Listen to 5 Tracks from Assassin's Creed 2 by Jesper Kyd

On November 16, Jesper Kyd's latest project, Assassin's Creed 2, will be available, but we give you an advanced listen to 5 tracks from the upcoming, 35 track release!

More on Assassin's Creed 2

Award-winning composer Jesper Kyd has created an epic soundtrack for Assassin's Creed II, the sequel to the fastest-selling new IP in video game history. Following his atmospheric score for the original Assassin's Creed, Kyd takes the music in an adventurous new direction and crafts an immensely diverse, melodic and progressive musical palette featuring acoustic and symphonic orchestrations with emotional depth and diversity. The original score was recorded with A-List musicians and a Hollywood orchestra and choir at the world-renowned Capitol Studios. The Assassin's Creed II Original Soundtrack will be available for digital download from popular music stores on November 16th.

Assassin's Creed II features a new hero, Ezio Auditore da Firenze, a young Italian noble, and a new era, the Renaissance. The game tells an epic story of family, vengeance and conspiracy set in the pristine, yet brutal, backdrop of a Renaissance Italy. Ezio befriends Leonardo da Vinci, takes on Florence’s most powerful families and ventures throughout the canals of Venice where he learns to become a master assassin. The music propels the action, captures the allure and mystery of the story and immerses players in the breathtakingly detailed settings.

Patrice Desilets, Creative Director at Ubisoft: "Jesper Kyd’s score for Assassin’s Creed II brings players into the Italian Renaissance by providing a true sense of depth for the poignant moments, while also giving a jolt of adrenaline to the action-packed sequences. We are thrilled to have Jesper Kyd back with us in making Assassin’s Creed II an epic title on all levels."

Jesper Kyd: "We created a unique musical identity for Assassin's Creed II that reflects the character and story of Ezio and elevated the music, both in terms of creativity and live production, to a whole new level."

Assassin’s Creed II is the product of over two years of intensive development by the original creative team behind the Assassin’s Creed brand. Assassin’s Creed II is scheduled to launch on November 17th, 2009 for the PLAYSTATION® 3 computer entertainment system, the Xbox 360® video game and entertainment system from Microsoft and the PC. For more information about Assassin’s Creed II, please visit http://www.assassinscreed.com/.

Give ear here! or Pre-Order the soundtrack here

Win Red Cliff (Soundtrack) by Taro Iwashiro

Well, John Woo's RED CLIFF is finally getting released in western theaters (more or less...mostly less) and that means a western release of Taro Iwashiro's beautiful score is coming as well.

In this month's Movie Caption Contest you could win Silva America's soundtrack release. Sharpen your wit and creativity and enter up to three separate captions, today! Contest closes on November 30, 2009.

Enter the contest here

Mayhem of the Music Meister (Batman: The Brave and the Bold) Soundtrack Review

Batman - The Musical
Review by Christopher Coleman

I have to admit. The first time I had even heard of the series: BATMAN: THE BRAVE AND THE BOLD was when I received this advance CD of music from the show. I was surprised to find that the music contained therein is from just one episode of the newest of the Batman animated series: "Mayhem of the Music Meister" was the 25th episode from the series' first season and first aired in July of 2009. I reluctantly popped the disc in, fully expecting to hear as many Elfman-Walker-Zimmerisms as their tv-budget would allow for, but was surprised once again. Truthfully, I was dumbfounded at what I heard. Batman, but Broadway-style!

After my initial shock and even displeasure wore off (afterall, how could they forget just how utterly dark and menacing the caped-crusader is?), I became intrigued with how a superhero cartoon could possibly warrant this sort of music. I was finally able to view the episode, and my feeling about this soundtrack did a full 180. The visual and episodic-style of BATMAN: THE BRAVE AND THE BOLD is certainly less serious than it's animated-predecessors and frankly, much more fun. It hearkens back to the Silver Age style of comics, but with a distinct measure of contemporary freshness. The concept of the original comic series from the 1950s teamed two or more heroes together to defeat the villain du jour and that format is continued in this new Cartoon Network series. "Mayhem of the Music Meister" is a little gem of an episode that doesn't just add in a handful of distinctive musical numbers for kicks, but the music is an integral part of the plot, giving composers: MICHAEL MCCUISTION, LOLITA RITMANIS, and KRISTOPHER CARTER (who comprise Dynamic Music Partners) and lyricists: JAMES TUCKER and MICHAEL JELENIC, a great opportunity to do something unique and fresh in the realm of the animated superhero.

Read the full review

Special Appearance by Howard Shore and Doug Adams in New York!

Come see Howard Shore and Doug Adams discuss music from The Lord of the Rings -- Don't miss a special appearance by Howard Shore and Doug Adams as they discuss music from The Lord of the Rings. Howard Shore will sign Lord of the Rings CDs, as well as copies of his new CD, Collector's Edition Vol. 1. No other memorabilia please.

Priority seating with CD purchase.

Saturday, October 3rd, 6PM @

Barnes & Noble, Lincoln Triangle

1972 Broadway

New York, NY 10023

212-595-6859

http://store-locator.barnesandnoble.com/store/2628

For more information, please visit howardshore.com

Win Astro Boy (Soundtrack) by John Ottman!

Our contest for True Blood (Nathan Barr) has wrapped up and we'll be announcing the winner soon, but our latest caption contest is already underway! Enter up to three captions anytime during the month of October and you could win Varese Sarabande's release of ASTRO BOY by JOHN OTTMAN. We've already gotten a few good entrants...so put your clever-cap on and get busy.

Enter the contest here

The SoundCast: Episode #9 - The Best and Worst of Summer 2009

SoundCast Episode 9

The Best and Worst from the Summer of 2009

Recorded September 23, 2009
Published September 27, 2009

Episode Highlights

00:11 - Opening - What we did on our Summer Vacation.
04:00 - The Difficulties of a Mediocre Summer
07:25 - The Biggest Surprise
13:40 - The Biggest Disappointment
19:14 - The Worst
25:32 - The Best
31:45 - Reactions
36:50 - Final thoughts on the Summer of 2009



Music Clips (Select music clips contained in this podcast)

07:58 Code Blue - Ice Age: Dawn of the Dinosaurs (John Powell)
08:54 District 9 - District 9 (Clinton Shorter)
10:00 The House of Adam - Year One (Theodore Shapiro)
11:07 It's A Girl - The Time Traveler's Wife (Mychael Danna)
14:13 Star Trek - Star Trek (Michael Giacchino)
15:00 Election by Adoration - Angels and Demons (Hans Zimmer)
15:51 Einstein's Wrong - Transformers: Revenge of the Fallen (Steve Jablonsky)
16:58 Logan Through Time - X-Men Origins: Wolvernie (Harry Gregson Williams)
17:54 Nest - Transformers: Revenge of the Fallen (Steve Jablonsky)
20:02 Manhattan Bridge - The Taking of Pelhamm 123 (Harry Gregson Williams)
23:15 Deathmatch - Gamer (Robert Williamson and Geoff Zanelli)
24:02 Sleestak Attack - Land of the Lost (Michael Giacchino)
24:45 Heed Our Warning - Transformers: Revenge of the Fallen (Steve Jablonsky)
26:28 In Noctem - Harry Potter and the Half-Blood Prince (Nicholas Hooper)
27:11 The Cliff - Ice Age: Dawn of the Dinosaurs (John Powell)
28:92 End Credits - Mutant Chronicles (Richard Wells)
29:12 Enterprising Young Men - Star Trek (Michael Giacchino)
30:05 Dinosaur Vista - Ice Age: Dawn of the Dinosaur (John Powell)
30:23 Scrat Finds Love - Ice Age: Dawn of the Dinosaur (John Powell)
36:53 Married Life - Up (Michael Giacchino)

Download this episode

3 Minutes of Avatar: The Game - Not Very Horner-like

You've probably seen the recent in-game footage released for the highly anticipated video game tie-in for James Cameron's AVATAR. Seeing this footage, I'm reminded of LOST PLANET 2 (a game I can hardly wait to play). Not only that, but the in-game music sounds more like the work of JAMIE CHRISTOPHERSON, composer for Lost Planet and Lost Planet 2, than it does anything James Horner would ever do. Now, I'm not saying it's bad at all. The music seems to fit into the mold of the first or third person shooter well enough...just nothing extraordinary.

Given Cameron's desire to "connect" the game with the film, I'd expect that to roll over to the music as well. So what to make of this 3 minutes, then? Perhaps it's not the finished game score? I bet that it is. Perhaps, then, it actually is something along the lines that Horner has done for the film? I'd be fraggerghasted, if that's the case.

So I'm betting this is the actual in-game music. All that is left is to find out who the composer (or composers) are. Ubisoft, we're waiting.

The Informant (Soundtrack) by Marvin Hamlisch - Reviewed

And All That Jazz
Review by Christopher Coleman

Ever wonder what Jason Bourne would be like in Bizzaro-world? Well, if you have, then let me introduce you to Mark Whitacre, Matt Damon's latest character creation and central figure of Steven Soderbergh's THE INFORMANT. Dr. Whitacre is a pudgy, pasty, Ivy-league-educated, corporate man turned whistleblower; a man with ever escalating delusions of climbing to the top of Archers Daniel Midland by bringing the peak of the company down under his feet. Mark Whitacre appears to be everything Jason Bourne is not - although one might argue that there is an comically odd parallel in the identity issues both characters face. This time, instead going on a strict exercise regiment and diet, Damon does the opposite in making his own physique match his persona. The on-screen result is just as mesmerizing, but in an inverted way. Regardless, Damon's portrayal of the character is worthy of Oscar thoughts. Director Steven Soderbergh bases his film on the book by Kurt Eichenwald, which tells the real-life tale of Whitacre. This telling goes far beyond the investigative and legal points that newspapers and television covered back in the Nineties. Eichenwald's book and Soderbergh's movie dives much deeper into the story-twists and the fractured psyche of the seemingly cooperative and good-natured Whitacre. This film is all about deception: corporate deception, government deception, and self-deception. Even the trailer is a bit deceptive; making THE INFORMANT look singularly like corporate-comic-caper. Just like Whitacre, there is another side to this film that isn't apparent in the trailers. THE INFORMANT, while containing a high-rise full of humorous moments, is also a thought provoking exploration into price-fixing, FBI operations, and the mind. In addition to the unforeseen plot-twists and Damon's exceptional performance, one of most intriguing aspects of this film is composer MARVIN HAMLISCH's original score.

What is immediately intriguing about THE INFORMANT's score is that it reflects musical sensibilities far older than the film's Nineties setting. Of course, if you are familiar with previous works of MARVIN HAMLISCH, then this jazz-founded score will not be such a surprise. For those not so familiar, Hamlisch is one of only two composers to ever win an Oscar, Emmy, Tony, and Grammy. In fact, he has won three Oscars, four Emmy's, four Grammy's. He has also won three Golden Globes and Pulitzer Prize. Some of his most recognizable works include THE STING, THE WAY WE WERE, and A CHORUS LINE - all famous works from the Seventies, which could be considered Hamlisch's golden era. It is that era's music in which he is allowed to indulge himself once again. Without a doubt, hiring Hamlisch was a surprising and fiendishly bold move of Soderbergh and the net result is worth examining beyond the cursory listen.

Read the full review here

A Perfect Getaway (Soundtrack) by Boris Elkis - Reviewed

Oh. Think Twice.

Review by Christopher Coleman

A honeymoon in Kaui? That would likely fit the bill for many of us as something we might call "a perfect getaway." What's not to like? The unfathomable blue of the ocean, lush, tropical flora and fawna, cool sea breezes, your new spouse all aglow with honeymoonness; wandering, shape-shifting, psychopathic killers. Ok. That last one might ruin things just a little bit. Well this is the basic plot of director David Twohy's latest project so aptly titled, A PERFECT GETAWAY. Twohy is perhaps best known for two projects: PITCH BLACK and its sequel, THE CHRONICLES OF RIDDICK. While the one became a cult hit, the latter tripped over itself in it's desire to flesh out the larger world introduced in the first film. In both cases, composer GRAEME REVELL was selected by David Twohy to deliver his usual blend of the orchestral and the electronic. Of late, it seems that Revell has opted for television-scoring gigs with series like ELEVENTH HOUR and DARK BLUE. Perhaps Revell's busy schedule opened the door for long-time assistant composer/programmer, BORIS ELKIS to take on the full composing reigns for A PERFECT GETAWAY instead.

David Twohy's late-Summer entry tried ever-so-hard to stir things up at the cineplex, by delivering a thriller that jostled the brain as much as the stomach. You see. There have been some mysterious deaths on this beautiful island and we are taken on a journey of finding out not only who the culprits are, but what has lead them down this dark and disturbing path. A PERFECT GETAWAY is essentially a whodunit, or better, a "who'sdoinit?" that makes an effort to "big-twist" unsuspecting audiences. Ah. Nothing is ever as it seems...even in a place as beautiful as Hawaii. Perhaps Mr. Rourke and Tatoo retired there after their Fantasy Island days, but just couldn't help themselves to a little nostalgic-fantasy-twisting. The sad thing is that Twohy attempts to subtly lay down clues as to the twist that is to come, the film's title itself being among them, but even the most general of audiences pick up on such hints and, by the time the twist actually makes it to the screen, are sitting there, like a catcher waiting on the break of a curve ball. We, the audience, have fully anticipated the whole thing from very early on. While beginning as a beautiful, postcard, A PERFECT GETAWAY devolves into the battle-royal version of Survivor by it's conclusion. Of course this progression of story is closely followed by the film's score, thus giving composer BORIS ELKIS a good opportunity to provide music that equally evolves...or devolves.

Read the full review here