flutes and guitar for a boat chase. It’s all part of the truly fun, subversive quality that makes Orvarsson’s score, and the film, so much more enjoyable than the kind of action sampling we’d usually get for this kind of stuff, let alone filmmaking.

Extra Special: When you’ve got the kind of smirking, blood-covered humor of “The Hitman’s Bodyguard,” you’d better count songs being used to obvious, yet impactfully ironic effect. You can be sure that Sam Jackson’s got the blues soul with “Nobody Gets Out Alive,” preaching it with a hand-clapping ending. Authentic, harmonica-blowing hangdog grooves are provided by Junior Wells Chicago Blues Band, with retro R&B by Chucky Berry giving the soundtrack its soul power, Other iconic, now gooey love songs play out against ultra violence to obviously knowing effect, from Lion Richie’s “Hello” to Foreigner’s “I Want To Know What Love Is” and King Harvest’s “Dancing in the Moonlight,” while Spiderbait does a cool heavy metal spin on “Black Betty.” The end result is a song-score soundtrack that’s a blast on both ends, killing clichés, while indulging in them with delightful vengeance.

3) IT

Price: $13.49

What is it?: Having last musically terrorized a bunch of kids with “Annabelle Creation,” Benjamin Wallfisch gets perhaps the ultimate evil play pal to work his dark magic on with Pennywise. Indeed, the possessed doll and dancing clown could be kissing cousins given the lush, melodic approach that the composer applies to the idea of bonding against the cackling face of childhood-friendly evil. But if “Annabelle” is a quite good spin from Blumhouse’s “Conjuring” franchise with all of the expected shocks, Stephen King’s iconic creation definitely gives Wallfisch’s music a bit more young meat to chew on.

Why should you buy it?: Perhaps it’s Wallfisch’s English background that’s given him an unusually classy approach to horror scoring with such ghostly works as “The Thirteenth Tale” the criminally underrated insanity of “A Cure for Wellness” – while also showing he could go for the scare-a-minute approach of “Lights Out.” But with a generation-spanning story “It” Wallfisch gets a horror epic on an small scale It’s fertile storm drain ground from which to weave a mythic fairy score. Given how many horror soundtracks are now are all dissonant shock and awe, Wallfisch’s generally symphonic approach comes across as a welcome, lush throwback to the days when composers like Bruce Broughton and James Horner created the nightmare fuel of a geek generation brought up on the likes of “The Monster Squad” and “Something Wicked This Way Comes.” But make no mistake here that twisted, raging impressionism is lurking around in doorways, basements and drain pipes amongst the evil carnival music, waiting to spring while hypnotizing us inside with bells and whispered voices. It’s the rare score that really does scare the shit out of you, no more so than in Wallfisch’s sampling of screaming kids. But if Pennywise were just Jason in white makeup as opposed to a hockey mask, it’s likely no one would care about the film. For it’s that we’re rooting for these kids to triumph not only against ancient fiend, but real-world bullies and parents alike that make the film and score particularly affecting. Wallfisch’s empathetic score helps make us truly care this Loser’s Club, creating a feeling of camaraderie even within the darkest cues, all while giving a cosmic sense of the much bigger bright light dimension from which Pennywise hails.

Extra Special: Horror films seem to demand as much music as comedies, and Wallfisch’s hypnotic score is spread over two generous CD’s, never becoming tiring amidst the tension. Better yet amidst a veritable amusement park of musical evil, we get a delicious bit of calliope for Pennywise doing his happy dance. It’s an evil organ that to send us off salivating for what Wallfisch will be doing for the next even more tormented, grown-up chapter of “It.” In the meantime, there’s much to savor from this rare example of a horror score being as moving as it is terrifying.


Price: $24.95

What is it?: There was a cool futurism to the Tangerine Dream scores that distinguished their 80’s heyday, a moodily electrified sound that made fantasy all the more beautifully strange in such soundtracks as “Legend” and “Firestarter.” The German collective gave a surreal atmosphere to such distinctly American locales as upscale Chicago (“Risky Business”) and the southwest (“Flashpoint,” “Near Dark”). But TD was no more beautifully chilling, or percussively suspenseful than when thinned to two members with group founder Edgar Froese, whom along with Paul Haslinger was awakened in the middle of the LA night, answering a phone call that signaled the end of the world for 1989’s “Miracle Mile.”

Why should you buy it?: Though dealing with the nuclear end of the earth, filmmaker Steve De Jarnatt’s powerful conceit was to make “Miracle Mile” an intimately scaled love story, beginning as a tar pit museum meet-cute between a musician and a waitress. The score accompanies their dream date with ethereal voice and melody, creating a saintly glow about the adorable couple. But the minute night falls, time becomes the score’s essence, especially as the seemingly milquetoast sax player turns into a warrior for true love, risking everything and everyone around him for the impossible goal of saving the instant meaning of his life from Armageddon. Tangerine Dream’s percussive clock starts running out from the moment its hero takes a fateful phone call outside of a diner, gloomy, sizzling sustains sinking in the shock of the missiles flying. Much like anyone’s perceptions at some ungodly hour, Dream’s music makes Harry’s race all the more surreal, their thematic rhythms winding into breakneck, rock and roll pace with a driving electric guitar. Dream’s talent was to layer in elements while keeping a straight line, a trademarked groove that keeps the music frantic, yet in melodic control. All roads lead inevitably to the heartbreaking rhythm of doomsday clock, music that’s all the more devastating as any sense of hope drains amidst its relentlessness, making “Miracle Mile’s” elegiac ending all the more devastating as its music is stripped back to a singular, tragic theme.

Extra Special: “Miracle Mile” was first released on an out-of-print soundtrack on Private Music, it’s soundtrack essentially different from the films with remixes, something Dream often did with their official releases, But now Dragon’s Domain Records reveals the full, rhythmic scope of this more relevant than ever cult film in a two-CD edition. The first contains the entire score and its especially unsettling washes of nuclear dread, as well as several ambient and rhythmic tracks, making its unwinnable race against time all the more suspenseful and emotional. The second disc reprises the original soundtrack that stands as its own conceptual album, with Randall D. Larson providing informative liner notes on a movie that’s sadly, and scarily more relevant than ever, even as the rhythmically inimitable sound of Tangerine Dream sound has found new retro favor amidst the likes of “Stranger Things” and “It Follows.”


Price: $29.98

What is it?: As one of the most notable composers to rise from the post-John Williams generation, James Newton Howard has often been called upon to unleash his massive orchestral skills under apocalyptic scheduling situations – emerging with a masterworks that sound like he’s had years to develop their wealth of themes. One big case in point is 1995’s “Waterworld,” a much-maligned Hollywood “disaster” that was actually nothing of the sort for the kind of press that would later try to sink “Titanic.” Though awash in the usual creative differences, longtime Kevin Costner-centric director Kevin Reynolds (“Fandango”) essentially turned his star into Namor the Sub Mariner (even given that last name) in a globally warmed and flooded-over earth. The result, which Costner ended up taking over with his “Wyatt Earp” composer on deck, was an entertainingly lavish film whose zillions of dollar were on the screen, and hugely abetted by Howard’s veritable tsunami of symphonic forces.

Why should you buy it?: Having delivered vast, yet atmospheric scores with “Flatliners,” “The Fugitive” and “Outbreak,” “Waterworld” balances a haunting, synth-inflected world music portrait of a drowned earth with cliffhanging heroics that might take place had the planet been covered by Sherwood Forest. With humanity collected into armadas of rusty ships, Howard brings in tribal percussion with exotic percussion and wind instruments, as complimented with rhythmic keyboards that show Howard’s own musical origins arranging in the pop world. A biblical chorus impresses as it bestows judgment upon the sunken ruins of civilization, while the evil “smokers” are given brash, brassy imperiousness – no less than the positively Nazi-esque Sturm und Drang march of Dennis Hopper’s oil tanker pirate commander. The Deacon’s,” foe is at first a surly Gillman only out for himself a la Mad Max, an attitude conveyed with apprehensive strings. But give The Mariner a ragtag woman and a kid to soften him up, and Howard is happy to oblige with rousingly noble music that explodes with old-school swashbuckling excitement, often as Costner is swinging like Robin Hood over fireballs. While at times beautifully languid for its water ballets, Howard invests furious pace into “Waterworld,” especially in The Mariner’s climactic assault on “The Deez, the music’s thundering momentum positively western. But then given that Howard was awarded “Waterworld” based on his epic score for Costner’s “Wyatt Earp,” it should come as no surprise that his hellbent-for-dry earth approach plays like that sheriff is back in town.

Extra Special: “Waterworld” is filled with enough music to make two-CD’s worth, fluidly connected by Howard’s inter-weaving of any number of striking themes. Having done similarly terrific jobs with such copious scores from the composer as “Wyatt Earp” and “The Fugitive,” La La Land’s reveals this complete “Waterworld” as a masterwork of take-no-prisoners action scoring, complete with demo versions of several cues that show just how good that Howard’s orchestral emulation was. The composer also offers unusually candid thoughts on the unbridled zest that he threw himself into with this awesome “orchestral violence,” as spoken within Tim Grieving’s entertaining liner notes. But perhaps most touchingly on a label known for its end-of-album treats is six minutes of sincere humbleness as Howard gives his appreciation for the orchestra’s yeoman work, followed by Costner’s own sincere tribute to what the composer pulled off under the gun.



“The Battle of the Sexes” may have been tennis version of a grudge wrestling match, but it had the very real effect in showing people that professional tennis wasn’t a boy’s club. Still, one might have expected the fateful game between Bobby Riggs and Billie Jean King to have been played with the wacky spirit of “Dodgeball” and scored as a sports comedy by way of Bill Conti. However, viewers will likely be surprised to find that the team between “Little Miss Sunshine” have made an unusually meditative movie that at first concentrates far more on Jean’s discovery of her sexual identity. So it’s no surprise that they’ve brought in the Oscar-nominated composer of “Moonlight” to play Jean’s awakening with that same muted sensitivity, giving a hairdresser’s touch a beautiful, translucently echoing approach for piano and synth that typifies the movie’s psychological approach to the match of that century between women’s libber and chauvinist pig, whose antics betray an ironic, circus-like emptiness in Britell’s hands. It’s an interesting, interior way of playing the expected the demands of a “sports” score that highlights the difference between a loveable, talented yahoo who’s putting on act for the world to see, and the interior tenseness of strings and percussion for a woman out to win a personal struggle as much as she is to prove her brethren’s worth. Yet that doesn’t mean that Britell can’t have some traditional sense of excitement, as a swirling, rhythmic orchestra carries inspiration that could fit a Rocky training montage. As we get to the big day, Britell creates a sense of introspective apprehension with organ and piano, finally landing on the thunderdome with a sound so mighty you’d think that Billie Jean was about to enter an alien’s space rift. It’s an unexpected, impactful way of translating the awe of just what she’s gotten herself into. But even the most alternative sports film or score has got to pay off for the big game, which Britell does in style as he brings his orchestra to the fore with thematic back and forth, taking a singular melodic idea and terrific varying it about for nearly ten minutes that conveys both the breathless excitement, and suspense of two competitors stripped of their soundbytes, with their eye on the bigger picture ball. It’s a bit like hearing a poetic bookworm suddenly run for a touchdown, and Britell’s always-intriguing approach shows just how well-crafted his building thematic strategy is. Equally empowering is the concluding song “If I Dare” by Sarah Bareilles, her powerful voice over Britell’s melody soaring with a pride that shows the way bigger picture of a game its composer wins with unexpected, cerebral serves, game, set and match.

. BODY DOUBLE (Reissue)

When Bernard Herrmann passed away before he could continue an association begun with Brian De Palma on “Sisters” and “Obsession,” the filmmaker came up with a solution worthy of “Vertigo” in finding an Italian composer who spoke the same grand guignol language, then having him dress in operatically thrilling, if sensitive garb. But to say that “Don’t Look Now’s” Pino Donaggio was just some Herrmann imitator is to miss how wonderfully he gave it his own deeply personal style with the likes of “Dressed To Kill” and “Blow Out.” But no film in the Donaggio-De Palma collaboration reached the bombastically lurid awesomeness of 1984’s “Body Double,” which almost broke some kind of film scoring fifth wall in having Donaggio sex up Herrmann into a porn star’s leather and lingerie outfit. Had Herrmann been given more years, he just might have picked up on the Reagan era’s pop groove in the same, cooingly delicious way as Donaggio does here. Right from the shrieking, shivering strains of a cheesy B vampire movie that finds its rather pathetic hero unable to act his way out of a coffin, Donaggio of his score’s insane and romantic wares hang out. And that’s part of this deliriously thematic score’s delicious, bat-flapping, power-tool penetrating humor, as well as its far more demure passages for silken pantie suspense. As its protagonist is lured into an impossibly labyrinthine plot of deception, Donaggio one-ups his suspenseful music-only passage from “Dressed to Kill’s” Museum of Modern Art spying, convey a pseudo-stalker’s desperate yearning that’s certain to end in bloody disaster. In other sequences, wonderfully cheesy synth work captures a groove that would fit easily into porn as much as 80’s horror, while wet synth rhythm and hypnotic female cooing leads us into a self-exploratory silhouette dance. But it’s a measure of Donaggio’s score of how he transfer it’s melody into shimmering sensuality, of course to be interrupted by the roaring brass of an ominous “Indian” stalker that embodies camera-swinging claustrophobia. Listening to “Body Double” now not only makes us hear how much we miss Herrmann, but just how well Donaggio suited the twisted Hitchcockian auteur at his most insanely devoted. As we pine for Donaggio to really give up the ghost for De Palma again, it’s certainly great to have the long out-of-print “Body Double” back on Intrada with even better sound, with the trailer music by Jonathan Elias to boot for this edition that we like to watch.


Television has yielded any number of dramatic contrasts for Mac Quayle (“American Crime Story,” “American Horror Story”), especially when it comes to two women fiercely in the pubic eye and a male computer hack struggling to stay off the grid. While “Feud” may have sadly taken home no gold in an Emmy ceremony awash in suburban white privilege as opposed to retro Hollywood’s, Ryan Murphy’s miniseries about the legendary rivalry between Bette Davis and Joan Crawford will likely stand the test of time as a wondrous tribute to tinsel town’s glamour and its sad, if not vicious underbelly. Beautifully done from start to miniseries finish, a real gem in “Feud’s” Emmys that should’ have been was the gorgeous, spot-on soundtrack by Quayle. Given lush strings worthy of the golden scoring age, Quayle channels the spirit of every composer from “Vertigo’s” Bernard Herrmann to Henry Mancini a la “Charade,” if not Robert Aldrich’s favored Frank De Vol and the raging strains of “What Ever Happened To Baby Jane” and “Hush Hush Sweet Charlotte.” What made “Feud” so good was that Murphy let the story’s camp value speak for itself, having some catty fun with the material without ever treating it without condescension. Quayle’s alternately sleek and operatic sound works in the same way. With an ironic noir theme, he captures two grand dames whose movie personas rule their real lives, while also hearing the scared souls inside of their PR personas. Wounded violins interplay with the glamorous high life of cha-cha’s and big band jazz, while a smoky trumpet positively calls Jake Gittes romping ground. But Quayle isn’t after period pastiche, let along a Louella Parsons-worthy poison pen at these fallen idols trying to claw their way back up top over each other. It’s swooning, sympathetic work that’s way more big screen than small in capturing movie magic, and the façade behind it.

Things are considerably colder for hacktivist Elliot Aldersson as “Mr. Robot” enters its third season, which is a particularly good time for Lakeshore Records to release a third volume of Quayle’s electronically intensive scoring – cleverly packaged yet again with the soundtrack’s “let’s play a game” instructions. Where retro Tangerine Dream scoring is now in vogue, especially when it comes to computer-intensive shows, Quayle’s antihero is too quirky for even that cool, rhythmic sheen. Instead. “Mr. Robot’s” latest musical hacks are far more foreboding and unique. You’re not about to hear an ersatz “Tron” game grid on this lonely, often harsh soundscape as Quayle conjures string ghosts in the machine, weaving them with isolated piano, child-like bells and crafty percussion. The result is ever-mutating, hypnotic rhythms and gnarled samples that resound with the threat of shadow government data. It’s suspense served in droning, bubbling and synthetically growling style, as frightening and hypnotic a musical approximation of being sucked into circuitry and a topsy-turvy conspiracy world as you’re likely to hear. All the while, Quayle doesn’t forget to digitize the haunted, human factor whose musical virus only continues to be consumed in the dawning age of Skynet.


There’s a special magic to Bruce Broughton’s music when it comes to capturing the pure, child-like innocence of so many beloved kid-friendly genre films like “The Boy Who Could Fly,” “Harry and the Hendersons” and even the perhaps not-so adolescent “Monster Squad.” Yet it’s that fear factor that Broughton delightfully subverted as he leveled up the cheerfully destructive antics of “Honey I Blew Up The Kid.” On the film’s 25th anniversary, Intrada unleashes what’s arguably Broughton’s most thoroughly fun genre matinee score in its full, outsized form. With James Horner taking a Nino Rota-esque circus approach for the original “Honey I Shrunk the Kids,” Broughton gives the sequel more of 40’s-style big top sound that salutes the classic toon stylings of both Bugs Bunny’s Carl Stalling and Tom and Jerry’s Scott Bradley. Indeed, Broughton’s main theme sounds like mad science itself as personified by Rick Moranis’ lovably dweebish inventor dad, baby bells and big brass. But that’s only a small part of the enormous wealth of melodies that fill up the score that show’s Broughton’s range with a full orchestra, The often woozy brass is used at its lowest register to impress us with a toddler behemoth on the march, his rhythms bouncing about like “Peter and the Wolf” while familial bonding is conveyed through sweet electric keyboards. “Honey” is no more delightful then when its kid takes on Vegas, as Broughton turns the rampaging music of so many 1950’s giant monsters-on-the-loose scores on their juvenile head. He delightfully infantilizes them with a pounding lullaby melody and ice cream truck bells, yet doesn’t forget truly adventurous chase music that gets across the danger at giant hand, if not exactly its threat. Even pausing to play a western hoedown at the sight of Vegas’ famed neon cowboy, Broughton turns the outsized son treating The Strip as a toy into a whirling, dance-like number. Intrada’s new release of “Honey” sounds bigger, and better than before, offering numerous alternate takes, as well as Broughton’s delightful music for the “Honey”-accompanying animated short “Off His Rockers,” where he applies the Americana western sound of his majestic scores to “Silverado” and “Tombstone” to turn on a rocking hose dime.


Crafting a score for a movie where music itself is an essential part of the story can be as challenging as it is a wealth of opportunity, no more so than when seeking to embody an Israeli composer haunted by her parents’ Holocaust past. But composer Cyrille Aufort makes the Hitchcockian most of it with “Past Life” as an Israeli musician and her scandal-reporting sister gradually discover an especially troubling act that enabled their existence. Aufort, whose credits include the richly emotional costume drama “A Royal Affair” (alongside Gabriel Yared) and the murderously sensual genetic creation of “Splice” is clearly someone who can get into a womens’ emotional skin, especially when given a journey of personal discovery. While he recalls the dark romance of “Basic Instinct” in his score’s sensually foreboding use of strings and piano, Avi Nesher’s powerful, truth-based film is about uncovering the devastation caused by love, both romantic and familial under unimaginable circumstances. Aufort’s lush, melancholy score makes effective use of haunted, female voices, the score at once subtly tragic and dangerous as it wavers between innocence and collective guilt. Particularly impactful is “The Concert,” a crazily modernistic piece written by Avner Dorfman for chorus, electric guitar and orchestra that are suspensefully used to counterpoint its performance alongside a desperate medical episode. Giving “Past Life” its deeply moving conclusion is The Time Will Come.” As composed by Ella Milch- Sheriff, on whose life the movie is partly based, the choral concert work brings together a haunted past with a plea for healing, making “Past Life” an especially resonant soundtrack in a powerful repertoire that hinges upon the emotional devastation wreaked by The Holocaust.

. POPEYE (Deluxe Edition)

Robert Altman was a director who marched to his own drummer, and any studio brass that might have expected a remotely traditional musical from him would be woefully mistaken. Yet the chance to have the superstar comic madman Robin Williams apply his stream-of-consciousness hilarity to an iconic one-eyed, freakishly muscular sailor, was to good to be true, leading Walt Disney and Paramount to threw the big budget dice on 1980’s “Popeye.” Altman and his eccentric repertory company built the surreal town of Sweetwater off the coast of Malta, with a script by famed playwright and fan Jules Feiffer creating one of the most visually faithful comic strip adaptations ever, while losing none of Altman’s own absurdity in the bargain. But even if the non-sequitur dialogue overlapped as always, the lyrics of Harry Nilsson shined through to similarly oddball, if sweetly poignant effect. That the distinctively voiced, and singularly named musician hailed from Swedish circus performers, creating a an often whimsical, if not regretful view of life in any number of hit movie and TV songs like “Midnight Cowboy’s” “Everybody’s Talkin’ At Me,” the tune-filled cartoon “The Point” and “All That Jazz’s” beautifully woeful “A Perfect Day.” For all of its scope, “Popeye” would be no less personal, with characters poignantly pining for true love, or hamburgers. Often using a Tinpan Alley approach that was well-suited to a turn-of-the-century look (even as the opening anthem “Sweet Haven” almost turns into the American one), “Popeye’s” tunes were all the more charming for seemingly not having a trained musical theater voice among the cast outside of “Damn Yankees” veteran Ray Walston, who does a hilarious proto-rap about every reason why he hates “Kids,” The brutishly typecast Paul L. Smith exclaims the joys of bullying with “I’m Mean,” Paul Dooley rationalizes that “Everything is Food,” Robin Williams proudly proclaims “I Yam What I Yam.” and Shelly Duvall deliciously gives reasons for adoring the oversized with “He’s Large,” Some lyrics are ear-catchingly adult, as when the town drunk number “Din’ We” reminisces about lost love in New York City. Varese Sarabande’s lovingly assembled two-CD edition of “Popeye” with excellent liner notes from Jerry McCulley, gather a number of unreleased tunes, along with a cliffhanging underscore by Tom Pierson (who scored Altman’s “Quintet” and “A Perfect Couple” that sounds like Wagner as crossed with the music of an old Republic serial. But better yet is the second CD that features Nilsson himself demo’ing the songs in his inimitably soulful and whimsical voice. It doesn’t get better than a ten minute take of the musician working with Shelly Duval to achieve the right, yearning tone to sing along with the pump-organ of “He Needs Me,” his sympathetic accompaniment making for the magical take that not only got her the part, but ended up much later in Paul Thomas Anderson’s “Punch Drunk Love,” which likely will remain the lasting legacy of “Popeye.” It’s funny how a beanpole wallflower pining for a squinty, punchy sailor worked so well as the theme song between an occasionally violent, bipolar pudding lid collector and a lovelorn bank worker. And you’re not likely to have an insight into Nilsson’s magic, let alone the creative process of songwriting itself, as wonderfully lovelorn as that song might be.


Anyone expecting a heartwarming exemplification of the can-do “Boston Strong” spirit won’t find any sugarcoating on this unsparingly powerful film about the a man who was thrust into embodied the resilient phrase, but was anything but that. After losing most of his legs in the marathon bombing, Jeff Bauman (excellent played by Jake Gyllenhaal) sinks into a morass of anger and infantilism that makes recovery seems impossible despite the efforts of a more-than-understanding girlfriend and an overbearing mom. It’s a situation that’s dramatic enough without having a score manipulate uplift. Thankfully, composer Michael Brook only has to subtly push to let the full emotional weight of the film sink in. Having shown a talent for ethereal scores that convey young people cut adrift from life and struggling to find meaning with “Into the Wild” and “The Perks of Being a Wallflower” (not to mention scoring the swear-filled Boston townie spirit of “The Fighter”), Brook creates a score that’s truly light on its feet. With only a cheerful cue to begin the film on a note of way happier and ambulatory times, Brook plunges Jeff into the smoky haze of the terrorist attack’s aftermath with somber, almost transparent melody for strings, piano and synth. It’s music that’s as much about atmosphere as mood, creating a dispiritng sense of loss without being depressing about it. Through his poignant, transfixing approach, we can hear both the resilience of tender guitar and shell-shock of dark electronics. Judiciously using his orchestra, Brook’s lyrical score elevates his hero slowly, but steadily, the striving music finally triumphant with an organ and march rhythm that becomes a saying that’s frequently bandied about by every well-meaning person in the film, but one infinitely harder to reach than any patriotic feel-good reporting might have it. For a movie that wears its realism with gritty, unforced pride, Michael Brook’s powerfully subtle, poetic score knows the true meaning of what it really takes to be Boston Strong.


It’s rare when a soundtrack oldie compilation hits you like a bolt from the blue, especially given a composer you’ve likely never heard of (though you’ve certainly heard of his piano session player John Williams, whose praises open the album booklet). Yet such is the hillbilly excitement that Jack Marshall unleashes in La La Land’s totally unexpected, but greatly welcome release top-lined by the composer’s “Thunder Road.” Imagine a finger pickin’ country guitar doing swing time excitement as Robert Mitchum runs moonshine past smokies and mobsters, and you’ll instantly light up with the delirious inventiveness of a composer who really brought the guitar into orchestral scoring. With stringed instruments in his blood from “a banjo-playing oilman” dad, Marshall is best known for his groovy fuzz guitar theme for “The Munsters.” But it’s Marshall’s harmonica-blowing, guitar pickin’ score for this 1958 actioner that set him in good course to score such seminal western TV shows as “Have Gun – Will Travel,” Wagon Train” and “Laredo.” Marshall certainly knew how to drive a great theme through the score in this drive in classic precursor to “White Lightning,” with swooning symphonic romance and two-fisted melodrama to spare. But it’s when his score hits the gas that “Thunder Road” achieves a crazy “orchestral rockabilly” nirvana in a good ol’ boy symphonic jam session, an unlikely dance between upscale sophistication and lowdown energy that’s positively inspired. “Thunder Road” also includes numbers from jazz chanteuse and co-star Keely Smith, with “The Ballad of Thunder Road” and “Whippoorwill” both co-written by Mitchum. Less crazy, but no less effective is Marshal’s score for 1959’s “Take A Giant Step,” a quite daring film about a black teenager finding his way in the white suburbs. Marshall takes a dynamic symphonic approach here, his strings giving sympathy to a rebel with a cause. “Giant” is also full of 50’s pop-jazz goodness, from big band swing to ice cream parlor jive to accordion beat burlesque. Filling out the album is Marshall’s score to 1959’s “The Rabbit Trap,” with “Marty’s” Ernest Borgnine as a more upscale working class schlub who can’t take a vacation for the life of him, leaving a caged rabbit in his distraught son’s wake. With harmonica and more jazz inflection, Marshall draws a line from the harmonica great outdoors to the big city workplace, giving a charming, upbeat tenderness to the score. As nice a discovery as a vintage release can be, “The Film Music of Jack Marshall” has ace TV music journalist Jon Burlingame filling us in on this unsung composer for a nicely designed booklet, that also features a touching appreciation from Jack’s famed producer son Frank. If anything, I can only salivate for a release of Marshall’s hot rodding score to “The Giant Gila Monster” and of course Elvis’ “Stay Away, Joe” score after these delights.


Matching his beyond-prolific output with continually interesting and inventive scores. Bear McCreary has often dealt with horror from the full-blooded orchestral fear of “Ten Cloverfield Lane” to the rustic eeriness of “The Walking Dead” and the southern-fried suspense of “Rest Stop.” But somehow he’s ever dealt with the awfulness of a seemingly inexplicable, real-life zombification of chronic fatigue syndrome, where once-healthy and vivacious people have the life sapped from them. Such was the disease that befell Harvard PHD student Jennifer Brea. But as opposed to letting bedridden exhaustion consume her body and soul, she decided to document her struggle to get back her life, while finding kindred spirits in this acclaimed film. It’s a still mis-diagnosed condition that creates an eerily spellbound vibe to McCreary’s work, with a chamber-like intimacy that fans of his Philip Glass-ian work for the revamped “Battlestar Galactica,” as well as the more eerily meditative music within “The Walking Dead” will appreciate listening to. Beginning with a rhythmic violin and string melody, McCreary’s perky music suggests something is off, his approach becoming more troubling as the beat of an MRI machine fills the soundtrack, a quite dreadful feeling that anyone who’s been inside of one these consuming metal beast can attest to. Yet McCreary somehow makes it remotely musical with the cello to cut through the white noise. Brea’s isolation is conveyed with piano and electric guitar as samples whip about her, the score’s consciousness descending into piercing, metallic sounds. Yet humor isn’t lost as mock theremin and lurching percussion convey “mysterious green stuff.” The essentially unplugged, subtly thematic nature of “Unrest” does much to convey his subject’s difficult switch from depression to activism, as the exotic Gamelan bells of “Joyful Tears” and sustained poignancy of CSD victims get across a muted sense of hop, but one that’s very much there. It’s a finally reassuring attitude powerfully voiced in the alt. folk of Ren Gill’s “Patience” and McKian’s “And After All.” McCreary does exceptionally well within the intimate range of documentary scoring with “Unrest,” a truly interesting score that takes us through the inner world of a heroine, and her internet-connected world of fellow sufferers, conveying the psychological power to take command of life against a spirit-against-body affliction.


After twice resurrecting Nazi zombies for fellow Norwegian Tommy Wirkola, composer Christian Wibe gets to indulge times seven in the director’s most excitingly twisted picture yet by asking the question “What Happened To Monday?” Though made under the Netflix prestige of dystopian respectability this time out, Wirkola is no less insane, or fun as hidden septuplets brave a one-child law to diminishing, if exciting effect. But what’s new for Wirkola is the real emotional investment that comes with the twinning effects and “Bourne”-worthy chases, especially given the distinctive performances by original Libeth Salander Noomi Rapace. Unleashing dense, propulsive rhythms for a succession of near escapes and being brutally by Glenn Close’s evil minions, Wibe’s score is terrific, throttling stuff that might speak the same alt. orchestral sample language of many action scores of its type. Yet he manages to give his propulsive energy its own identity, especially with electronics that get across an overpopulated near future that gets trimmed a bit here. But what’s particularly special about the desperately suspenseful pulse of “Monday” is the thematic feeling that Wibe gives the score, conveying the loneliness of seven sisters who’ve spent their always threatened lives in service of becoming one person for the good of the many. It’s a yearning to be free that’s reflected through a powerful, beautifully melancholy theme that invests no small amount of emotion in “Monday” as Wirkola makes the film way more than the sum of what could have been clichéd future shock Eastern Euro-shot parts. It’s a suspenseful, fun score with feminine heart, as adept at unleashing foot chases and ingenious evasions as it is making you melodically care about its singularly multiple heroines. Hopefully at the least, “Monday” will let Wibe make a deserved mad dash into a Hollywood action-scoring scene that needs all of the unique composers it can get.

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

Celebrate the legendary Lalo Schifrin’s 85th Birthday on October 7th at Glendale’s Alex Theater with an all-star band and special guests! Buy your tickets HERE

Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: September 22

Soundtrack News - Za, 23/09/2017 - 01:00
Announced this week were new composer assignments for [c.124]Cliff Martinez[] ([m.48562]Game Night[]), [c.810]Nathan Barr[] ([m.50631]The House with a Clock in Its Walls[]) and [c.3198]Johann Johannsson[] & [c.7675]Hildur Guonadottir[] ([m.48862]Mary Magdalene[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 40 new soundtrack albums were released this week. [da.2017-09-19]Click here for the full schedule[]. Opening in theaters nationwide this weekend are (with music by): [m.46386]Friend Request[] ([c.18668]Gary Go[] & [c.2632]Martin Todsharow[]), [m.44923]Kingsman: The Golden Circle[] ([c.1480]Henry Jackman[] & [c.2159]Matthew Margeson[]) and [m.41250]The LEGO Ninjago Movie[]...

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Categorieën: Filmmuziek nieuws

NEWS: 'Chasing Coral' Soundtrack Released

Soundtrack News - Vr, 22/09/2017 - 01:00
[a.21661]Chasing Coral - Original Motion Picture Soundtrack[] has been released exclusively for one week on iTunes and Apple Music on Zero Emissions Day, September 21st, and on all other music streaming platforms on September 28th. The album features the original score by [c.2590]Dan Romer[] ([m.48141]The Little Hours[], [m.33502]Beasts of the Southern Wild[]) and [c.18820]Saul Simon MacWilliams[] ([m.46538]Gleason[], [m.48989]Becoming Warren Buffet[]), as well as an original song written by [c.2590]Dan Romer[] and Teddy Geiger called "Tell Me How Long," with vocals by Kristen Bell. [m.48140]Chasing Coral[] - a Netflix Original Documentary - launched this summer to critical acclaim winning the Sundance Film Festival Audience...

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Categorieën: Filmmuziek nieuws

Interview with Clint Mansell

Film Music Magazine News - Vr, 22/09/2017 - 00:11

Since his mad science scoring debut with the brain-drilling mathematician of 1998’s “Pi,” the former member of Pop Will Eat Itself has often gorged on excessive characters – from drug addicts destroying their bodies for the ultimate high (“Requiem for a Dream”) to an ultra competitive ballerina’s descent into madness (“Black Swan”) and a biblical prophet driven to the sacrifice his daughter to survive the ultimate flood (“Noah”). But of all of the movies where Clint Mansell has weaved mesmerizing, tone poems of electronics and orchestra to convey self destruction, perhaps no subject is better known for flaming out with such beauty as Vincent Van Gogh.

While the artist’s end is no more tragic than any other Mansell muse, the visual, and musical path to reach the final notes of a misunderstood life passionately lived has yielded an uncommonly gorgeous and haunting score with “Loving Vincent.” But then, it’s hard for any creator not to be sparked with this film’s achievement. As conceived by directors Dorota Kobiela and Hugh Welchman, “Loving Vincent” takes the “rotoscoping” technique of pre-filming animation as live action, and then turning the subjects to toons to a whole new dimension. Rendered as hundreds of original oil paintings that morph from one classic Gogh drawing and painting to the next, “Loving Vincent” traces the mysterious life and death of an painter way before his time, as told to an admirer from those who knew Van Gogh in the rustic village where he breathed his last.

It’s a rich palette for Mansell to color from in his fusion of sound, its waves of melody building from strokes and circular motions to fashion a sympathetic portrait of the first modern artist. French inflections weave with escalating melody, spare piano and strings fathom a tortured soul through his own narration, and echoed percussion becomes the mental illness that finds expression in the harm that he brought to himself. It’s an uncommonly rich and sympathetic portrait that finds a sense of peace uncommon for Mansell’s often rhythmically visceral work, while being equally as hypnotic in hearing creativity at its most revolutionary – as heard from a composer with no small imprint of his own with giving scoring the shock of the new.

Before you started on this film, what did Vincent Van Gogh mean to you as a creative person?

Like most people, I knew of some of the paintings and of the ear incident, But for the making of this film, the directors gave me lots of books for research, especially this book called “Van Gogh: The Life,” which was really insightful because I knew absolutely nothing about his struggles and failed career attempts, his castigation from his family, who disowned him, the loneliness and his mental health which really worked against him. Van Gogh was a troubled individual, which gave me a very rich background to work with, musically speaking.

How did you get involved with “Loving Vincent?”

Directors Hugh Welchman and Dorota Kobiela

Dorota Kobiela started working on it back in 2008. She was originally was going to make a short film on Van Gogh. But when she met Hugh Welchman, he had told her that it should be a bigger project than just a short feature. So, she started writing it as a film script, and only listened to my music while doing so. When it came time to decide who should score the movie, she did not want anybody else doing it except for me. She and Hugh had been trying to get in touch with me for years. I was basically non-committal because it was not quite there yet. But then I finally got to meet Dorota, I read the script and was completely sold on it. I then asked whom they had in mind for scoring and Dorota said that it had to be me. So I guess I didn’t have a choice in it!

This is the first animated film you’ve scored. Given that most of this genre is aimed at kids, what was it like to score something as bold as “Loving Vincent?”

I must admit I didn’t think about that at first, at least not in the animation sense. Since I’d never done a movie like this before I had nothing to compare it with. When I first saw the film, I was watching the live action version as opposed to the animated film it ultimately became. So Initially I focused on the emotions that were required from the storytelling aspect. When the animation was more complete I got to see a better picture of what needed to be done. Animated movies themselves seem to be rooted in pastiche, which is something I avoided completely as to compliment the story we were trying to tell.

Did you feel like a painter while scoring the film?

Arles Café Terrace at Night

Yes, to some degree—as all creative people start off with nothing and end up with something. Whatever medium you take, it doesn’t really matter, you know? There’s a process in finishing your work. A painter adds and adds and subtracts –very much what I do with music. Like the great Alan Moore said, “All artists are like magicians because they make something out of nothing.”

There’s a running theme in your work about obsessive characters that pursue their goal to the point of madness and self-destruction. How do you think that “Loving Vincent” fits into that?

I think he fits in well, actually. But where those films I’ve worked on before were works of fiction, this one is a work of reality.

The structure of “Loving Vincent” reminded me of “Citizen Kane”’s, where there’s a person trying to get the true story behind an icon’s death. Did the steady revelations about Van Gogh influence your approach?

Vincent (Robert Gulaczyk) in colour

Like I mentioned earlier, I didn’t really know much about Van Gogh, so I scored it as if it were in real time. It wasn’t like I went into the project fully armed. But once I spent time scoring it and had a chance to listen to what I did coming in, I was able to make the needed changes and grew closer to the project as I got closer to the truth of the film.

Of all of the classic works of Vincent that the film replicates, did you have a favorite?

There are about a hundred of his works represented in the film, which made it a particularly great thing to work on. I do have a favorite but it is not in the finished film. It’s a drawing of his called “Sorrow” I found it to be very profound.

Van Gogh put layer upon layer of color into his work so that they came across as three-dimensional. Did you view your own layering of your scores with orchestral and electronics in the same way?

Armand Roulin (Douglas Booth) arriving in Auvers by train

Though I didn’t really approach scoring “Loving Vincent” in that way, I’ve got to say that it had that same quality. One of the things I looked at was where Vincent was at that time of the film’s setting. Yet I didn’t want to do a Gaelic-sounding score. It would seem very confusing to many watching the film. So when I was writing I was focusing on those instruments of the time, I also wanted to feel his speed where he would make pieces in such short amounts of time.

Your scores have always been hypnotic, very mesmerizing. We feel lost in them, the same way we would in becoming absorbed by Vincent’s work.

I want to be transported as viewer, and I try to do the same with my scores. I don’t know if that’s the right thing for films at times. But if I can get people lost in the movie with the music, then I feel that was what I wanted to achieve. So, there is a sort of hypnosis to my work.

You use female voices in an especially haunting way for “Loving Vincent.” Do you think they make the film tragic?

Marguerite Gachet (Saoirse Ronan) at the piano

You get to feel that Vincent’ life was tragic, even though he has been immortalized. He’ll probably be around as long as we’re around. Even though he made magical work, he never got away from himself.

The film ends with Don McLean’s song, “Starry Starry Night,” which I never realized was about Van Gogh until I saw this film. Can you talk about Lianne La Havas’ version for “Loving Vincent?”

Landscape Starry Night over the Rhone

I knew it as a kid back then, but I never retained that information until later in my life. When the film came up I sort of remembered it, almost to the point where I almost joked about it, like “Oh, we’ll never do THAT.” But as time went on, it started to make sense, especially when I did a version with me on the acoustic guitar. It just sort of grew from there. Matt Dunkley and I worked out an orchestral arrangement that would have the flavor of the score, and everybody just loved it. We asked Don McClain for the rights to re-record it “Starr Starry Night,” and got a letter back saying that we’d need X-amount, which we couldn’t afford. So we sent Don a package with a clip of the film with the music. And when he saw that, he just loved it and said we could have the song. Then we needed someone who cold bring it to life, and Lianne La Havas was a friend of a friend.

You scored the most popular episode of “Black Mirror” this season with “San Junipero.” What was it like working on the Emmy-winning episode, especially as it centered around songs?

“Black Mirror” was really strange. I liked the episode I worked on. But I thought, “My God, this is so different from the other episodes. Is this going to tank?” I did the mixes, but never produced them in stereo, as I thought we’d never need them, especially as there wasn’t much time to score it So when the episode came out and people went crazy for it, I went back in the studio and did new mixes for the Lakeshore album. I wasn’t prepared for the reception “San Junipero” got. It’s quite amazing, and really wonderful. The songs weren’t a problem to be honest, in as much with working with them. They figured them all out from the get-go. It was sort of like finding the right tone, because the director Owen Harris wanted the score to feel like a John Hughes movie, which felt right to me. I did some stuff that he felt was too dark. So we did another take on it that lightened it a little bit. But then the show’s creator Charlie Booker thought my score had to be darker than that, so we found a middle ground between the two approaches. But finding the right tone is no different than any project really. It’s those nuances that make it work. The next time I do some live shows, I’ll be playing music from “San Junipero.”

If you could score another animated film about an artist done in the same way as “Loving Vincent,” whom would it be about?

I’d love to do one about Jack Kirby and call it “Loving Kirby.” That would be great!

“Loving Vincent” opens on September 22, with Clint Mansell’s score available on Milan Records HERE

Listen to Clint Mansell’s score for the “Black Mirror” episode “San Junipero” HERE

Visit Clint Mansell’s website HERE

Special thanks to Alexander Portillo for his transcription of this interview

Categorieën: Filmmuziek nieuws

Audio: Interview with Matthew Margeson

Film Music Magazine News - Wo, 20/09/2017 - 14:27

ON THE SCORE is sponsored by La-La Land Records

Just as Harry Hart apprenticed an upstart punk named Eggsy into wearing the Savile Row suit of a Kingsman in ass-kicking style, the slightly less violent English composer Henry Jackman oversaw the not-quite as defiant Yank named Matthew Margeson through such scores as “Abraham Lincoln Vampire Hunter,” “Man on a Ledge” and “Monsters Vs. Aliens” to the point where his protégé became his own memorable man of action on “Skyline,” “Eddie the Eagle” and “Rings.”

Matthew Margeson (L) and Henry Jackman (R)

Yet perhaps neither either musician is quite as wackily memorable as when called to save the world by filmmaker Matthew Vaughan, a filmmaker often in satirical superhero service to graphic novelist Mark Millar with “Kick Ass” and “Kingsman.” Sure the latter’s retro espionage scoring might not have been new. But it was the sheer thematic joy with which Margeson and Jackman wore their John Barry suits that made the first “Secret Service” into a joygasm of lush, 007-tailored excitement as it breathlessly took down a magnate with dreams of apocalyptic grandeur.

Now faced with an even more attractive evildoer out for domination, the dapper Kingsman must team with their ugly American counterparts the Statesman in “The Golden Circle.” For Margeson and Jackman, it’s a deliciously adrenalized opportunity to combine British spy spirit with the twangy Spaghetti Western-isms of cowboys with attitude. It’s a hoedown of brassily symphonic excitement, steel guitars, lightning-fast fiddling and flag-waving pride that puts a new spring into their music’s lethally fun step – a spy action rodeo that Matthew Margeson now talks about suiting up for in a new episode of “On the Score.”

Click above to Listen Now or Click Here to Download

Buy the Soundtrack: KINGSMAN: THE GOLDEN CIRCLE (available September 26th) Buy the Soundtrack: KINGSMAN: THE SECRET SERVICE Buy the Soundtrack: KICK-ASS Buy the Soundtrack: EDDIE THE EAGLE

Celebrate the legendary Lalo Schifrin’s 85th Birthday on October 7th at Glendale’s Alex Theater with an all-star band and special guests! Buy your tickets HERE

Categorieën: Filmmuziek nieuws

NEWS: Varese Sarabande to Release 'Jean-Michel Bernard Plays Lalo Schifrin'

Soundtrack News - Wo, 20/09/2017 - 01:00
The result of a concert performed by [c.1581]Jean-Michel Bernard[] celebrating the music of legendary composer [c.193]Lalo Schifrin[] at the 2016 La Baule Film Music Festival in France, Varèse Sarabande will release a new studio recording of [a.21533]Jean-Michel Bernard Plays Lalo Schifrin[] digitally and on CD October 6, 2017. The album features three piano duets performed by Bernard with Schifrin himself! In addition to this wonderful release, Varèse Sarabande, together with Musicians at Play and Music Fund Los Angeles, will be celebrating the 85th birthday of Schifrin with a special concert on October 7th in Los Angeles, at the historic Alex Theatre in Glendale ([url.]click here[] for concert...

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Categorieën: Filmmuziek nieuws

NEWS: Sony Classical Announces 'Teen Wolf' Score and Soundtrack Albums

Soundtrack News - Za, 16/09/2017 - 01:00
Sony Classical proudly announces the release of two albums celebrating the MTV original series [m.35943]Teen Wolf[]. The [a.21507]Teen Wolf – Original Television Soundtrack[] features beloved indie rock and electronica songs used throughout the series from artists including Young the Giant, Mikky Ekko, Fink, and the haunting cover of "Bad Moon Rising" performed by Mourning Ritual feat. Peter Dreimanis. The [a.21617]Teen Wolf – Original Television Score[] features original music written by composer [c.8653]Dino Meneghin[] ([m.42937]Eye Candy[]) including "Teen Wolf Main Title." Loosely based on the 1985 film of the same name, MTV's [m.35943]Teen Wolf[] and stars Tyler Posey as a teenager named Scott McCall, who is bitten by a...

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Categorieën: Filmmuziek nieuws

NEWS: The Orchard to Release 'Super Dark Times' Soundtrack Vinyl

Soundtrack News - Vr, 15/09/2017 - 01:00
The Orchard will release the soundtrack vinyl for the stylish thriller [m.49677]Super Dark Times[] directed by Kevin Phillips, on September 29. The soundtrack is currently available on digital platforms. The films opens theatrically the same day in New York and Los Angeles and expands to digital and VOD on October 3. The new album will feature 13 original songs composed by experimental composer [c.2023]Ben Frost[] ([m.32545]Sleeping Beauty[], [m.35975]The Deep[]), whose previous albums include the critically-acclaimed By The Throat (2009) and A U R O R A (2014). "When Kevin approached me to write music for his film it resonated immediately," said composer [c.2023]Ben Frost[]. "The thing that perhaps excited me the most is that...

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Categorieën: Filmmuziek nieuws

NEWS: Tadlow Music to Release Complete Score to 'Ben-Hur'

Soundtrack News - Wo, 13/09/2017 - 01:00
Tadlow Music is proud to announce the release of the classic film music event of the decade – a special collector's edition 2-CD set of one of the greatest film scores of all time – [m.2211]Ben-Hur[] composed by [c.186]Miklós Rózsa[]. The complete 157-minute score, including previously unreleased music, has been re-recorded in stunning and dynamic 24-Bit 96kHz digital sound, performed by the award-winning City of Prague Philharmonic, conducted by Nic Raine and produced by label founder James Fitzpatrick. "Hearing many full versions of the film cues and some that were never recorded before, generations new and old will be exposed to my father's epic masterpiece in its entirety for the first time," said Miklós' daughter Juliet Rózsa....

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Categorieën: Filmmuziek nieuws

NEWS: Laced Records to Release 'Absolver' Game Soundtrack

Soundtrack News - Di, 12/09/2017 - 01:00
Laced Records and [c.1371]Austin Wintory[], in partnership with SloClap and Devolver Digital, will release the [a.21590]Absolver (Original Soundtrack)[] worldwide on deluxe double vinyl, CD and digital formats from today. The game's 20-track original score by award-winning composer [c.1371]Austin Wintory[] ([m.33987]Journey[], [m.47229]Abzu[], [m.43895]Assassin's Creed Syndicate[]) includes a brand new exclusive track co-produced by [c.3475]RZA[] (Wu-Tang Clan, Afro Samurai). In the lead up to release developer Sloclap and Wintory enlisted the talents of legendary producer and Wu-Tang founder [c.3475]RZA[], to co-produce the final "Risyn Boss Theme" for the game. [c.3475]RZA[], a big fan of video games and Kung Foo, known for his...

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Categorieën: Filmmuziek nieuws

NEWS: Michael Stein, Kyle Dixon, Jeff Russo, Jeff Beal & Susan Jacobs Win Big at Emmy Awards

Soundtrack News - Ma, 11/09/2017 - 01:00
The Academy of Television Arts & Sciences announced the winners of the 2017 69th Emmy Awards. Some of the highlights are as follows: Original Main Title Theme Music: - [m.48533]Feud: Bette and Joan[] ([c.3207]Mac Quayle[]) - [m.47548]Genius[] ([c.237]Hans Zimmer[] & [c.1465]Lorne Balfe[]) - [m.48421]The Good Fight[] ([c.1620]David Buckley[]) - WINNER: [m.46868]Stranger Things[] ([c.19144]Michael Stein[] and [c.19143]Kyle Dixon[]) - [m.46296]Victoria[] ([c.1449]Martin Phipps[]) - [m.42756]Westworld[] ([c.1065]Ramin Djawadi[]) Outstanding Music Composition for a Series (Original Dramatic Score): - [m.44918]The Crown[], Hyde Park Corner ([c.540]Rupert Gregson-Williams[]) - WINNER: [m.33760]House of Cards[], Chapter 63 ([c.674]Jeff Beal[]) -...

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Categorieën: Filmmuziek nieuws

NEWS: FIMUCITÉ to Pay Homage to Composer Daniel Licht

Soundtrack News - Za, 09/09/2017 - 01:00
From September 22nd – 30th, 2017 the Tenerife International Film Music Festival (FIMUCITÉ) will be celebrating its 11th edition thanks to the support and sponsorship of the Cabildo de Tenerife, the Canary Islands Government, Santa Cruz de Tenerife City Council, and Arona City Council and will be presenting the honorary FIMUCITÉ – Antón García Abril Award, posthumously, to the film, television and videogame composer [c.113]Daniel Licht[], who recently passed away this August aged sixty. In his career, as well as being known as the composer of the soundtrack for the famous TV series [m.29637]Dexter[], he is also known for frequently scoring horror films. His professional life began in 1991 with the film [m.4370]Children of...

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Categorieën: Filmmuziek nieuws

NEWS: 'Tooth and Tail' Game Soundtrack Announced

Soundtrack News - Vr, 08/09/2017 - 01:00
T-65b Records and Varese Sarabande Records will jointly release the [a.21548]Tooth and Tale original video game soundtrack[] through all major digital music outlets worldwide on CD and vinyl on September 12th. The album features the game's original score by celebrated composer [c.1371]Austin Wintory[] ([m.33987]Journey[], [m.47229]Abzu[], [m.43895]Assassin's Creed Syndicate[]). This 23-track album features the original score which is an eclectic blend of regionally-inspired dance styles with sarcastic tinges of Russian folk music. Wintory described the score: "Normally I'm not interested in writing music that has a sort of deliberate eclecticism, because I tend to heavily favor cohesion and economy. But it was genuinely called for...

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Categorieën: Filmmuziek nieuws

NEWS: Weekly Roundup: September 1

Soundtrack News - Za, 02/09/2017 - 01:00
Announced this week were new composer assignments for [c.274]Harry Gregson-Williams[] ([m.46533]Meg[]), [c.564]Christophe Beck[] ([m.50392]The 12th Man[]) and [c.540]Rupert Gregson-Williams[] ([m.50393]The Alienist[]), among many others. For the full list of composer and music supervisor assignments from this week, [url./composers/]click here[]. Over 20 new soundtrack albums were released this week. [da.2017-08-29]Click here for the full schedule[]. Opening in theaters nationwide this weekend are (with music by): [m.4693]Close Encounters Of The Third Kind (Re-Release)[] ([c.231]John Williams[]) and [m.42098]Tulip Fever[] ([c.58]Danny Elfman[]). Among all new theatrical releases, we are tracking song credits for: - [m.42098]Tulip Fever[] (No songs) - [m.45350]A...

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Categorieën: Filmmuziek nieuws

NEWS: Varese Sarabande Announces 'American Assassin' Soundtrack

Soundtrack News - Vr, 01/09/2017 - 01:00
Varèse Sarabande will release the [a.21264]American Assassin – Original Motion Picture Soundtrack[] digitally and on CD on September 15, 2017. The album features the original music composed by [c.1974]Steven Price[] ([m.32671]Gravity[], [m.41974]Suicide Squad[]). "Everything about [director] Michael Cuesta's approach to the movie focused on character… the motivations and complex interrelationships between the story's principle players" said Price. "We talked a lot about how the music could support Michael's psychological approach to the storytelling." [m.48897]American Assassin[] follows the rise of Mitch Rapp (Dylan O'Brien), a CIA black ops recruit under the instruction of Cold War veteran Stan Hurley (Michael Keaton). The pair...

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Categorieën: Filmmuziek nieuws
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