Faster (Soundtrack) by Clint Mansell - Review

The Faster, The Better?
Review by Richard Buxton

Clint Mansell has built an impressive and wide-ranging filmography in his twelve years in the industry. From being Aronofsky’s go-to-composer to scoring the likes of SAHARA and DOOM, no matter what shortcomings he might have, he has always shown diversity. Despite such a range of projects, Mansell has gained recognition through individual tracks from two or three films, though it is the track “Lux Aeterna” from REQUIEM FOR A DREAM that stands out from the rest as being the piece that gave the world its first glimpse of his talents. The standout piece of the FASTER score was re-recorded by Corner Stone Cues for use as trailer music. Since then a number of Mansell’s compositions have been utilised in motion picture advertising such as “Together With Live Forever” from THE FOUNTAIN and the sublime “Dead Reckoning” from SMOKIN’ ACES. With Mansell’s clear ability to compose powerful and memorable self-contained pieces it is perhaps easy to forget that he regularly produces solid entire scores that do justice to the film they compliment

So, it comes as no surprise that Mansell has been employed as the composer to FASTER, the latest film to star Dwayne “The Rock” Johnson. FASTER is a film of the revenge variety, in which previously incarcerated Driver (Johnson) sets out on a mission to avenge the death of his brother. While Mansell’s diverse background in scoring results no surprise in his appointment, the same cannot be said of the director George Tillman Jr. who has been at the helm of films such as NOTORIOUS, MEN OF HONOR and SOUL FOOD. Therefore, directing an action-revenge film comes as somewhat of a surprise.

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Megamind (Soundtrack) by Hans Zimmer and Lorne Balfe - Review

Two-Man Group
Review by Richard Buxton

In creating Remote Control Productions (formerly known as Media Ventures), HANS ZIMMER intended to give relatively unknown, but clearly talented composers, a shot at their dreams of composing for Hollywood blockbusters. Looking back on his legacy in film music, not even his greatest detractors could deny that he has succeeded. Having mentored successful composers such as Harry Gregson-Williams, John Powell and now LORNE BALFE he has given composers who may otherwise have gone unnoticed, a fighting chance

Zimmer previously collaborated with Balfe for the juggernaut that is Call of Duty: Modern Warfare 2 and with MEGAMIND returns to a film genre not unfamiliar to him in the slightest. On hearing that Zimmer is at the helm for another animation, one is reminded of his previous efforts in the likes of MADAGASCAR, THE SIMPSONS MOVIE and THE PRINCE OF EGYPT, the latter being one of the highlights of Zimmer’s career. As is always the case with Zimmer collaborations, identifying just who has composed each track can prove a difficult task, but it can be said with confidence that the ever-maturing Balfe will have had a significant role to play in the score for MEGAMIND.

What separates MEGAMIND from the usual superhero tale is the protagonist and the situation he finds himself in. The title character and simultaneously the villain, MEGAMIND (Will Ferrell) finds himself in the unusual position of having killed his archenemy Metro Man. Such a fresh look at the tale of superhero vs. villain does just enough to suggest MEGAMIND can offer something fresh while still entertaining audiences.

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Fair Game (Soundtrack) by John Powell - Review

Fair Thee Powell
Review by Richard Buxton

JOHN POWELL is no stranger to the thriller genre, having scored the likes of “The Bourne” Trilogy and “Green Zone” in recent years. Therefore he finds himself in a familiar position with FAIR GAME, a political thriller that retells the story of former CIA officer Valerie Plame Wilson.

In 2003 after Wilson’s husband, former Ambassador Joseph C. Wilson, had written a piece in the New York Times criticising the reasoning behind the Iraq War, Wilson’s CIA status was leaked to the press. This betrayal by the government led to what is now known as the Plame Affair.

Finding himself in such familiar territory, JOHN POWELL could be forgiven for not producing the most inspiring score of his career. Powell’s music is undoubtedly suited to the film that it accompanies, but it does nothing to defy the conventions set out by previous thrillers and those set by Powell himself. Beginning with “Kuala Lumpur”, the score opens with a style reminiscent of Brian Tyler’s opening track for the 2009 film “Fast & Furious”, “Landtrain”. The rhythm of the percussion and electronic elements also serve to remind listeners of Powell’s previous efforts in the “Bourne” films. Building up to a sudden release, “Kuala Lumpur” works well as a statement of intent and comfortably settles the score into the typical thriller rhythm.

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Harry Potter and the Deathly Hallows Part 1 (Soundtrack) by Alexandre Desplat - Review

Desplat on Hallowed Ground
Review by Richard Buxton

And so it comes to an end. The final chapter of the phenomenally successful Harry Potter series is nigh. The seventh and penultimate film adaptation of the series of novels signals the film franchise’s imminent 10th year in existence, and with it comes the inevitable and insatiable hunger for pure unadulterated fantasy and adventure. For a series approaching its eighth iteration, Harry Potter has shown remarkable endurance in an ever-changing and unremittingly demanding industry. One staggering measure of its success is the fact that over the course of the first six films, the gross revenue has amounted to approximately $5million, a figure that is over four times the total budget for the six films. Such financial returns are the result of a synergy of numerous people and circumstances. The immense popularity of the novels is a good start, but purely in terms of film, the way in which the themes and tone of the series has developed ensures audiences never grow weary of the magical adventures.

From the optimistic and upbeat tonality of the first films, the series has taken a gradual turn into darkness. As the audience has grown up with the characters themselves, they understandably demand a more complex narrative that is of a more mature nature when compared to the earlier films. With this evolution the score has similarly been transformed, out of necessity. ALEXANDRE DESPLAT's efforts heard in part 1 of THE DEATHLY HALLOWS continue the descent into darkness.

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Composer Jason Graves Scores Dead Space 2

BAFTA AWARD-WINNING COMPOSER JASON GRAVES
SCORES PSYCHODRAMATIC ORIGINAL MUSIC FOR DEAD SPACE 2

Thematic Horror Video Game Soundtrack Evokes Intense
Personal Drama of Isaac Clarke's Dark and Emotional Journey

Los Angeles, CA - November 17, 2010 - Classically trained BAFTA-winning composer Jason Graves returns to create a psychodramatic orchestral score for Dead Space 2, the highly anticipated next installment in the blockbuster action horror videogame franchise. Reflecting hero Isaac Clarke's dementia and nightmarish personal journey, Graves' original music score for Dead Space 2 features the intricately woven thematic movement "Lacrimosa," a concerto for string quartet that runs throughout the game. The game's intense and varied soundtrack also immerses players in this thrilling action horror experience with haunting Unitology choral compositions, visceral action music and spine-tingling string arrangements performed by A-List musicians at Skywalker Sound.

"The score really runs the gamut as you play through the game. There are much bigger and scarier pieces along with quieter, more personal moments to counterbalance them.  I wrote for string quartet to portray Isaac's vulnerable side.  It's quite the emotional arc, but of course still done in a very 'Dead Space' way."
- Jason Graves, Composer

Jason Graves previously composed the innovative, unique soundtrack for the original Dead Space, which has been called "the scariest game ever made." Jason's groundbreaking score was hailed by critics as a "truly original soundtrack" and "the best score of the year." It was recognized with a myriad of worldwide nominations and won two BAFTA awards - one for Original Score and one for Use of Audio. For the latter, the Academy stated, "It's the music soundtrack that boasts horror and tension."

"It has been a real pleasure working with Jason on Dead Space 2. The range of his composition is impressive, and his attention to detail never fails to amaze me.  His creativity, energy, and unique vision for the music has been key to establishing the atmosphere of Dead Space 2."
- Andrew Boyd, Audio Director

More information on the composer can be found at www.jasongraves.com.
For more information on Dead Space 2, visit the official website at www.deadspacegame.com.


Download our 2009 interview with Jason Graves or

Listen to it on the SoundCast

How to Train Your Dragon (Soundtrack) by John Powell - Reviewed

Buy the Dragon -- Just Buy It.
Review by Helen San

The first time JOHN POWELL caught my ear was in 1997 with his energetic music to Antz (co-composed with HARRY GREGSON-WILLIAMS). Two years later his score to FORCES OF NATURE put him on the map as a composer to watch, and listen to. We caught a glimpse of the kind of uncommon brilliance that makes us fans of film music—and bemoaned the fact that this awesomeness was not available commercially. Since then POWELL has released a string of solid hits, but FORCES OF NATURE was always, for me, the one that got away, as it were.

Finally, we get another chance to own and enjoy that sheer luminosity we know POWELL is capable of. How to Train Your Dragon has every bit of the effulgence of FORCES OF NATURE, and then some. We don’t get just a glimpse this time; this is virtuosity in all its glory. Hands down, HTTAD is POWELL’s best score to date and stands as one of the best scores of 2010. For me, it was an early contender for 2010’s Oscar-worthy elite and has remained so all year.

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Legacy (Sountrack) by Mark Kilian - Review

Instinct and Reaction
Review by Richard Buxton

Non-linear story telling is by no means a new concept in film, however the idea of a non-linear score to accompany a film that exhibits such structural complexities is something rarely found in the current film climate. In today’s film industry, the thought of venturing beyond the comfort zone is seemingly a frightening one for many filmmakers. This not only applies to the film itself but also to the score. The easy way to success is often established through the use of a template, one that defines the dos and don’ts of the scoring process. Therefore it is a pleasant surprise when the template is discarded in favour of something that is almost entirely unique in its form.

On first listen, Mark Kilian’s score for LEGACY is one of pure instinct and reaction. It holds no single specific genre and lacks any sort of recognisable theme in its composition and therefore provides an unpredictable, innovative listening experience. The music on offer ranges from your typical pulsating action thriller to what borders on horror. Such an amalgamation only serves to accelerate the fraught pace and suspense of LEGACY.

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The Tillman Story (Soundtrack) by Philip Sheppard Review

A Cover-Up's Underscore

Review by Richard Buxton

On April 22, 2004 former Arizona Cardinals Defensive and Corporal of the United States Army Rangers Patrick Tillman, was killed in Sperah, Afghanistan. Having rejected a $9million NFL contract in order to serve his country, Tillman was rightly commended. The sacrifice of a soldier for his country secures immortality through the respect and gratefulness of the people he or she fought for, and it is this that makes the events following his death all the harder to accept. Despite the numerous cover-ups, the true events of April 22 were eventually revealed. Tillman was in fact killed by friendly fire, a cause that had been hidden from the Tillman family for weeks after Patrick’s death. THE TILLMAN STORY is an insight into the conspiracy, propaganda and ultimate failings of the system.

In hiring Philip Sheppard, director Amir Bar-Lev chose a composer with a strong history of documentary scoring. Notable previous works include the space-faring documentary “In The Shadow of the Moon”, a stirring accompaniment to the retelling of the Apollo missions in the ‘60s and ‘70s. Firmly familiar with the documentary formula, in the case of THE TILLMAN STORY Sheppard has composed a score that does the job but does little to go beyond the call of duty. Consisting of two distinct parts, the soundtrack weighs in at a seemingly generous 32 tracks. However the majority of these last for no longer than a minute and a half each.

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Soundcast Interview: Richard Jacques (007 Blood Stone)

Interview: Richard Jacques

Recorded November 1, 2010
Published November 12, 2010

Composer Richard Jacques speaks about his latest project, 007 BLOOD STONE.

Episode Highlights

00:20 - Introduction
01:30 - How did you pitch a live orchestra for Headhunter?
03:52 - Dealing with budget restrictions
04:55 - Samples vs. live instruments
06:50 - How samples have affected younger composers' styles and the importance of education?
09:15 - What was it like working on a team for Mass Effect?
10:38 - Working on Alice in Wonderland, the sound and style?
11:29 - How do you bring a fresh voice to a franchise with such a rich history of interpretations??
13:21 - How did you get involved with the Blood Stone project??
15:45 - Did you use any familiar themes??
16:50 - The Bond "style" and making Blood Stone a classic Bond score?
18:27 - What elements are you most proud of? What will the fans enjoy?
20:04 - What is it about scoring for games that attracts you?
21:40 - How does the progress of technology affect your work process?
23:06 - Middleware technology, audio implementation
23:31 - Years of experience and sharing with the industry community
25:56 - What are your views on the trend of having film composers score games?
25:53 - Unifying the stature of game and film music; not distinct styles; more creative freedom
27:55 - Predictions for the future of game audio and its technology

Music Clips (Select music clips contained in this podcast)

00:00 - "Ready for Action" (Headhunter) by Richard Jacques
01:03 - "Greywolf" (Headhunter) by Richard Jacques
10:23 - "The Citadel" (Mass Effect) by Richard Jacques/Jack Wall/Sam Hulick
17:55 - "The Package" (James Bond 007: Blood Stone) by Richard Jacques?
29:28 - "Athens Harbour Chase" (James Bond 007: Blood Stone) by Richard Jacques

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Behind the Score: The Force Unleashed 2

Exclusive Streaming Soundtrack from The Force Unleashed 2!

It's been two years since the world was introduced to Darth Vader's young apprentice. From serving the Dark Lord of the Sith to helping to birth the Rebellion, the young apprentice, Starkiller, finds that he is unusually strong in the Force, but which side will he ultiimately choose and what is he willing to sacrifice?   In 2010, Starkiller is back (in many many ways)  and he hasn't quite finished unleashing the force on unsuspecting members of the new Empire.  Returning right alongside the identity-challlenged apprentice, General Kota, Juno Eclipse and Darth Vader, to continue musically-bridging the Prequel and Original trilogies in THE FORCE UNLEASHED 2 is composer MARK GRISKEY. 

Join with us as we go with them all BEHIND THE SCORE OF THE FORCE UNLEASHED 2. In this edition:

- 10 streaming tracks from the original score!
- SoundCast Interview with composer Mark Griskey

- Game soundtrack review by Christopher Coleman

- SoundCast Interview with author Sean Williams

- BONUS Coverage:  The Force Unleashed review, 2008 Interview with Mark Griskey

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SoundCast Interview: Mark Griskey (The Force Unleashed 2)

Interview: Mark Griskey

Recorded October 4, 2010
Published November 8, 2010

Composer Mark Griskey talks about returning to score THE FORCE UNLEASHED, how the music for the franchise has evolved since the first game, and what it was like working on this project at the same time as STAR WAR: THE OLD REPUBLIC.

Episode Highlights

00:44 - Introduction
02:59 - What was it like coming back to this franchise?
06:09 - The time-crunch challenge
08:15 - Twitter Question #1 - What familiar music themes do you employ?
12:08 - How do you handle fan expectations for Star Wars music?
15:51 - Twitter Question #2 - How do you tell the story through your music?
18:55 - How did you feel at the completion of The Force Unleashed 2 compared to the first?
24:05 - Working on TFU and Star Wars: The Old Republic at the same time.
16:08 - Twitter Question #3 - Adapting to Game scoring
17:17 - Biggest creative challenge?
18:10 - Dealing with franchise pressures
19:09 - Looking forward to more game projects?


Music Clips (Select music clips contained in this podcast)

00:00 - "Main Title and the Test Chamber" (The Force Unleashed 2) by Mark Griskey
07:40 - "Escape from Kamino"  (The Force Unleashed 2) by Mark Griskey
08:38 - "Discovering Dagobah and the Cave" (The Force Unleashed 2) by Mark Griskey
14:30 - "Assault on Kamino" (The Force Unleashed 2) by Mark Griskey
23:11 - "The Hanging City" (The Force Unleashed 2) by Mark Griskey
29:42 - "The Reunion of Juno and Starkiller" (The Force Unleashed 2) by Mark Griskey

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Composer Alan Menken (Tangled) To Receive Star on Hollywood Walk of Fame

ALAN MENKEN’S NEW HAIR-RAISING MUSIC TO “TANGLED”

AVAILABLE ON CD NOVEMBER 16

MENKEN AWARDED STAR ON HOLLYWOOD WALK OF FAME NOVEMBER 10

LOS ANGELES (November 4, 2010) – Composer Alan Menken, winner of eight Academy Awards – more than any living person, will receive a star on the Hollywood Walk of Fame on November 10 prior to his new film “Tangled” opening in theatres this Thanksgiving. Menken has created many of the 20th and 21st century’s most memorable film and theatrical music including “The Little Mermaid,” “Beauty and the Beast,” “Aladdin,” “Pocahontas” and “Little Shop of Horrors.” His score and original songs for Walt Disney Pictures’ 50th animated feature can be heard on the soundtrack to be released on November 16 and in the film opening November 24.

Menken will be in attendance and honored at an open to the public, star-studded ceremonial unveiling of his star next week in front of Disney’s El Capitan Theatre, site of the premieres of many of his films. The ceremony will be held at 11:30 AM at 6838 Hollywood Boulevard, Hollywood, CA.

“I wanted folk rock on this,” explains Menken about the score. “I thought about Rapunzel’s long hair and the freedom she wanted. Immediately I thought about Joni Mitchell’s “Chelsea Morning” and all that folk music that I love. Cat Stevens and that energy.”

Mandy Moore (“A Walk To Remember”) voices Rapunzel, a feisty teen with 70 feet of magical hair who is joined by Zachary Levi (“Chuck”) as Flynn Rider and Tony winner Donny Murphy (“The King and I”) as Mother Gothel on the playful soundtrack. The first song written for the film was the “Healing Incantation” sung by Mandy Moore which runs throughout the movie.

“Mandy brings that wonderful quality that’s totally compatible with Rapunzel. This voice that’s light, airy, and yearning. She’s adorable, and Rapunzel is adorable.” Moore and Levi perform a duet on “I See The Light,” a sweeping, romantic ballad to make hearts swoon.

A musical theatre type song was created for Mother Gothel, performed by Donna Murphy. “I’ve known Donna for a long time; in fact she was one of our Audreys in ‘Little Shop of Horrors’ way back. Donna brought that kind of exciting drama to the song.”

Menken has won four Oscars® for Best Score (“The Little Mermaid,” “Beauty and the Beast,” “Aladdin” and “Pocahontas”) and four Oscars for best song (“Under the Sea,” “Beauty and the Beast,” “A Whole New World” and “Colors of the Wind”). In addition, he has been nominated 18 times, including Best Song nominations for “Mean Green Mother From Outer Space,” “Kiss the Girl,” “Belle,” “Be Our Guest,” “Friend Like Me,” “Go the Distance,” “Happy Working Song,” “So Close” and “That’s How You Know,” plus a Best Score nomination for “The Hunchback of Notre Dame.” He has won ten Grammy Awards® (including Song of the Year for “A Whole New World”), seven Golden Globes®, London’s Evening Standard Award, the Olivier Award and the Outer Critics Circle Award. Other notable achievements include Billboard’s number one single (“A Whole New World”) and number one album (“Pocahontas”), an honorary doctorate in Fine Arts from New York University and induction into the Songwriters Hall of Fame.

Pre-Order TANGLED soundtrack at Amazon.com