Saturday, April 30, 2011
Vendetta: Position Music's Orchestral Series Vol. 6 by Jo Blankenburg - Review
Revenge of the Orchestra
Review by Richard Buxton
It has been almost a decade since CORNER STONE CUES’ “Requiem For A Tower”, a re-orchestrated version of CLINT MANSELL’s “Lux Æterna”, took on a life of its own in the LORD OF THE RINGS: THE TWO TOWERS trailer. Since then, trailer production music has made leaps and bounds as the primary source of musical backdrops for Hollywood films. The likes of IMMEDIATE MUSIC, TWO STEPS FROM HELL and POSITION MUSIC have all been at the forefront of motion picture campaigns such as STAR TREK, PIRATES OF THE CARIBBEAN and IRON MAN. As the popularity of trailer music continues to surge, many production companies are releasing volumes of music to the public. One of the latest to come from POSITION MUSIC is VENDETTA, composed by JO BLANKENBURG.
A German pianist, BLANKENBURG’S music has previously been heard in marketing campaigns for HOW TO TRAIN YOUR DRAGON and THE WOLFMAN. With VENDETTA, BLANKENBURG offers listeners 37 minutes of unashamedly brash, epic music. What the music lacks in subtlety, it makes up for with relentless orchestral and choral anthems, all of which are nigh on certain to get the blood pumping.
Being a volume of trailer music rather than a film score, one must approach VENDETTA from a different perspective. Whilst the various tracks are mostly of a similar fashion in their gradual ascent towards a show-stopping climax, never do they maintain a definitive theme, something a film score is more often than not expected to. This does perhaps rob the score of an overall cohesive continuity between tracks, but it also provides fresh ideas in each new composition.
READ THE FULL REVIEW
Christopher Young Scores Priest
LEADING SUSPENSE COMPOSER CHRISTOPHER YOUNG
ADDS VAMPIRE SLAYER MUSIC TO HIS REPERTOIRE FOR
PRIEST
COMPOSER SAYS SCORE SOUNDS LIKE ‘GODZILLA F---ING KING KONG’
OPENS MAY 13
(Los Angeles, CA) Film composer Christopher Young scores “Priest,” a post-apocalyptic sci-fi thriller, directed by Scott Charles Stewart (“Legion”). The gripping 3D film is set in an alternate world -- one ravaged by centuries of war between man and vampires. Sony Pictures releases the film May 13. Score album is released by Madison Gate Records and available on iTunes and Amazon.com.
Young quipped that his score is, “Excessively aggressive and enveloping; it swallows you like a leviathan. It’s a powerhouse of constant energy. It’s like Godzilla f--ing King Kong.” It took an 83 piece orchestra and a 32 member choir to create the epic sound Young wanted.
“Priest” is the first collaboration between Christopher Young and director Scott Charles Stewart.
The film stars Paul Bettany as a legendary warrior priest during the last Vampire War, who now lives in obscurity among the other human inhabitants in walled-in dystopian cities controlled by the Church. When his niece (Lily Collins) is abducted by a murderous pack of vampires, Priest breaks his sacred vows to venture out on a quest to find her before they turn her into one of them.
Christopher Young’s distinctive and imaginative approaches to numerous projects have made him a highly sought-after commodity on films. He has composed music for over 100 films in all genre ranges from horrors including “Hellraiser,” and “The Grudge,” dramas including “The Hurricane,” “Murder in The First,” and “Shipping News,” comedies including “When in Rome,” and “The Man Who Knew Too Little” to action adventures including “Ghostrider” and “Spiderman 3.”
Visit the Official Movie Website
Tuesday, April 26, 2011
WARHAMMER 40,000: DAWN OF WAR II THE COMPLETE SOUNDTRACK
SUMTHING ELSE MUSIC WORKS ANNOUNCES
RELEASE OF WARHAMMER 40,000: DAWN OF WAR II
THE COMPLETE SOUNDTRACK
2-CD set features anthemic orchestral music from Dawn of War II,
Chaos Rising, and Retribution composed by Doyle W. Donehoo
New York - April 26th, 2011 - Sumthing Else Music Works, Inc. proudly presents Warhammer® 40,000®: Dawn of War® II The Complete Soundtrack featuring the original music scores from the sci-fi fantasy real-time strategy video game series Dawn of War® II developed by award-winning Relic® Entertainment, a division of THQ Inc. The 2-disc album includes the music from Dawn of War II®, Dawn of War II®: Chaos Rising™ and Dawn of War II®: Retribution™ composed by virtual orchestra maestro Doyle W. Donehoo. The Complete Soundtrack is scheduled for release on May 24th, 2011 to retail outlets through Sumthing Else Music Works www.sumthing.com, and for digital download at www.sumthingdigital.com, Amazon MP3, iTunes® and other digital music sites.
Dawn of War® II is set in the dark and grim distant future of 40,000 AD, and the galaxy is aflame with endless war. Humanity is led by its immortal Emperor and defended by vast chapters of Space Marines, elite armored super-soldiers. Mankind, which is in a steady state of decay, is beset on all sides by hostile alien races, some of them bio-engineered for war, some on their own path of decay or growth. In the game, you are in charge of units attempting to stem the tide of alien hoards and corrupted Space Marines.
"It is a privilege to score for the vast Warhammer 40,000 universe with its stunning cinematic visuals and broad strokes of emotions," says composer Doyle W. Donehoo. "This iconic franchise begs for huge themes and high drama, and that is what I have aspired to for Warhammer 40,000: Dawn of War II."
Dawn of War® II won the 2010 Canadian Videogame Award for Best Audio and Dawn of War® II - Chaos Rising™ is nominated for the 2011 Canadian Videogame Award for Best Audio. For more information on Warhammer 40,000: Dawn of War II, please visit www.dawnofwar2.com.
For more information on Sumthing Else Music Works and its complete catalog of video game soundtracks, visit www.sumthing.com and www.sumthingdigital.com.
Labels:
000 B.C.,
dawn of war II,
press release,
Sumthing Digital,
warhammer 40
Saturday, April 23, 2011
Monster Mutt (Soundtrack) by Chris Walden - Reviewed
Cartoonish Warm Fuzzies
Review by Helen San
MONSTER MUTT is an independent, straight-to-DVD, slapstick family comedy about a giant dog. Max is a family pet who was kidnapped and turned into a monster dog as a weapons experiment by a nefarious laboratory. The French translation of the title, "Honey, I Blew Up the Dog," says it all. The only thing is, as an indie project, they didn't have a large special effects budget. The giant dog is played by a guy in a dog suit. In this day and age, that is quite a throwback. Perhaps "vintage" is another way to describe this film.
Without the CGI that we are all spoiled on, the music has to really help sell the story. And indeed, it does. CHRIS WALDEN is a German composer who has worked mostly in German TV movies and series. He is a relatively unknown composer in a relatively unknown movie. My expectations, to be honest, were not very high. I quickly found MONSTER MUTT to be delightful and inviting.
MONSTER MUTT is a straightforward, orchestral score of the family comedy genre. I immediately thought of countless JOHN DEBNEY or DAVID NEWMAN comedies that now blend into each other in my head. To be sure, MONSTER MUTT is simple, with fewer instruments and layers than DEBNEY ever had. But the result feels clean and uncluttered. It says what it means, and it means what it says. If you read the track titles while listening to the music, you know exactly what is happening. You don't even need to watch the movie.
Read the full review
Labels:
chris walden,
helen san,
monster mutt,
soundtrack review
Friday, April 22, 2011
SoundCast Ep. 24 - I Know What You Scored This Summer!
I Know What Your Scored This Summer!
Recorded April 21, 2011
Published April 22, 2011
Christopher, Marius, and Richard take a look at and talk about some of the big movie scores coming in the summer of 2011.
Episode Highlights
00:48 — Introduction
03:23 — What we have been listening to
12:37 — I Know What Your Scored This Summer Intro
13:51 — Thor
17:33 — Pirates of the Caribbean: On Stranger Tides
18:30 — Kung Fu Panda 2
28:30 — Super 8
32:49 - Transformers: Dark of the Moon
37:10 - Captain America: The First Avenger
42:33 - Cowboys and Aliens
47:00 - Rise of the Planet of the Apes
51:15 - Green Lantern, X-Men, Tree of Life, Harry Potter: Deathly Hallows Part 2, Cars 2, Priest
Music Clips (Select music clips contained in this podcast)
00:00 — "Summer In The City (2003 Remaster)" Lovin' Spoonfuls
03:51 — "The Sea Monster" (Sinbad: Legends of the 7 Seas ) by Harry Gregson-Williams
04:54 — "Container Park" (Hanna) by The Chemical Brothers
06:31 — "Theme from SOCOM 4" (SOCOM 4) by Bear McCreary
07:46 — "Emergence" (The Human Experience) by Thomas Bergersen
09:52 — "Heroic Age" (Heroic Age) by Naoki Sato
11:19 — "Insertion" (Crysis 2) by Hans Zimmer
17:46 — "Up is Down" (Pirate of the Caribbean: At Worlds End) by Hans Zimmer
21:40 — "Hero" (Kung Fu Panda) Hans Zimmer and John Powell
32:18 — "Theme From Cocoon" (Cocoon) by James Horner
33:33 — "Prime" (Transformers: Revenge of the Fallen) by Steve Jablonsky
45:45 — "Call of the Crystal" (Indiana Jones/ Crystal Skull) by John Williams
53:28 — "Snape to Malfoy Manor" (Harry Potter and The Deathly Hallows Part 1) by Alexandre Desplat
60:02 — "Summer In The City (2003 Remaster)" Lovin' Spoonfuls
Wednesday, April 20, 2011
Tall Ships: Privateer Lynx (Soundtrack) by David James Nielsen - Reviewed
Sails or Floats?
Review by Richard Buxton
Expeditions in the infinite blue of the oceans have provided audiences with many a good listening experience down the years. From the likes of TITANIC to THE PERFECT STORM, to the swashbuckling adventures of THE PIRATES OF THE CARIBBEAN, the high seas have regularly exhibited memorable musical moments. With the occasional use of artistic license, cinema has been crafted in a mould that permits composers to produce scores of outstanding thematic content to accompany these sailing adventures, yet a documentary exists purely to convey real life. Are the bold themes of the sea-faring blockbusters attainable, or better yet appropriate for a production such as TALL SHIPS: PRIVATEER LYNX?
DAVID JAMES NIELSEN’S music for TALL SHIPS answers that question with a somewhat indecisive answer. Whilst the music never achieves the thematic individuality of what one would expect from a major Hollywood film, NIELSEN has certainly crafted an evocative backdrop to the documentary.
Read the full review
Monday, April 18, 2011
Enter to Win FAST FIVE (Original Score) by Brian Tyler
Let's face it. Most of us who love film, tv, and video game music have pretty strong opinions on it. How many times have you read a review here at Tracksounds or elsewhere, where you said, "I just don't agree with this!" or "I could write a better review than this!" Right. Probably a few times.
Well, here's your chance to show 'em how it's done! Not only do you have an open platform to express your opinion and writing skills, but you could actually win official soundtrack releases for your efforts! How good is that?
Just submit a review for one (or more) of the following titles and you could win!
The Fast and the Furious: Tokyo Drift by Brian Tyler
Copernicus' Star by Abel Korzeniowski
Water Horse: Legend of the Deep by James Newton Howard
GET ALL THE DETAILS TO ENTER HERE
Sunday, April 17, 2011
Homefront (Game Soundtrack) by Matthew Harwood - Reviewed
Take Me Home
Review by Marius Masalar
Unlike many mainstream critics, I actually enjoyed 2008’s intriguing future shooter, Frontlines: Fuel of War. What it lacked in groundbreaking mechanics it more than made up for in polished gameplay, nice graphics, and some compelling combat scenarios. To have that team working on a game with a premise as provocative and important as the one belonging to HOMEFRONT seemed like a smart match in the making. The story itself, penned by Apocalypse Now co-writer and Red Dawn creator, John Milius, represents a strong look into one political fantasy that is chilling because of its willingness to bring the conflict home. Despite promising sales though, the game’s tepid critical response perhaps reveals a studio unable to do justice to such complex plot potential. The overall effect is one of having made no real progress from Frontlines.
Unfortunately, the musical score has also taken a step firmly in the wrong direction. Following the Frontlines score, which was at least moderately good if a little bland, MATTHEW HARWOOD’s music for HOMEFRONT delivers an overly long salad of mediocrity that does the game’s narrative almost no justice.
Read the full review
Saturday, April 16, 2011
Inon Zur Scores The Lord of the Rings: War in the North (Video Game)
Warner Bros. Interactive Entertainment announces that award-winning composer, Inon Zur, has penned the musical score for The Lord of the Rings: War in the North video game. Zur recently conducted a full 70+ piece orchestra and the Pinewood Singers choir at the legendary Abbey Road Studios in London to record the game soundtrack session.
To date, Zur has composed the music to more than 40 video games, 15 television shows, and 10 movies, as well as many movie trailers. Recipient of numerous accolades for his work within the video game space, including a Hollywood Music in Media Award for Dragon Age: Origins, Zur's score sets the stage for this upcoming Action/RPG set in the brutal, war-torn unexplored lands of northern Middle-earth.
Developed by Snowblind Studios and published by Warner Bros. Interactive Entertainment, The Lord of the Rings: War in the North provides new story parallel to the Tolkien canon, exploring the only previously hinted at region to the North. Enriching the emotional storytelling, brutal combat, and epic exploration of the game, Zur's composition provides the compelling soundtrack as new territory is forged for one of the most significant entertainment properties of all time.
Inon Zur composes emotionally dynamic music for film, television, anime and video games. A graduate of the Music Academy of Tel Aviv in Israel, Inon moved to Los Angeles to study the art of film music at the Dick Grove School of Music and UCLA with such luminaries as Jack Smalley, Alan Ferguson and Henry Mancini. His scores for film and television include Au Pair, Escaflowne, Digimon, Power Rangers, State of Grace and Ghost Whisperer: The Other Side. Zur's Hollywood scoring expertise combined with his flair for powerful melodic writing is widely recognized in the world of interactive entertainment. Composing cinematic orchestral music for blockbuster franchises such as Dragon Age, RIFT, TERA, Prince of Persia, EverQuest, Lineage, Crysis and Fallout, he has received international acclaim including award nominations from the British Academy (BAFTA) and Spike TV as well as top honors at the Hollywood Music In Media Awards. Variety named Inon Zur one of the top music talents in interactive entertainment.
The Lord of the Rings: War in the North is an intense Action RPG video game based on the renowned works of J.R.R. Tolkien. Through innovative online, interdependent co-op play for up to three players who form their own Fellowship, the game breaks new ground as the first The Lord of the Rings video game to embrace the gritty and brutal reality of J.R.R. Tolkien's Middle-earth. Exploring previously unseen lands, storylines and characters as well as those familiar from past feature films, gamers experience expansive co-op gameplay and upgradeable weapons, character customization and development, skills and special abilities. Gamers must play together or perish as they work to defeat Sauron's forces in the North. The Lord of the Rings: War in the North is slated to launch on the PlayStation 3, Xbox 360 and Games for Windows in 2011.
Register for The Council of the North at www.WarInTheNorth.com, and don't forget to "like" us on Facebook at http://www.facebook.com/lotrwitn and follow us on Twitter @WarInTheNorth.
Pre-Order The Lord of the Rings: War in the North at Amazon.com.
Labels:
Inon Zur,
lord of the rings,
press release,
war in the north
Ceremony (Soundtrack) by Eric D. Johnson - Reviewed
Unceremonial
Review by Richard Buxton
One of the greatest dividing aspects of the success of a film score is the in-film experience and the out-of-film listening experience. Your regular run-of-the-mill underscore might be employed expertly in creating suspense and atmosphere as the film motors onwards, yet as a pure listening experience it may categorically fail. Depending on your musical tastes, ERIC D. JOHNSON’S score for CEREMONY epitomizes this conflict between listening states.
CEREMONY, written and directed by MAX WINKLER, tells of young writer Sam Davis (Michael Angarano) and his attempt to halt the wedding and win the heart of Zoe (Uma Thurman). What unravels is somewhat of a love it or hate it film and the same can almost be said of the score.
Read the full review here
Labels:
ceremony,
eric d. johnson,
richard buxton,
soundtrack review
Friday, April 15, 2011
SoundCast Interview: Sascha Dikiciyan, Cris Velasco (Mass Effect Arrival)
Interview: Sascha Dikiciyan, Cris Velasco (Mass Effect Arrival)
Recorded April 8, 2011
Published April 15, 2011
Two composers...two interviewers...The SoundCast reaches critical mass! Composing-duo Sascha Dikiciyan and Cris Velasco talk with Christopher and Marius about some of the their recent projects including: TRON EVOLUTION, MORTAL KOMBAT, and MASS EFFECT ARRIVAL.
Episode Highlights
00:37 — Introduction
02:45 — Collaboration and proximity
07:33 — Tron Evolution
18:30 — The new Mortal Kombat
27:40 — Mass Effect Arrival
41:05 — Inconspicuous Tweets and Conclusion
Music Clips (Select music clips contained in this podcast)
00:00 — "The Mass Relay (Mass Effect Arrival) by Sascha Dikiciyan/ Cris Velasco
06:50 — "The Tron Codex" (Tron Evolution) by Sascha Dikiciyan/ Cris Velasco
16:43 — "Enter the Grid" (Tron Evolution) by Sascha Dikiciyan/ Cris Velasco
26:35 — "The Begining of the End" (Mass Effect Arrival) by Sascha Dikiciyan/ Cris Velasco
28:38 — "Mission Kenson" (Mass Effect Arrival) by Sascha Dikiciyan/ Cris Velasco
31:41 — "Captured" (Mass Effect Arrival) by Sascha Dikiciyan/ Cris Velasco
38:32 — "Base Escape" (Mass Effect Arrival) by Sascha Dikiciyan/ Cris Velasco
46:30 — "Base Escape 2" (Mass Effect Arrival) by Sascha Dikiciyan/ Cris Velasco
Tuesday, April 12, 2011
Hawk (Soundtrack) by Stuart Hancock - Review
A Talon Tease
Review by Richard Buxton
With the majesty of Hollywood spectaculars consistently dominating the listening habits of the average film score collector, it is easy to forget that many of the greatest composers today, and those of the future, began their journey scoring short films. As both filmmaker and film composer seek to establish themselves in the cutthroat entertainment industry, short films become one of a vital component of one’s experience. However unexpected a release of a short film’s score is, it comes as a refreshing reminder of the origins of so many successful artists. Taking a similar opportunity, STUART HANCOCK has scored MJ MCMAHON’S HAWK.
STUART HANCOCK’S fluency in the use of a choir is immediately apparent as the score opens “Flight of the Hawk” (1), a track largely consisting of underscore, punctuated by fleeting choral flourishes, the voices rising from the depths alongside sweeping string statements. Whilst not stunning to the ears, “Flight of the Hawk” promises much on behalf of the rest of the score, and it is unfortunate that this promise is ever quite fulfilled.
Read the full review
Review by Richard Buxton
With the majesty of Hollywood spectaculars consistently dominating the listening habits of the average film score collector, it is easy to forget that many of the greatest composers today, and those of the future, began their journey scoring short films. As both filmmaker and film composer seek to establish themselves in the cutthroat entertainment industry, short films become one of a vital component of one’s experience. However unexpected a release of a short film’s score is, it comes as a refreshing reminder of the origins of so many successful artists. Taking a similar opportunity, STUART HANCOCK has scored MJ MCMAHON’S HAWK.
STUART HANCOCK’S fluency in the use of a choir is immediately apparent as the score opens “Flight of the Hawk” (1), a track largely consisting of underscore, punctuated by fleeting choral flourishes, the voices rising from the depths alongside sweeping string statements. Whilst not stunning to the ears, “Flight of the Hawk” promises much on behalf of the rest of the score, and it is unfortunate that this promise is ever quite fulfilled.
Read the full review
Labels:
hawk,
richard buxton,
soundtrack review,
stuart hancock
Thursday, April 07, 2011
Behind the Score: Call of Duty: Black Ops with Sean Murray

Behind the Score: Call of Duty: Black Ops
The war effort didn't end with the conclusion of World War II. In fact, a new war was almost simultaneously born - The Cold War. Warfare had gone underground, but the call of duty to serve remained strong.
Join with us as we go with them all BEHIND THE SCORE OF Call of Duty: Black Ops. In this edition:
- Photos from the Black Ops recording session
- SoundCast Interview with composer Sean Murray
- Call of Duty: Black Ops Game score review
- BONUS Coverage: 2009 Interview with Sean Murray
- BONUS Coverage: Call of Duty World at War Game score review
Labels:
behind the score,
black ops,
Call of Duty,
sean murray
Wednesday, April 06, 2011
Composers Unite for Signing Celebrating Medal of Honor 8-Disc Soundtrack Collection
COMPOSERS UNITE FOR SIGNING CELEBRATING MEDAL OF HONOR 8-DISC SOUNDTRACK COLLECTION
APRIL 16TH AT DARK DELICACIES IN BURBANK
WHAT: In-store signing of the new Medal of Honor Soundtrack Collection Box-set.
WHO: Medal of Honor composers Ramin Djawadi and Christopher Lennertz
WHEN: Saturday, April 16 from 2-3 PM.
WHERE: Dark Delicacies Books and Collectibles, 3512 W. Magnolia, Burbank CA 91505
WHY:
* To celebrate the release of the Medal of Honor Soundtrack Collection, an eight disc box set showcasing Medal of Honor music by composers Michael Giacchino (UP), Ramin Djawadi (IRONMAN), and Christopher Lennertz (HOP).
* Box set includes previously unreleased material from the videogame series, a 40-page booklet with track listings, and introduction by game creator, director Steven Spielberg.
Additional Information: Also in attendance will be composers Mark Islam (Crossing Over), Cliff Martinez (The Lincoln Lawyer), Stu Phillips (Battlestar Galactica), Scott Glasglow (Low), Ryan Shore (Jack Brooks Monster Slayer), and Jeremy Zuckerman & Ben Wynn (DC Showcase).
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Medal of Honor is one of the most popular video game series. Part of the popularity is due to the videogames' scores. The series completely revolutionized the gaming experience with quality scores performed by full-orchestras and written by composers who would go on to win Oscars and other awards. EA (Electronic Arts) and La-La Land Records have joined forces to release the Medal of Honor Soundtrack Collection, an eight disc box set jam-packed with gamers' favorite Medal of Honor music from the series.
To celebrate the release of limited edition box set, The games' composers Ramin Djawadi and Christopher Lennertz will be at Dark Delicacies in Burbank on Saturday, April 16 at 2 PM. to sign the limited edition Medal of Honor box set. The MOH music was written by Djawadi (IRONMAN), Lennertz (HOP), and Academy Award-winner Michael Giacchino (UP).
In addition to MOH, other composers will also be signing CDs including Mark Isham, Stu Phillips and Cliff Martinez.
FOR MORE INFORMATION: Call Dark Delicacies at 1-818-556-6660 or visit http://www.darkdel.com/
Labels:
Dark Delicacies,
medal of honor,
press releases
Tuesday, April 05, 2011
PUSHING DAISIES Season 2 Soundtrack by Jim Dooley Released
The highly anticipated soundtrack to PUSHING DAISIES: SEASON 2 has finally been released. It features the charming and whimsical music scored by Emmy-winning composer Jim Dooley. The soundtrack is now available for order on Amazon.com.
Dooley recently scored “Carmel-by-the-Sea,” an independent film starring Lauren Bacall, Josh Hutcherson, Alfred Molina and Hayden Panettiere. Dooley also completed the original music for the upcoming 2012 animated feature film “Dorothy of Oz.”
“Pushing Daisies” aired on ABC from 2007 to 2009. The popular show starred Lee Pace who played “Ned,” a pie-maker with the ability to bring dead things back to life with his touch. The series received 17 Emmy nominations, which won seven awards. The rest of the cast included: Kristin Chenoweth, Ann Friel, Ellen Greene, Swoosie Kurtz and Chi McBride.
Order from Amazon
Order from iTunes
Labels:
Jim Dooley,
press release,
Pushing Daisies,
season 2
Monday, April 04, 2011
Hop Lays Golden Egg - Score by Christopher Lennertz
HOP LAYS GOLDEN EGG
HIGHEST GROSSING OPENING WEEKEND OF 2011
SCORE BY AWARD-WINNING COMPOSER CHRISTOPHER LENNERTZ
LOS ANGELES – The adventures of EB and Easter Island are number one at the box office. Universal Pictures' HOP made an estimated $38.1 million to claim the title of highest-grossing opening weekend in 2011 so far. The film is scored by award-winning composer Christopher Lennertz, who also collaborated with HOP director Tim Hill on 2007's box office champion Alvin and the Chipmunks. Starring Russell Brand and James Marsden, this combination of state-of-the-art animation and live action tells the tale of an out-of-work slacker who injures the Easter Bunny and must take him in while he recovers. The score album is available on Varèse Sarabande Records.
Director Tim Hill describes Christopher Lennertz’s score for Hop as “lush, diverse, vivid, magical, playful and yet unified.” He went on to say, “I really love what Chris did with his themes and how he kept percussion alive in the orchestration throughout. He found places to elevate scenes with colors and punctuation where I hadn’t thought it possible. The score has so many great touches, ranging from a classic animation style to blues-based and percussion driven pieces, all of which add up to a thrilling listening experience.”
Hop producer Chris Meledandri (Despicable Me, Ice Age) was also impressed with Lennertz’s score for the movie: "Chris has written beautiful music for our film. As a storyteller, the music has unquestionably added another dimension to the film weaving narrative, evoking emotion, building suspense and supporting humor,” he explains. “When you take the film away, these compositions stand on their own; in fact, they soar."
Lennertz’s film credits span from major family films Alvin and the Chipmunks, Marmaduke, and Cats and Dogs: The Revenge of Kitty Galore, to political thriller The Deal, starring Christian Slater and Selma Blair, to Soul Plane, a collaboration with RZA of Wu-Tang Clan. His successes in television include the CW’s Supernatural. Lennertz’s scored Stephen Spielberg's videogame Medal of Honor: Rising Sun, which led him to score more Medal of Honor games as well as the popular James Bond videogame. Awards and nominations include an Emmy nod, three Film & TV Music Awards, a BMI Film Music Award, and the Academy of Interactive Arts and Sciences Award. He recently spearheaded The Concert for Haiti, an orchestral concert piece combining original Lennertz music with many other leading film composers to benefit the victims of the Haiti earthquake.
Michael Giacchino: First Recipient of the Colburn Prize
It was announced today, April 4th, that Michael Giacchino, composer of the Academy Award winning score for UP and the creative mind behind the iconic Hollywood soundscapes of LOST, Alias, Ratatouille and The Incredibles, will be honored with the first-ever Colburn Prize.
Giacchino will receive The Colburn Prize at the annual Celebrate Colburn gala on April 5th held in school’s main plaza in downtown Los Angeles. At this sold out event, Giacchino will lead The Colburn Orchestra in a performance of his original works: Theme from UP and “Oceanic 6” from LOST. Also performing are the brightest talents in music and dance from all divisions of The Colburn School. The concert’s highlights will include nine year-old piano prodigy Ray Ushikubo, a jazz performance from the Trudle Zipper Professional Training Program, and collection of pieces, from Mendelssohn to the “bottleairs”, performed by conservatory students. Toby Mayman, Honorary Life Director of The Colburn School, will be honored with the Richard D. Colburn Award.
Upon receiving the award announcement, Giacchino said: “I am honored to be the first person to receive the Colburn Prize. I have had the pleasure of working with the Colburn Orchestra and the students here on a number of occasions, most memorably, the LOST concert finale program. It is incredibly moving to see such talent and commitment to the study of music. Colburn students perform at the highest level of international standards. I believe that an education in music and the arts is just as important as one in math and science. A dedicated and prestigious school of music like Colburn is a treasure for California and in fact, for the world. I am thrilled to support Colburn as it continues to develop the artists of tomorrow.”
Sel Kardan, President and CEO of the Colburn School: “Mr. Giacchino’s success combined with his enduring advocacy for arts education serves as a outstanding model for our students. We cannot imagine a better person to honor with the first Colburn Prize. His musical vision has not only inspired the those in the Colburn community, but is an immense gift to music lovers around the world.”
Michael Giacchino’s first major composition was in 1997 when newly formed DreamWorks Interactive asked him to score their flagship PlayStation game, The Lost World: Jurassic Park. Based on the hit movie of the same name, the console game was the first to have a live orchestral score. Since then, he has lent his genius to much of the modern Hollywood landscape, winning two Grammy Awards, a Golden Globe, a Bafta and an Oscar in the process. He has illustrated a long-standing commitment to the arts from his Camden 2000 composition, which benefited that city’s arts programs, to his current advocacy for arts education in Los Angeles’ public schools.
The Colburn Prize recognizes exciting artists who, through their contemporary work, embrace the Colburn tradition of excellence in the arts. An inspiration to Colburn students, honorees represent innovation, enthusiasm and distinction in their chosen field. In this inaugural year of The Colburn Prize, the school honors American composer Michael Giacchino for his outstanding scores for movies, television and video games. The award is in recognition of Giacchino’s fluidity and grace in adapting musical styles for projects ranging from humorous and touching animated films to dark and ferocious video game scores, while remaining committed to education and community including: Variety’s Power of Youth initiative, Education Through Music Los Angeles organization and The Colburn School.
Recipients of The Colburn Prize will continued to collaborate with the school on projects, bringing their distinct brand of artistic excellence and inspiration in fresh and exciting ways to the students and faculty
of the school through collaborative projects such as new performing arts works.
##################################
About The Colburn School
The Colburn School is a world-class performing arts school located in the heart of downtown Los Angeles, neighboring the Walt Disney Concert Hall, the Music Center, the Museum of Contemporary Art and the planned Broad Museum. Our acclaimed faculty provides students with the highest quality performing arts education with a multitude of performance opportunities in a state-of-the-art facility. More than 2000 students attend classes in our four schools-- the Conservatory of Music, the School of Performing Arts, the Trudl Zipper Dance Institute, and the Academy.
Labels:
awards,
colburn prize,
michael giacchino,
press release
Mars Needs Moms (Soundtrack) by John Powell - Reviewed
Mars Needs Happy Music
Review by Helen San
Inspired by a 40-paged children's book by Pulitzer-winning Berkeley Breathed (Bloom County), the title, "Mars Needs Moms" is a twist on a 60's, B-sci-fi, made-for-TV, if-it-had-more-cheese-it'd-be-a-cow-of-a movie called "Mars Needs Women." Breathed wrote the book after his 4 year old son Milo proclaimed, "I wish I never had a mother!" Of course, as soon as he said that, he should have known he'd be taught a lesson on how valuable mothers are. The kicker is that lesson comes with a giant, humongous Kleenex box. Breathed summarized the emotional core of his story thus: "There'll be one woman in your life that will unhesitatingly die for you. Love her. And it's not your %$#@ girlfriend."
After the nine year old protagonist, named uh, Milo, hurts his mother's feelings, he finds that Martians have abducted her to steal her "momness" for programming their nannybots. He hitches a ride on a Martian spaceship to save her from certain death in an elaborate, eye-candy of an adventure. In the end, he learns his tearful lesson on how much his mom loves him, and how much he loves her back. One movie reviewer used the term "tear whoring," which conveys just how many tears are involved.
Directed by animation veteran Simon Wells (BALTO, PRINCE OF EGYPT) and produced by Robert Zemeckis' digital studio ImageMovers (THE POLAR EXPRESS, MONSTER HOUSE, A CHRISTMAS CAROL), MARS NEEDS MOMS had a $150 million budget and involved some of the top names in animated features. It is no wonder, then, they got JOHN POWELL (BOLT, ICE AGE 2 & 3, HOW TO TRAIN YOUR DRAGON), Go-To-Composer of Animation Goodness, onboard.
His first score after HOW TO TRAIN YOUR DRAGON (HTTYD), MARS NEEDS MOMS was greeted eagerly by fans such as myself. It's hard to follow up on a 10/10 though. He'd raised the bar for himself now, and "proficiently crafted" isn't going to cut it anymore. We got high on the Dragon, and we want to fly again. It really is unfair to the composer, if you think about it. We're spoiled.
Read the full review
Labels:
helen sans,
john powell,
mars needs moms,
soundtrack review
Saturday, April 02, 2011
Plaid Talks Composing for the Video Game - CHIME
Gametrailers brings us an interesting look into the music of CHIME. Electronic musicians, PLAID, talks about writing music for the CHIME SUPER DELUXE which will soon release on the Sony Playstation 3.
Check out more on CHIME at the official site
Ironclad (Soundtrack) by Lorne Balfe - Reviewed
The Magna Balfa
Review by Richard Buxton
Finally let loose from the restraints of the “additional music” credit, HANS ZIMMER protégé LORNE BALFE has been unleashed on IRONCLAD, a film reminiscent of many a classic REMOTE CONTROL PRODUCTIONS (RCP) film score.
Set in a 13th Century England, IRONCLAD follows the struggle of a Templar Knight and his group of warriors in their attempt to preserve what liberty and freedom remained during the reign of King John. Such a setting comes with many a preconception in regards to music, and IRONCLAD certainly lives up to the anticipated brooding atmosphere and visceral action music.
It is easy to forget that it was only in 2009 that LORNE BALFE was truly announced to the world of scoring for visual entertainment. CALL OF DUTY: MODERN WARFARE 2 was the first real glimpse of BALFE’S talents having previously played the part of the additional music provider. Clearly such a role within RCP scores has prepared him well as his most recent projects, including IRONCLAD show that he has matured into a composer fully capable of standing alone while remaining one of great potential. That said, IRONCLAD is not a score with excess amounts of innovation, but rather one that generally relies on the convention of genre with BALFE adding his own spin on proceedings.
After an initial run-through, IRONCLAD can be described as an amalgamation of ZIMMER’S GLADIATOR, KING ARTHUR, HARRY GREGSON-WILLIAMS’ KINGDOM OF HEAVEN somewhat surprisingly, ZIMMER and BALFE’S MODERN WARFARE 2. Such similarities are immediately apparent in “The Magna Carta” (1), as the typical but equally effective crashing percussion and brooding bass strings and choir set a dark and oppressive atmosphere. The omnipresent plucking and string ostinato maintain a constant driving undercurrent as the strained vocal lead harks back to many a historical epic. Despite any moments of reminiscing, the piece does a fine job of crafting a suitably gloomy horizon for the rest of the score to reach for.
Read the full review here
Labels:
ironclad,
lorne balfe,
richard buxton,
soundtrack review
Friday, April 01, 2011
SoundCast #23 - Score of the Worlds with guest: Austin Wintory

SoundCast Episode 23: Score of the Worlds with guest: Austin Wintory
Recorded March 30, 2011
Published April 1, 2011
Composer Austin Wintory joins the SoundCast crew and talks about his latest projects: MAJID and JOURNEY. Richard Buxton also joins the cast for the first time. They all discuss their favorite Alien invasion film scores, including their thoughts on the most recent entry into this sub-genre, BATTLE: LOS ANGELES by Brian Tyler.
Episode Highlights
00:00 — The Aliens Have Arrived!
01:25 — Introductions
10:00 — What we've been listening to
21:55 — Austin Wintory: Majid
31:04 — Austin Wintory: Journey
45:57 — Score of the Worlds - Our Favorite Alien Invasion Film Scores
76:30 — Conclusion
Music Clips (Select music clips contained in this podcast)
10:08 — "Aquarius" (Corpernicus' Star) by Abel Korzeniowski
12:56 — "Main Titles" (Black Beauty) by Danny Elfman
13:59 — "Alice's Theme" (Alice in Wonderland) by Danny Elfman
14:37 — "Rampage" (Crysis 2) by Hans Zimmer, Borislav Slavov, Tilman Sillescu
16:38 — "Mars Needs Moms" (Mars Neesds Moms) by John Powell
17:46 — "Main Title" (Monster Mutt) by Chris Walden
21:24 — "Main Title" (Majid) by Austin Wintory
28:33 — "Larbi" (Majid) by Austin Wintory
35:54 — "TGC Journey Theme" (Journey) by Austin Wintory
46:08 — "Main Title and Mountain Visions" (Close Encounters of the Third Kind) by John Williams
48:29 — "End Titles" (Independence Day) by David Arnold
51:26 — "Main Titles" (Signs) by James Newton Howard
53:53 — "Resolution & End Title" (Close Encounters of the Third Kind) by John Williams
57:22 — "Klendathu Drop" (Starship Troopers) by Basil Poledouris
58:44 — "Final Battle" (Skyline" by Matthew Margeson
60:27 — "Battle Los Angeles Hymn" (Battle: Los Angeles) by Brian Tyler
65:10 — "The Drone" (Battle: Los Angeles) by Brian Tyler
77:54 — "Basil By Way of Tommy..." Arranged by Austin Wintory
Download the episode here
Recorded March 30, 2011
Published April 1, 2011
Composer Austin Wintory joins the SoundCast crew and talks about his latest projects: MAJID and JOURNEY. Richard Buxton also joins the cast for the first time. They all discuss their favorite Alien invasion film scores, including their thoughts on the most recent entry into this sub-genre, BATTLE: LOS ANGELES by Brian Tyler.
Episode Highlights
00:00 — The Aliens Have Arrived!
01:25 — Introductions
10:00 — What we've been listening to
21:55 — Austin Wintory: Majid
31:04 — Austin Wintory: Journey
45:57 — Score of the Worlds - Our Favorite Alien Invasion Film Scores
76:30 — Conclusion
Music Clips (Select music clips contained in this podcast)
10:08 — "Aquarius" (Corpernicus' Star) by Abel Korzeniowski
12:56 — "Main Titles" (Black Beauty) by Danny Elfman
13:59 — "Alice's Theme" (Alice in Wonderland) by Danny Elfman
14:37 — "Rampage" (Crysis 2) by Hans Zimmer, Borislav Slavov, Tilman Sillescu
16:38 — "Mars Needs Moms" (Mars Neesds Moms) by John Powell
17:46 — "Main Title" (Monster Mutt) by Chris Walden
21:24 — "Main Title" (Majid) by Austin Wintory
28:33 — "Larbi" (Majid) by Austin Wintory
35:54 — "TGC Journey Theme" (Journey) by Austin Wintory
46:08 — "Main Title and Mountain Visions" (Close Encounters of the Third Kind) by John Williams
48:29 — "End Titles" (Independence Day) by David Arnold
51:26 — "Main Titles" (Signs) by James Newton Howard
53:53 — "Resolution & End Title" (Close Encounters of the Third Kind) by John Williams
57:22 — "Klendathu Drop" (Starship Troopers) by Basil Poledouris
58:44 — "Final Battle" (Skyline" by Matthew Margeson
60:27 — "Battle Los Angeles Hymn" (Battle: Los Angeles) by Brian Tyler
65:10 — "The Drone" (Battle: Los Angeles) by Brian Tyler
77:54 — "Basil By Way of Tommy..." Arranged by Austin Wintory
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