Interview with Prince of Persia Composers Inon Zur and Stuart Chatwood

The two names behind the musical voice of the PRINCE OF PERSIA game franchise come together to score the new, next-gen console version of the game which is set to hit store-shelves in just a few days. Both INON ZUR and STUART CHATWOOD share about their histories in the franchise, the unique challenges provided by this iteration of the game, and their process for working together.

Here is an excerpt:

CC: You two have both been a part of the Prince of Persia franchise for sometime. How have your earlier involvement and experiences with this world and characters influenced your writing for this project?

Inon Zur: It is very important to be immersed in the whole world of PRINCE OF PERSIA, to know the history and to evolve with it. It gives the music the same depth as the rest of the components of the game. We integrated some previous themes to connect the player with the previous games, and it helps evoke the feeling of “something new is emerging from something that we already know.”

Stuart Chatwood: The prep work I did prior to the first games played a great role with regards to my workflow and writing process on this title. When I was approached to score the first PRINCE OF PERSIA: SANDS OF TIME, I went about expanding my world music CD Library that I had been building up over the prior years. I am a big believer in information absorption on a subconscious level, so in addition to my CD collection, I often found my radio fixed to Radio Darvish on the Internet. When I worked on this title about 6 years ago, a big issue was the lack of good world music sample libraries, so I went about augmenting these with my own sampled instruments. From a character perspective, being around the Prince all these years has helped me with context, and how individual cues fit into the grand scheme of the franchise.

CC: Stuart, you've also worked on PRINCE OF PERSIA scores on other platforms (Nintendo DS and PSP) Do you try to bring over some of the more subtle ideas established in those games to this game?

Stuart Chatwood: Most of these games involve implementation of the original music form the console titles, so most often a bit rate reduced version of the original game soundtrack is repurposed for the handheld versions. In addition to this, midi translations of my cues are utilized.


Read the full interview here (includes 3 tracks from the original score!)

Bolt (Soundtrack) by John Powell - Review

Alternative Powell Source
Review by Christopher Coleman

Composer John Powell has, once again, been one of the busiest composers of the year. Following JUMPER, STOP/LOSS, HORTON HEARS A WHO, HANCOCK, and KUNG FU PANDA, comes his sixth project released in 2008 - Walt Disney Animation's BOLT. The animation studio was certainly in need of help with a seemingly endless number of previous releases, which were largely considered to be box-office-failures. With Disney's acquisition of Pixar in 2006, it was only a matter of time before the Pixar-expertise would have some positive impact on 3-D features produced and released at Walt Disney Animation Studios as well. In BOLT we can see, John Lasseter, now Chief Creative Officer of both Pixar and Walt Disney Animation Studios, already having an effect. BOLT is easily the best from the studio to date, featuring decent voice-talent, en-par CG work, a well told story, and the music from the "Animation Score King," JOHN POWELL.

Read the full review here

Mirror's Edge: Still Alive - The Remixes feat. Lisa Miskovsky (Review)

Transformed Reflections
Review by Christopher Coleman

MIRROR'S EDGE is a pretty special video game. Along with the hyper-real visuals and non-violent slant, the game has received much buzz in regards to its music. The first teaser trailer offered most their first glimpse into the red, white, yellow and cyan world of Faith, the free-running messenger. The sense of free-flight and awe that oozed out of the trailers was, in no small part, due to the music chosen to undergird the images. Savvy netters quickly found this mesmerizing chill-out track on Imeem entitled "Shine" by some enigmatic entity called ALCORUS. EA and Dice quickly denied that this was the song being used in the trailer and that it was a piece created by their chosen score composer (who turns out to be Magnus Birgersson/ Solar Fields). Well, despite the denial, aside from very minor differences, the two songs were a "mirror" of one another. Not long after, in response to all of the discussion board buzz over this music, EA and Dice released a few low-bitrate remixes of this new Mirror's Edge theme. Subsequent trailer releases would feature even more variations on this single theme; one of them introducing some intriguing, Imogen-Heap-like vocals. It was clear that there was some mass value to song that needed to be capitalized upon. Shortly before the release of the MIRROR'S EDGE on Xbox 360, Playstation 3, and PC, EA announced there would be a release of the title track now entitled "Still Alive" with vocals by LISA MISKOVSKY. In addition to the straight, vocal version, the release would feature a number of remixes.

Read the full review here

Why So Many Games Music Reviews?

"What's up with all the video game music coverage these days?" Ah! You noticed that too. Did you? I get that question with increasing frequency, so I decided to do a post a response here. You know, there are quite a few reasons for this, but let me just list a few.


1) SOUNDTRACK RELEASES - Probably the most obvious reason is that there is more and more video game music available. Record labels like Sumthing Else are releasing great titles and with the onset of iTunes and AmazonMP3 the doors have opened wide for soundtrack releases that would likely have never seen the light of day.


2) IT DESERVES THE COVERAGE! The quality of video game music has come to match that from the film music industry. The talent needed to craft good game music, while different in significant ways from film or television, is considerable. While few game composers are household names right now, that will likely change in the near future. Some will successfully crossover into other mediums like MICHAEL GIACCHINO or CHRISTOPHER LENNERTZ, and others will simply make a name for themselves within the gaming world itself.


3) ACCESSIBILITY - The composers, producers, supervisors, technicians involved in video game industry tend to be more accessible and willing talk about there projects (that is when the developers, marketing, and PR departs allow them to). Many great composers are still getting their start in the video game industry and before they completely "blow up" and move into other areas (like film or tv) they are much more reachable.

That said, I have to note that the current trend is that video game composers are fast becoming just as busy as their composing-cousins and increasingly unavailable. Perhaps only in regards to pay, the gaming industry hardly plays second fiddle to film any more and that is reflected in the busy-ness of the composers schedules now.

4) IT'S THE MUSIC NOT THE MEDIUM - Tracksounds is all about a very specific type of music - the kind that first open my ears to it's potential power and influence on our emotions. It was Warner Bros. Cartoons that introduced me to "that kind" of music while Bugs Bunny made fools of Daffy Duck and Elmer Fudd. Like many of you reading this, it was that seminal movie moment in 1977 that showed us the power of music in film and now games are readily introducing youngsters to "that kind" of music everyday. Whether that music is attached to a movie, a television series, a video game, event music, or licensed production music, that's the type of music we love and love to cover.


So film music coverage isn't going away here at Tracksounds. We will continue to review film music soundtracks and interview the talented folk who write and produce them. At the same time, film music's "little brother" has grown up and is increasingly delivering visceral, musical experiences that deserve to be given the spotlight. There is definitely more to come in this genre here at Tracksounds!

...and if you're looking for more of our video game coverage, be sure to check out our feature, HIGH SCORE.

Enter to Win: Mirror's Edge - Still Alive: The Remixes + The Xbox 360 Game

Win MIRROR'S EDGE!
Still Alive: The Remixes & The Xbox 360 Game!


Are you on the edge yet?

Tracksounds is proud to offer you a chance to win the special remix release of LISA MISKOVSKY's "STILL ALIVE" - the title song from one of the top rated games of 2008! Four lucky winners will be chosen by random drawing for this special 6 track release which features remixes by: Junky XL, Benny & Alle Benassi, Paul Van Dyk and more!

One lucky winner will receive the GRAND PRIZE which includes both the "Still Alive" Remix CD and also the MIRROR'S EDGE game for the Xbox 360!

Entering to win couldn't be easier. Simply fill out and submit the form below. All winners will be chosen at random and will be announced here and contacted by email to obtain shipping information. This Contest will close on January 2, 2008.


Enter the contest here!

Frost/Nixon (Soundtrack) by Hans Zimmer - Review

The Dark Thread of Nixon
Review by Christopher Coleman

Director Ron Howard's latest effort, FROST/NIXON explores the story behind the most watched television interview in history - the interview of resigned President Nixon by British television host/personality, David Frost. Howard explores the untold story behind the formulation of the contract between the two and each man's motivations for doing it. Somewhat surprisingly, Howard chose composer Hans Zimmer to provide the musical backdrop for the film. I say "surprisingly" because of the type of film FROST/NIXON is. This isn't a suspense thriller like THE DA VINCI CODE or ANGELS AND DEMONS, where the talents of ZIMMER make good sense. Instead it is very intimate presentation; almost on an indy-film level. It's a film that just doesn't immediately evoke the thought of HANS ZIMMER. In the end, those who were of age to remember the Frost-Nixon interview (and old enough to understand and care), this film will likely be of high interest. For those outside of that population, FROST/NIXON might be difficult to connect to and Zimmer's aptly subdued score is unlikely to push the masses to go out and grab this soundtrack either.

Read the full review here

Brothers in Arms: Hell's Highway Soundtrack by Ed LIma and Duncan Watt

The only thing not in recession these days is the video game market. Coming along with the recent barrage of great video games has come a barrage of good video game scores. One of the latest to be released is ED LIMA and DUNCAN WATT'S original score for the game, BROTHERS IN ARMS: HELL'S HIGHWAY. Be on the lookout, here at Tracksounds, for a special feature on this video game series and its music in the upcoming weeks...but for now check the press release below.

MEDIA RELEASE
SUMTHING ELSE MUSIC WORKS ANNOUNCES RELEASE OF
BROTHERS IN ARMS: HELL's HIGHWAY ORIGINAL SOUNDTRACK

Music Performed by FILMharmonic Orchestra and Choir at Rudolfinum in Prague

New York – Nov. 19th, 2008 – Sumthing Else Music Works, Inc., through its licensing relationship with Gearbox Software, proudly presents Brothers In Arms: Hell’s Highway Original Soundtrack featuring the original music score composed by Ed Lima and Duncan Watt. Developed by Gearbox Software, Brothers In Arms: Hell’s Highway is the third installment of the critically acclaimed series of WWII video games. The original soundtrack will be released on Nov. 25, 2008 to retail outlets through Nile Rodgers’ Sumthing Else Music Works record label www.sumthing.com, and for digital download at www.sumthingdigital.com and iTunes®.

Brothers In Arms: Hell’s Highway Original Soundtrack features the dramatic and emotionally poignant symphonic score composed by Ed Lima (Prey, Doom 3) and Duncan Watt (Need For Speed: Pro Street). As in the previous Brothers In Arms games, no music is featured during gameplay. Instead the score is focused on supporting the story and accompanies the cut-scenes and menus in the game. The music was recorded with the FILMharmonic Orchestra and Choir at the prestigious Dvorak Hall of Rudolfinum in Prague.

“The Brothers In Arms series of video games has always taken upon itself the responsibility to treat our nation's heroes and history with all the respect and honor they are due. It's an imperative that permeates every facet of Gearbox Software's development of this series,” said Ed Lima, Audio Director and Composer at Gearbox Software. “The music underscores the relationships that exist between these brave men, highlighting their connections, their trust in each other, and for some, their tragic ends.”

Track Listing:

1. Main Theme
2. The Story So Far
3. Baker’s Dozen
4. Double Time
5. The First Bad News / Letters To Loved Ones
6. For Matthew
7. We Happy Fewer
8. Eindhoven/Roadblocks/Frankie's Choice
9. Those We Lost
10. Farewell Is Goodbye.

Re-mastered versions of the scores to Brothers In Arms: Road To Hill 30 and Brothers In Arms: Earned In Blood are now available for digital download at www.sumthingdigital.com.

Brothers In Arms: Hell’s Highway brings the critically acclaimed squad-based WWII shooter into the next generation of gaming with superior graphics and sound and new gameplay features. Delivering on the franchise’s compelling story, unrivaled authenticity and intense squad-based action, Brothers In Arms Hell’s Highway drops players into Operation Market Garden, the largest paratrooper operation in World War II. For more information, visit www.brothersinarmsgame.com.

Destroy All Humans: Path of the Furon by Garry Schyman

Composer GARRY SCHYMAN returns to the DESTROY ALL HUMANS franchise and this time the little, big-headed, alien invaders are doing their thing in the 70's. As the two installments before it did, the in game music reflects the era in which the game is set. Schyman's first to scores reflecting the 50's and 60's won multiple awards, but says DESTROY ALL HUMANS: PATH TO THE FURON is his favorite of the three. That bodes well for fans of the franchise and for fans of the decade of the coolest music ever - The Seventies. Below is the full press release:

MEDIA RELEASE
DESTROY ALL HUMANS!® PATH OF THE FURON™
TO FEATURE FUNKED OUT ‘70’s SCORE BY GARRY SCHYMAN

AWARD WINNING COMPOSER PROVIDES ORIGINAL MUSIC FOR
LATEST INSTALLMENT OF SCI-FI ACTION VIDEO GAME FRANCHISE

Los Angeles – Nov. 20, 2008 – Film, television and video game composer Garry Schyman has created the original music score for the newest installment of the acclaimed Destroy All Humans! video game series. Developed by Sandblast Games (THQ Inc.), Destroy All Humans!® Path of the Furon™ is set in the 1970's and the game’s score is inspired by music styles from that era. Schyman’s musical influences for DAH Path of the Furon include classic 70’s film scores by Lalo Schifrin, Jerry Goldsmith and Roy Budd. The DAH Path of the Furon score was recorded with a live symphony orchestra as well as brass band, flute soloist, saxophone soloist and wah wah guitar performed by A-list musicians in Hollywood.

“The idea for DAH3 was to continue the approach set in DAH1 and DAH2 as though I was a film composer writing in that period,” said Composer Garry Schyman. “Of course wah wah guitar is slathered throughout because it was so ubiquitous and influential. Personally this is my favorite of the three DAH scores. I love this style of music!”

Kevin Kraff, vice president of global brand management at THQ commented, “Following his critically acclaimed original scores for DAH1 and DAH2, Garry was the perfect match to create the music for Destroy All Humans! Path of the Furon. Not only do we trust Garry's creativity to capture our vision for the franchise, but his unique skillset and bold repertoire is a natural conduit that truly connects and immerses the player.”

Garry Schyman's music for video games has received the Interactive Achievement Award from the Academy of Interactive Arts and Sciences for “Outstanding Achievement in Original Music Composition,” Spike TV Award for “Best Original Score,” G4TV Award for “Soundtrack of the Year” and four Game Audio Network Guild Awards, including the prestigious “Music of the Year” Award. Garry Schyman is represented by the Gorfaine/Schwartz Agency. For more information on the composer visit www.garryschyman.com.

Destroy All Humans! Path of the Furon is scheduled to release for Xbox 360® in December 2008. For more information please visit www.destroyallhumansgame.com.

About THQ:
THQ Inc. is a leading worldwide developer and publisher of interactive entertainment software. The company develops its products for all popular game systems, personal computers and wireless devices. Headquartered in Los Angeles County, California, THQ sells product through its global network of offices located throughout North America, Europe and Asia Pacific. More information about THQ and its products may be found at www.thq.com and www.thqwireless.com. THQ, THQ Wireless, Destroy All Humans! Path of the Furon and their respective logos are trademarks and/or registered trademarks of THQ Inc. For more information please visit www.thq.com.

Tracksounds at Adobe Max 2008

This isn't exactly a pure music post, but one to explain the lack of "pure music posts" over the last few days. You see there was this "little" conference in San Francisco that I had the privilege to attend: ADOBE MAX 2008.

This is Adobe's annual "let us wow you while showing you why the software you bought from us only 18 months ago is now...an antique." I was wowed and enraged all at the same time. As you might expect, those are two very intense feelings and so one might expect that I'd be a little tuckered out. Sure enough...I am. Not to mention, I've been up over 36 hours straight now. Not to mention, that Delta Airlines has now become the absolute worst air carrier in the history of human flight. They are quite simply a joke of a company and I will do everything in my power to keep my Coleman-dollars out of their greasy little pockets for the rest of my life. (No Delta, I don't want any of your useless Delta-dollars either!).

Ahem...anyway, let me make this post somewhat relevant. Suffice it to say that some of the incredible technologies shown at Adobe Max 2008 this year will play some roll in the next generation of Tracksounds. Oh for the time, to design and develop all of this!

You'll have to be patient, but one day your patience will be rewarded when you come to the Tracksounds.com and drop a few nuggets in your finely press pants. (Sorry...did I mention I've been up for 36 hours straight?)

Coming a little sooner will be quite a few new news blurbs here on the blog and also some very cool interviews and debuting tracks from some hot hot hot video games. (Does the game industry realize there's a ression going on? How can we afford all these new games?)

To close, just a little shout out to all the great people I met at Adobe Max 2008, who just might be reading this post!

More oh so very soon....

New Star Trek Trailer Online

Want a less-than-perfect look at the new Star Trek Trailer? Better than no look at all, I say. If you're like me, and haven't had a chance to see Quantum of Solace yet, then wipe up your tears and get to clickin'. Some brave soul has posted the Star Trek trailer online. Won't be long before we get a much better version, but this one is not bad.

I'm certainly ping ponging on this one. At first I thought this was going to be great...then not so much...and now? Well, I just don't know. Yes...my heart rate went up a little bit while watching this trailer, but there is just some level of disconnect for me. Perhaps because it's a mix of the old school Trek look with contemporary CG or perhaps its just seeing different actors playing those iconic roles. I'm just not sure. Well, go ahead and form your own opinion....

May 2009 seems like a long time to wait...

SoundCast: Ep. 2 - The Dark Knight Denied

We're back...and we're not alone. Episode 2 of The SoundCast we discuss the Academy's recent ruling which disqualified THE DARK KNIGHT original score by HANS ZIMMER and JAMES NEWTON HOWARD. We were fortunate to be able to get reaction from a number of prominent film music composers on this issue. You might be surprised to know that the responses were equally divided "for" and "against" this ruling. You won't want to miss this episode!

Listen to it here


Download it here


What do you think? Should this rule be changed? Should THE DARK KNIGHT be eligible for an Oscar? Vote on it here!

The Dark Knight Score is Denied by the Academy

Well, those who were looking for Christopher Nolan's THE DARK KNIGHT to make a serious run through this year's Oscars, you will have one less category to worry about. Which category? The one the matter most 'round these parts - Best Original Score.

It appears that higher ups at the Academy went all Suze Orman on Mr. Zimmer and Mr. Newton Howard. DENIED! The Academy didn't seem to buy what the composers' explanation was over the additional music credits on the score - feeling that too high a percentage of the score was written by persons other than those two themselves. They felt the same way about BATMAN BEGINS and likewise gave it the heave-ho.

So those of you in Camp Zimmer-Hater, are you feeling some sort of strange satisfaction over this?

Seems a shame to me. While it may not be the year's best, it's certainly is worth Oscar consideration. "Rules is rules." I guess. Nothing like Oscar controversy starting up in November!

You can read the full article here

2-Disc Special Edition Soundtrack: The Dark Knight Coming

Oh ho...look at what we have here! Apparently, Warner Records is slipping in another version of the hit soundtrack from THE DARK KNIGHT by HANS ZIMMER and JAMES NEWTON HOWARD. At the bottom of this post is the official press release.

This 2-disc version appears to deliver a number of unreleased cues and a few remixes,too. Below is the track listing:


Disc: 1

1. Why So Serious?
2. I'm Not A Hero
3. Harvey Two-Face
4. Aggressive Expansion
5. Always A Catch
6. Blood On My Hands
7. A Little Push
8. Like A Dog Chasing Cars
9. I Am The Batman
10. And I Thought My Jokes Were Bad
11. Agent Of Chaos
12. Introduce A Little Anarchy
13. Watch The World Burn
14. A Dark Knight

Disc: 2

1. Bank Robbery (Prologue)
2. Buyer Beware
3. Halfway To Hong Kong
4. Decent Men In An Indecent Time
5. You're Gonna Love Me
6. Chance
7. You Complete Me
8. The Ferries
9. We Are Tonight's Entertainment
10. A Watchful Guardian
11. Why So Serious?(The Crystal Method Remix)
12. Poor Choice Of Words(Paul van Dyk Remix)
13. Gunpowder And Gasoline(Remix by Mel Wesson)
14. Rory's First Kiss(Remix by Ryeland Allison)

If the standard release, the collectors edition, or the LP release wasn't enough for you, then this one should do the trick. You can PRE-ORDER yours from Amazon.com now. It is scheduled for release on December 9, 2008.


Press Release

WARNER BROS. RECORDS TO RELEASE COLLECTORS EDITION OF THE DARK KNIGHT ORIGINAL MOTION PICTURE SOUNDTRACK ON DECEMBER 9, 2008

TWO-DISC SET INCLUDES 50 MINUTES OF UNRELEASED MUSIC FROM THE BLOCKBUSTER FILM, PLUS REMIXES BY THE CRYSTAL METHOD, PAUL VAN DYK, AND OTHERS


Burbank, CA — The Collectors Edition of The Dark Knight Original Motion Picture Soundtrack — the haunting score to the blockbuster feature film The Dark Knight — will be released by Warner Bros. Records on December 9, 2008.

The Collectors Edition is a two-disc set that features the original motion picture soundtrack, composed by acclaimed film scorers Hans Zimmer and James Newton Howard, plus an additional 50 minutes of unreleased music from the movie, as well as four unreleased remixes by The Crystal Method, Paul van Dyk, Mel Wesson, and Ryeland Allison. The Collectors Edition also includes a 40-page hardbound book and special cover artwork.

Zimmer and Howard, who collaborated on the score for the 2005 blockbuster Batman Begins, were asked by director Christopher Nolan to work together again, scoring its follow-up, The Dark Knight. The duo recorded the orchestral soundtrack for the film in London last April.
Zimmer and Howard are among the film industry’s most respected and sought-after composers. Each has a career encompassing well over 100 film and television scores. Zimmer won an Academy Award for his score for The Lion King, and has earned six additional Oscar nominations for his work on Gladiator, The Thin Red Line, Rain Man, As Good as It Gets, The Preacher’s Wife and The Prince of Egypt. He includes among his more recent film credits Pirates of the Caribbean: At World’s End, The Simpsons Movie, and the Spanish-language Casi Divas. Howard has been honored with seven Academy Award nominations, including Best Original Score nods for the films The Prince of Tides, The Fugitive, My Best Friend’s Wedding, The Village and, most recently, Michael Clayton. Howard’s other film credits include I Am Legend, Charlie Wilson’s War, King Kong, Collateral and The Sixth Sense.

The Dark Knight, which hit theaters on July 18th, 2008, was a blockbuster box office hit, becoming only the second movie ever to earn more than $500 million in North America.
The follow-up to “Batman Begins,” “The Dark Knight” reunited director Christopher Nolan and star Christian Bale, who reprised the role of Batman/Bruce Wayne in his continuing war on crime. The film also starred Michael Caine, Heath Ledger, Gary Oldman, Aaron Eckhart, Maggie Gyllenhaal, and Morgan Freeman.

Warner Bros. Pictures presents, in association with Legendary Pictures, a Syncopy Production, a Christopher Nolan film, “The Dark Knight.” Nolan directed the film from a screenplay written by Jonathan Nolan and Christopher Nolan, story by Christopher Nolan & David S. Goyer. Charles Roven, Emma Thomas and Christopher Nolan are the producers, with Kevin De La Noy, Benjamin Melniker and Michael Uslan serving as executive producers. The Dark Knight is based upon characters appearing in comic books published by DC Comics. Batman was created by Bob Kane.

The Dark Knight was distributed worldwide by Warner Bros. Pictures, a Warner Bros. Entertainment Company.

www.thedarkknightscore.com

Bolt - Original Score by John Powell Coming Soon

As of HORTON HEARS A WHO, HANCOCK and KUNG FU PANDA wasn't enough, creative and prolific composer JOHN POWELL delivers one last score before the end of 2008. Walt Disney's BOLT looks insanely entertaining and hopefully lives up to its trailers. 2008 has been a better than average year for 3-D Animated films and this years' verdict on the genre in terms of scores would easily be "above average." You can PRE-ORDER the BOLT ORIGINAL SOUNDTRACK from Amazon.com. Check the full press release below.



FOR IMMEDIATE RELEASE

WALT DISNEY RECORDS PRESENTS

THE ORIGINAL MOTION PICTURE SOUNDTRACK, BOLT

FEATURING ORIGINAL SCORE BY
COMPOSER JOHN POWELL
WITH ORIGINAL SONGS PERFORMED BY MILEY CYRUS, JOHN TRAVOLTA, AND JENNY LEWIS

**SOUNDTRACK TO BE RELEASED ON NOVEMBER 18TH**

(November 7, 2008 -- Burbank, CA)- Walt Disney Records will release the original soundtrack for Walt Disney Pictures’ animated comedy adventure BOLT on November 18, 2008. The recording features score written by Grammy®-nominated composer John Powell (Happy Feet, Shrek) and two original songs: “I Thought I Lost You” performed by the film’s stars Miley Cyrus and John Travolta, and “Barking at the Moon” by Jenny Lewis.

Composer John Powell has written music for comedies (Hancock, Pluto Nash, Alfie, Mr 3000) and action films (Mr. and Mrs. Smith, X-Men: The Last Stand, Face/Off and the Bourne film trilogy). Some of his most beloved work has been for animated films (Happy Feet, Kung Fu Panda, Ice Age: The Meltdown). The British born Powell began originally trained as a violinist. In 1995 he founded a London based commercial music house before moving to the United States two years later. He is one of the best known former members of the Remote Control (formerly Media Ventures) team of composers, where he first teamed with Harry Gregson-Williams, his collaborator on several scores (Antz, Chicken Run, Shrek).



Currently, Miley Cyrus is in production on her third season of her hit TV series Hannah Montana. The special edition of her #1 album Breakout will also be released November 18. In the spring of 2009, Miley will release a book sharing her inspiring story, spanning from her Southern roots in Tennessee to the excitement of her record-setting triumphs in TV, music and film. Her feature film HANNAH MONTANA: THE MOVIE is scheduled for release on April 10, 2009.

The golden-voiced singer songwriter front woman, Jenny Lewis co-founded the highly acclaimed Los Angeles based band Rilo Kiley, with whom she has released 4 albums. Her first solo album “Rabbit Fur Coat” was released in 2006, followed by “Acid Tongue” which was released earlier this year.

For super-dog BOLT (voice of JOHN TRAVOLTA), every day is filled with adventure, danger and intrigue—at least until the cameras stop rolling. When the star of a hit TV show is accidentally shipped from his Hollywood soundstage to New York City, he begins his biggest adventure yet—a cross-country journey through the real world to get back to his owner and co-star, Penny (voice of MILEY CYRUS). Armed only with the delusions that all his amazing feats and powers are real, and the help of two unlikely traveling companions—a jaded, abandoned housecat named Mittens (voice of SUSIE ESSMAN) and a TV-obsessed hamster named Rhino (voice of MARK WALTON) —Bolt discovers he doesn’t need superpowers to be a hero. Directed by Disney veterans Chris Williams and Byron Howard, BOLT is a hilarious, fun-filled, action-packed animated comedy adventure in Disney Digital 3-D.

BOLT opens in theaters on November 21, 2008. The BOLT Original Soundtrack will be in stores on November 18, 2008.



###

Title Theme from Mirror's Edge - Still Alive by Lisa Mikovsky Now Available

The release of the highly anticipated MIRROR'S EDGE is upon us. For months, the music used in teaser trailers have had people excited about the music. While originally found as the title "Shine" by the enigmatic Alcorus, the final credit is listed as the track "STILL ALIVE" by LISA MISKOVSKY. On November 11, this title theme will be available in more remixed permutations that you can shake a Duran-Duran-Moon Zappa-stick at. You can download them now from AmazonMp3. And don't forget about the game itself, which is garnering pretty high praise already. Check the full presser below...which includes a link for a FREE DOWNLOAD of one of the remixes!


SWEDEN'S #1 FEMALE ARTIST LISA MISKOVSKY
MAKES NORTH AMERICAN DEBUT WITH "STILL ALIVE,"
THE THEME SONG TO NEW EA GAME MIRROR'S EDGE

MIRROR'S EDGE TEAMS WITH JAMGLUE.COM FOR REMIX CONTEST

REMIX ALBUM DUE OUT TOMORROW (NOVEMBER 11):
PAUL VAN DYK, JUNKIE XL, BENNY BENASSI, TEDDYBEARS
AND ARMAND VAN HELDEN OFFER UNIQUE TAKES



Already a household name in her homeland, Swedish rock/pop star Lisa Miskovsky makes her North American debut with "Still Alive," the title track to EA's highly anticipated title Mirror's Edge, which hits store shelves on November 11) for the PLAYSTATION3 computer entertainment system and the Xbox 360 videogame and entertainment system versions. In conjunction with the launch of the game, DICE, an EA studio, is digitally releasing a remix album for Mirror's Edge which features the original version of "Still Alive" and remixes by some of today's most in-demand artists including Paul van Dyk, Junkie XL, Teddybears, Benny Benassi and Armand Van Helden.

With "Still Alive" as her introduction to North American audiences, Lisa Miskovsky has put a vital, memorable stamp on the music and gaming worlds. Look for the video directed by Scrambled Visual (credits include videos for The Killers, Sting, Panic At The Disco, Juanes, Teddybears, The Rolling Stones, Thursday, Bloc Party) to become available in the coming weeks. The making of the video--recently shot in downtown Los Angeles--and more about Lisa Miskovsky can be viewed here: http://nettwerk.com/media/mov/LisMi_StiAl_epk_full_web.mov

In its various incarnations, Miskovsky's song defines the Mirror's Edge remix album. A landmark digital release designed to continue the convergence of music and gaming, the project presented Miskovsky - who has earned international acclaim on the strength of two chart-topping studio albums - an opportunity for her memorable and ethereal pop/rock anthem to be enthusiastically remixed by the world's top electronic performers and producers.

Be it Teddybears' exuberant, clap-driven rendering, Junkie XL's lilting danc-pop renovation, Paul Van Dyk's pulsing ten-minute trance-floor workout, Benny Benassi's frenzied version or Armand Van Helden's slice and dice interpretation or the song in its original, beautiful state, "Still Alive" sounds destined to live in the hearts and minds of pop fans, club denizens and consumed gamers alike for years to come.

"I wrote the melody for the vocals and the lyrics, inspired by the story and the characters in the game, "Lisa explains of the uplifting number she co-wrote with Rami Yacoub and Arnthor Birgisson (Pink, Britney Spears, Kelis). "I had never had my music remixed by any of them before and it is always interesting to hear what they will come up with."

With a mantle full of honors at home for her #1 eponymous debut and its platinum-selling #1 follow-up, Fallwater, Miskovsky--who was the recipient of several Rock Bears (Sweden's Grammy equivalent) including "Best New Artist", "Best Female Artist" and "Artist of the Year" and even co-wrote along with Max Martin and Rami Yacoub the Backstreet Boys hit "Shape Of My Heart"--is certainly deserving of the chance.

Since her 2001 debut, Lisa has racked up an impressive string of hits in her homeland, including "Driving One of Your Cars," "Lady Stardust," "Sing To Me", “Mary” (from her 2006 studio disc, Changes) and “Another Shape of My Heart” (from 2008's Last Years' Songs: Greatest Hits). She's also collaborated with Sweden's alt-country hero Christian Kjellvander and dueted with Dennis Lyxen (frontman for the (International) Noise Conspiracy) on his Lost Patrol project.

Clearly a multi-instrumentalist, Miskovsky has embraced diversity in her music, even lending her vocals to "Dead End," the 2006 track by Swedish death metal group In Flames. And if that isn't enough, Lisa is an avid sportswoman, who was once a member of the Swedish National Snowboarding team.

In addition to the release of the album, Mirror's Edge has teamed with Jamglue.com for the Mirror's Edge Theme Song "Still Alive" Remix Contest. From November 11 through April 11, contestants may enter the contest by creating their own version of "Still Alive" by adding new sounds, rearranging the clips, etc. using the Jamglue Mixer. "Still Alive" remixers will be in the running for the grand prize--an Xbox 360 and a $200 EA gift certificate for EA's online store. Winners will be announced by June 1, 2009. Jamglue.com--which was created in 2006 with the idea of making it easy for musicians to collaborate over the internet--is an online community that allows members to create and personalize audio. Musicians can upload and record music, remix it online and then share. Contestants can remix "Still Alive" by visiting: Mirrorsedgemusic.com/remix.


For more information on Lisa Miskovsky, MirrorÂ’s Edge, EA, or DICE please visit:

www.lisamiskovsky.com
www.mirrorsedgemusic.com
www.mirrorsedge.com
www.dice.se

Free Download:
Still Alive (Teddybears Mix)

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Joe Johnston to direct Captain America. Who should score it?

One of the next big Superhero film franchises is fast approaching. And I'm not talking about Wonder Woman starring Beyonce either. The feature film version of our beloved CAPTAIN AMERICA is reportedly being directed by Joe Johnston. With films like THE ROCKETEER under his belt...I can see this as a potentially good fit. I also love OCTOBER SKY, so if he can bring that sort of humanity to the project, this could be really interesting. My biggest concern (yes even bigger than WHO plays Cap) is how do you get that costume to work on screen? OK...they got Spidey's costume to work (I guess) on screen, but just not sure how they are going to pull this off. I sure don't want to see a fully CG Capt. running around during the action scenes. He's not encased in iron, nor does he turn into a green behemoth, so please keep him real and NOT go the way of Spidey in that regard. As tough as this costuming issue might be, I'd rather have to figure out this for Capt. America, than Thor. Good luck on that one, Brannagh.

Now with Joe Johnston at the helm, who do you think he'll get to score the movie? Some of his past collaborators have been James Horner, James Newton Howard, and Don Davis. By far, he's worked with Horner the most. Do you think this would be a good match? If not, then who?

Acapella Tribute to Star Wars and John Williams

In case you haven't seen it yet, here it is. The best a capella tribute to either Star Wars or composer John Williams you're gonna see!

Win The Day the Earth Stood Still Soundtrack by Tyler Bates!

First off...the winner of last month's contest for IGOR by PATRICK DOYLE is...

Shiyuan.takeda17964 for the caption,

"Physics problem #3,753: Dr. F 's little legs can hold up his fat body, AND his little arms can hold up Igor. Explain."



Now, all you have to do is caption the image above and YOU could win TYLER BATES' original score for the upcoming film THE DAY THE EARTH STOOD STILL from Varese Sarabande.


Enter here!

Sumthing Else Releases Fable II Soundtrack

Mark down the day, NOVEMBER 25, 2008, for it will be a good one! That day, Sumthing Else Music Works will be releasing 3 game scores from three highly successful game franchises. The score for FABLE II was composed by RUSSELL SHAW and features the title theme by DANNY ELFMAN. Joining this soundtrack release will be GEARS OF WAR 2 by STEVE JABLONSKY and BROTHERS IN ARMS: HELL'S HIGHWAY by ED LIMA and DUNCAN WATT. Not only are there too many epic games to try an afford these final months of 2008, but there are a bevy of game soundtracks to work into the budget, too. Well, do your best. Below is the full presser for Fable II.


MEDIA RELEASE
SUMTHING ELSE MUSIC WORKS ANNOUNCES
RELEASE OF FABLE II ORIGINAL SOUNDTRACK


Feautring Original Music Score by Russell Shaw and Fable Theme by Danny Elfman


New York – Nov. 6th, 2008 – Sumthing Else Music Works, Inc., through its licensing relationship with Microsoft Game Studios, proudly presents Fable II Original Soundtrack featuring the original music score by Russell Shaw and the “Fable Theme” from Danny Elfman. The original soundtrack from the Xbox 360™ roleplaying adventure video game will be released on Nov. 25, 2008 to retail outlets through Nile Rodgers’ Sumthing Else Music Works record label www.sumthing.com, and for digital download at www.sumthingdigital.com and iTunes®.

Fable II Original Soundtrack features the rich and musically diverse Fable II score composed by Russell Shaw (Fable, Black & White) as well as the Fable Theme by GRAMMY® award-winner Danny Elfman (Spider-Man, The Simpsons, Big Fish.) The Fable II score was recorded with 90 musicians including the Slovak National Symphony Orchestra at the Slovak Radio Concert Hall in Bratislava, as well as celtic instrumentalists with the Tiffin School Boys Choir and Pinewood Singers Adult Choir at Pinewood Film Studios in London, England.

”We had a lot of music to record, covering many different styles including chamber, celtic, classic, quirky, pure pizzicato, atmospheric and dramatic,” said Russell Shaw, Head of Music and Composer at Lionhead Studios. “Music for the game was broken down into four distinct categories: regions, script, combat and incidentals. Each region has its own orchestral theme which changes with the seasons in each chapter. Scripted moments have orchestral cues relevant to what is happening at that point in the story – sad, dramatic, mysterious, tension and danger. The final result is a very rich, Hollywood style score covering many genres.”

Track Listing:

1. Fable Theme - Russell Shaw (Music Box Theme – Danny Elfman)
2. Old Town - Russell Shaw
3. Bowerstone Cemetery - Russell Shaw
4. Bowerlake - Russell Shaw
5. Wraithmarsh - Russell Shaw (Music Box Theme – Danny Elfman)
6. Fairfax Castle - Russell Shaw
7. Westcliff - Russell Shaw
8. Oakfield - Russell Shaw
9. Bowerstone Market - Russell Shaw
10. Shadow of Evil - Russell Shaw
11. Howling Halls - Russell Shaw
12. Marcus Memorial - Russell Shaw

Fable II is the sequel to the wildly successful original that sold more than 3 million copies, offering even more choices and building on the core gameplay theme of Fable, where a player’s every decision continually defines who they become. Fable II is an action role-playing game (RPG) that truly allows players to live the life they choose in the newly expanded open world of Albion. Set 500 years after the original, Fable II provides gamers with an epic story and innovative real-time gameplay, including a massive amount of freedom and choice to explore a vast collection of dungeons, catacombs and taverns in the world of Albion. For more information, visit www.xbox.com/Fable2.

Interview with Troels Folmann and Colin O'Malley - Tomb Raider: Underworld

We've just posted a special edition of THE SOUNDCAST. This podcast features a candid interview with composers TROELS FOLMANN and COLIN O'MALLEY who have just collaborated on the score for the much anticipated game, TOMB RAIDER: UNDERWORLD. Included in the 27 minute interview are sound clips from the exotically dark score.


Listen here




Download here (37 mb)

Two Sequels to Road to Perdition in the works

Cinematical reports that two sequels are in the works for the great (that's right, "great") film ROAD TO PERDITION. Admittedly, my gut reaction to this news was that sequels for this film will be a bad idea. They will only ruin what was a perfectly told story. As I read through the article though, my thoughts changed. If they can get Sam Mendes back to direct, these could be good. Titles may be ROAD TO PURGATORY and ROAD TO PARADISE. I like it. Of course, if the tone of these follow ups is the same to the original, then it is a must that composer THOMAS NEWMAN return as well.

Read the full article here

James Cameron's Avatar - Don't Forget the Music!

You may have heard of Ain't it Cool's recent interview with director Jon Favreau regarding his reaction to the pieces of AVATAR he was able to see. In short, he said that James Cameron's film and the visual techniques being employed to pull it off are "the future." It seems that any of those who have caught even the smallest vestige of the film are equally impressed.

The way AVATAR is being guarded, I hope all of the privileged are right about this. It's certainly time for "something big" to happen in the industry again. In my life, there have only been a handful of films that truly "changed the game" - forcing the process of film-making to it's next evolutionary step. There was 2001: A Space Odyssey (which really pre-dates me by 1 year, but I have to include it), Star Wars, The Matrix, and The Lord of the Rings Trilogy.

In every case, there was someone behind the film who was obviously a visionary, but not just that. They were compulsive, detail-oriented, visionaries, who bleed into every facet of the film. In the end, it's this very thing that helps to give each of these film's their "re-watchability." All the blood, sweat and tears of these directors and their production teams, ooze out of the film, making their created world believable - believable enough to want to journey back to it over and over again even though we know how the story is going to play out.

Given Favreau's description of segments of AVATAR that he has seen and his perception of director James Cameron, this could be cause for great hope that yet another step in sci-fi/fantasy/action film making may be coming. (Oh - and one other film that could be added to that list above would be James Cameron's own TITANIC). So with all the time and effort Cameron has been taking on his first major effort since the '97 blockbuster, perhaps we'll be privy ourselves to that "next step in film-making."

Visual techniques and technologies are, of course, all wonderful, but certainly not enough to make AVATAR great. Without a solid story, writing, and acting, AVATAR, like any of these others mentioned, will be D.O.A. Assuming that AVATAR also has these ingredients as well, there remains still one more vital facet of the film that must be given equal attention to.

From my clearly biased opinion on the importance of a film's score, it could prove to be a disaster if James Cameron and reportedly, composer James Horner, do not nail the musical score for AVATAR. Anyone would be remiss to disregard the impact of the musical scores from each of these evolutionary films of the last 30 years. Whether it was Kubrik's use Johann and Richard Strauss or the Wachowski's employment of electronica tracks by Rob D or The Propellerheads or Don Davis' post-modern magic, (need I even mention John Williams' music for Star wars?) without successful music composition and supervision it's a tough bet that AVATAR will join these other iconic milestone's in film.

We have less than a year to wait before AVATAR hits theaters in 2009 - that is, of course, if it is not pushed back again. If it proves to be true that JAMES HORNER is writing the score, then we at least know that he has had plenty of time to mull over plenty of musical ideas. While I have some reservations, I am looking forward to what this film might turn out to be. I hope, come May 2009, we also have another film-music classic that pushes that medium to its own "next level" and fuels discussions for years.