Prometheus (Soundtrack) by Marc Streitenfeld - Gang-Tackle Review

We Were So Wrong
Review by The Tracksounds Gang

As the world had become engrossed in a new, family-friendly, fantastic, galaxy not too close to here, Ridley Scott was preparing to unleash altogether different kind of sci-fi film upon us; one that was all too close, too real, and too scary. In 1979, ALIEN made us fear the front-rows of movie theatres again and helping to make the film something beyond just a piece of horror set in space was the great air of mystery that surrounded it all. Thirty plus years later, Sir Scott returns us to that universe with a film that was to finally shed some official light on those questions - PROMETHEUS.

While Jerry Goldsmith’s score was nominated for several awards, it had, at the director’s hands, morphed (or was manipulated) quite dramatically away from the composer’s original concept. Regardless, it’s effect on audiences remains as menacing as ever and is among Goldsmith’s most beloved works. The music for the Alien franchise continued to greatly evolve with each successive sequel, from JAMES HORNER to ELLIOT GOLDENTHAL to JOHN FRIZZELL. And now, this “para-prequel” finds itself in the hands of Scott’s most recent favorite composer-collaborator, MARC STREITENFELD.

The film and score was discussed at length in episode 49 of The Soundcast, but at the time of the launch of the home video release, the Tracksounds Gang returns to tackle the original score for PROMETHEUS.

READ THE FULL GANG-TACKLE REVIEW

Variety Spotlights Harry Gregson-Williams' Wolverine Sessions

While we were, sadly, not able to secure an interview with composer HARRY GREGSON-WILLIAMS regarding his next big release, X-MEN ORIGINS: WOLVERINE, and give you some insight into what went into the scoring process, Variety has just posted an article which gives us a peak into one of the recording sessions for the film. If you've heard the sound clips from the score, perhaps you were surprised...as I was. How "pleasantly" or not remains to be seen. If you were expecting something a little rougher around the edges for Wolverine's story, stay tuned for what we have in store regarding PAUL HASLINGER's work for the video game tie-in.

Still, surprises and all, I think WOLVERINE will be an entertaining listen and I look forward to diving into it. In the meantime, check out Variety's brief glimpse behind the Wolverine recording session.


Check out the article here

Metal Gear Solid 4: Guns of the Patriots Takes Home AIAS Award for Oustanding Achievment in Original Composition

Yesterday The 12th Annual Interactive Achievement Awards was held. While LITTLE BIG PLANET dominated by taking home 8 total awards, one that got away was for its music. This year's winner for Outstanding Achievement in Original Composition goes to METAL GEAR SOLID 4: GUNS OF THE PATRIOTS by HARRY GREGSON-WILLIAMS, NOBUKA TODA and company! Congrats!

You can view all the winners here.

Variety Interviews Game Composers

VARIETY has just posted an interesting article regarding the state of video game music as described by some well-known game composers...and feature film composers. Mentioned in the article are composers such as: HOWARD SHORE, MICHAEL GIACCHINO, HARRY GREGSON-WILLIAMS, CHRISTOPHER LENNERTZ, LAURA KARPMAN and GERARD MARINO.

Some brow-furrowers from the article:

Music budgets have risen from $30,000 (in the early '90s) to $1 million in some cases today, execs say. Composers tend to be paid by the minute, but with games requiring 90 minutes-120 minutes of music each, the $1,000- to $2,000-per-minute rate quickly adds up to creative fees in excess of $100,000.

Debney committed to writing the music for the knights-and-dragons game "Lair," but has turned down subsequent projects because there are no provisions for backend payments for successful games (as composers receive, via ASCAP and BMI, for successful films and TV shows). "The game companies are extremely resistant," he says. "I don't know if it'll change. It's a big problem."

Gerard Marino, whose "God of War" games are among the most popular (and whose music is featured on "Video Games Live"), recently heard a fellow composer complain that "there is no middle class anymore." His response: "Well, I think there is. It's games."

Also mentioned is that CHRISTOPHER LENNERTZ will be scoring the QUANTUM OF SOLACE tie-in game.


There's more so check out the full article here!

New Interview: Composer Harry Gregson-Williams

Just after the release of THE CHRONICLES OF NARNIA: PRINCE CASPIAN, composer Harry Gregson-Williams shares about his return to Narnia, his feelings about moving on from the franchise, what he's doing with up-and-coming-composers like David Buckley and Stephen Barton at his Wavecrest Studios, and his upcoming projects which include X-Men Origins: Wolverine.

Check out the full interview here!

The Chronicles of Narnia: Prince Caspian (Sountrack) by Harry Gregson-Williams (Review)

Nothing Happens the Same Way Twice
Review by Christopher Coleman

In 2005, with the film and film-music world still slightly abuzz over director Peter Jackson and composer Howard Shore's masterwork for the LORD OF THE RINGS trilogy, came THE LION, THE WITCH, AND THE WARDROBE. Between Jackson's epic trilogy and the HARRY POTTER franchise, the fantasy-genre was big-bucks again. However, with the well documented friendship between authors, J.R.R. Tolkien and C.S. Lewis, specific comparisons between the two author's eventual film-adaptations were inevitable. Director Andrew Adamson's vision of C.S. Lewis' story was as different from Jackson's work as Tolkien's tale is from Lewis'. One of the key differences was reflected in the film's score by composer HARRY GREGSON-WILLIAMS. The unexpected modern-edge for THE LION, THE WITCH, AND THE WARDROBE, especially in light of Shore's more operatic work, perhaps brought undue criticism from the soundtrack community upon the score (myself included). In the years since; however, as the Lord the Rings energies have simmered down, the first film from the land of Narnia, as well as it's score has become, for some, appreciated on its own merits rather than merely as a contrast to Howard Shore's work... again, myself included.

Three years later, we finally have the second installment from THE CHRONICLES OF NARNIA - PRINCE CASPIAN. Returning for the sequel is director Adamson, the four main "child-stars," and composer HARRY GREGSON-WILLIAMS. In THE LION, THE WITCH, AND THE WARDROBE, we clearly heard Gregson-Williams establish a distinct style for the Narnia franchise - an intriguing, albeit surprising, mix of classical and contemporary styles and instrumentation. It was certainly a bold move back in 2005 given the success of the Lord of the Rings and the Harry Potter franchises, which were both complete with more traditional, symphonic scores. The 2005 film was slower than some anticipated, especially at it's onset, hence the score was considered to lack a little intensity as well. Still, well established were themes and motifs representing the world of Narnia, the Pevensie children, and Aslan. Having done this, Harry Gregson-Williams, like the four youngsters who have returned to Narnia, is able to more fully explore his musical-landscape. In the end, PRINCE CASPIAN delivers a richer listening experience.

Read the full review here

The Chronicles of Narnia: Prince Caspian

Composer Harry Gregson-Williams latest effort is on our doorstep. Released by Walt Disney Records, the soundtrack will also include several rock/pop tracks in addition to the original score. Below is the official press release...


FOR IMMEDIATE RELEASE

C.S. LEWIS’ TIMELESS ADVENTURE THE CHRONICLES OF NARNIA: PRINCE CASPIAN FEATURING ORIGINAL MUSIC BY AWARD WINNING COMPOSER HARRY GREGSON-WILLIAMS WITH ORIGINAL SONGS PERFORMED BY SWITCHFOOT AND REGINA SPEKTOR

**ORIGINAL SOUNDTRACK TO BE RELEASED ON MAY 13TH ON WALT DISNEY RECORDS**

(April 29, 2008- Burbank, CA)-

Walt Disney Records will release the original soundtrack for Walt Disney Pictures/Walden Media’s The Chronicles of Narnia: Prince Caspian on May 13, 2008. The recording features score written by award-winning composer Harry Gregson-Williams and songs performed by Switchfoot (“This Is Home”), Regina Spektor (“The Call”), Oren Lavie (“A Dance ‘Round The Memory Tree”), and Hanne Hukkelberg (“Lucy”).

In 1950, the scholar, critic and writer C.S. Lewis published The Lion, The Witch and the Wardrobe, the first of his seven-volume series, The Chronicles of Narnia, and established a modern legend. Adults and children alike fell in love with his stirring, action-packed adventure that was set in the middle of World War II bombing raids yet transported readers into an alternate and far more enchanted universe of mythological creatures waging an epic battle between good and evil.

Harry Gregson-Williams reunites with director Andrew Adamson for the 5th time after composing the scores for his Academy Award®-winning Shrek (co-composed with John Powell), the hit sequels Shrek 2 and Shrek the Third, and The Chronicles of Narnia: The Lion, the Witch and the Wardrobe, for which he collected Golden Globe and Grammy nominations for his score. He is one of Hollywood’s most sought after composers, working on a variety of high-profile projects, both animated and live-action.

Over the last several years, Gregson-Williams has composed such notable scores for Shrek the Third,Gone Baby Gone, Chicken Run, Man on Fire, Flushed Away, Domino, Spy Game, Déjà vu, Phone Booth, Veronica Guerin, Smilla's Sense Of Snow, The Replacement Killers, Bridget Jones: The Age of Reason, Enemy of the State, Antz and Kingdom of Heaven, among others.

The multi-platinum selling rock band Switchfoot has written and recorded the original song “This Is Home,” which is heard in the body of the film and over the end title credits. They shot a video for the song with director Brandon Dickerson, who filmed their most recent video for “Awakening.”

“We are so honored to be a part of the Prince Caspian film with ‘This Is Home,’” says Switchfoot frontman Jon Foreman. “The Narnia stories have a really special place in my brother Tim and my lives. Our dad used to read these to us at bedtime when we were boys. Our imaginations were shaped on these amazing novels.”

The characters of C.S. Lewis’ timeless fantasy come to life once again in this newest installment of the Chronicles of Narnia series, in which the Pevensie siblings are magically transported back from England to the world of Narnia, where a thrilling, perilous new adventure and an even greater test of their faith and courage awaits them.
“As [the film’s director] Andrew Adamson and I began early discussions about the musical possibilities for The Chronicles of Narnia: Prince Caspian,” composer Harry Gregson-Williams said, “it became clear that the movie could take a score with plenty of edge and bite to it this time around, supporting the fast moving action and adventure that quickly unfolds.”

One year after the incredible events of The Lion, the Witch and the Wardrobe, the Kings and Queens of Narnia find themselves back in that faraway wondrous realm, only to discover that more than 1300 years have passed in Narnian time. During their absence, the Golden Age of Narnia has become extinct, Narnia has been conquered by the Telmarines and is now under the control of the evil King Miraz, who rules the land without mercy.

The fast forward 1300 years in the future allowed Gregson-Williams to re-address themes from the first film as well as creating new ones. Director Andrew Adamson described, “For Prince Caspian, Harry drew not only on the beloved themes of The Lion, The Witch, and The Wardrobe, but also developed original, sympathetic themes for Caspian and the Telmarines. Harry has threaded these themes with the same beauty and originality as he has woven all the notes that form his wonderful scores.”

The four Pevensie children will soon meet an intriguing new character: Narnia’s rightful heir to the throne, the young Prince Caspian, who has been forced into hiding as his uncle Miraz plots to kill him in order to place his own newborn son on the throne.

Gregson-Williams embraced the challenge of composing for these new characters. He described, “The early introduction of a fearful Prince Caspian fleeing for his life from the dangerous Lord Miraz gave me a wonderful opportunity to introduce this new and somewhat darker musical landscape right from the opening.”

Also drawing inspiration from C.S. Lewis was Switchfoot. “‘This Is Home’ was inspired by the book after re-reading it for the opportunity to write for the film,” continues the band’s frontman, Foreman. “I am always taken by [C. S.] Lewis' ability to write about the bittersweet beauty in this world; this home we aren’t really made for but is the place we work out our humanity in the midst of our longing for our true home.”
Walt Disney Pictures and Walden Media present The Chronicles of Narnia: Prince Caspian in theaters on May 16, 2008. The Chronicles of Narnia: Prince Caspian Original Soundtrack will be in stores on May 13, 2008.

Prince Caspian Soundtrack Pre-Order and New Trailer

There's a new trailer for the upcoming CHRONICLES OF NARNIA sequel, PRINCE CASPIAN. This time, it's got a bit more "umph!" to it. Seems as though Andrew Adamson and company have addressed one of the bigger complaints about THE LION, THE WITCH, and THE WARDROBE and have infused bit more action and intensity into this one. Well, we know the trailer-trap, so let's just see what's what when the film comes out May 16. You can check the trailer out here.

Also, in case you didn't know, the soundtrack for THE CHRONICLES OF NARNIA: PRINCE CASPIAN is available for pre-order at Amazon.com. It releases 3 days BEFORE the film on May 13, 2008.

THE NUMBER 23 by Harry Gregson-Williams

The Sound a Number Makes
Review by Christopher Coleman

I wonder what sound a number would make. Would a "1" be a single, high pitched note going on for eternity? Would a "2" be consonant or dissonant? What about a "3?" Both the potential for beautiful harmonies and ear splitting instability would exist for a number like 3, I suppose. What about the number 23? It could be a variety of tonal arrangements or a cavalcade of discord. And if a number could have a sound, perhaps it could have its own music. And if a number could have it's own music, who would be best to compose that music?


READ THE FULL REVIEW OF THE NUMBER 23