Composer Frederick Wiedmann Scores Upcoming Son of Batman

Composer Frederik Wiedmann (BEWARE THE BATMAN, JUSTICE LEAGUE: THE FLASHPOINT PARADOX) recently announced that has composed the music for the upcoming DC Universe Animated Original Movie SON OF BATMAN.

“This installment of Batman was an interesting one, musically speaking,” said Wiedmann.

“In addition to the action-packed epic score, there are a large number of very emotional moments, filled with darkness. We recorded a wonderful 30-piece orchestra in Los Angeles, conducted by Hyesu Yang, as well as a few very unique soloists and exotic percussion. It is a very thematic score.”

The world is turned upside down when Batman – one of the world’s greatest Super Heroes – discovers he is a father in the newest DC Universe Original Animated Movie, SON OF BATMAN.

Batman learns he has a son, Damian – and to further complicate matters, the mother is Talia al Ghul, daughter of one of his most dreaded enemies, Ra’s Al Ghul. When the odds quickly turn against Batman and Damian, Batman must become both father and mentor to the aggressive, agile new Robin. Together they form an uneasy alliance to try and thwart the criminal enterprise of Deathstroke and his army of ninja man-bats before there are international consequences.

SON OF BATMAN is NOW available as Digital HD (download) and will be available on May 6, 2014, on Blu-ray Combo Pack, DVD.

No official word on whether a soundtrack release is imminent or not.

Source: CineMedia Promotions

The Hills Run Red (Soundtrack) by Frederik Wiedmann - Review

The Hills Run Red With The Sound of Music

Review by Marius Masalar

I’ll admit that I went into THE HILLS RUN RED thinking I was in for another aural assault of rumbling synths, wailing dissonances, and uncomfortable things done to innocent instruments. It turns out that I was actually very close to having my expectations fulfilled, as director Dave Parker admits in the liner notes that he initially wanted a typical atonal soundscape for a score. Then he met composer FREDERIK WIEDMANN, whose skills at producing evocative, melodic scores changed his mind. So instead, we get an unexpectedly lush and melodic score, with a degree of sensitivity and orchestrational creativity that rivals the best of Christopher Young’s work.

Instead of relying purely on noise to resolve the tension and horror necessary for this score, Wiedmann creates an uneasy sense by employing an atypical ensemble to perform his score: one including dulcimers, string drums, a profusion of woodwind instruments, and a viola section that’s larger than the string section. The resulting shifted balance establishes the mood without needing to resort to cheaper tactics. It also does a fine job of indirectly addressing the film’s premise of vengeful rednecks and the creepy protector figure of Babyface without being too blatant or stereotypical about it.

Read the full review here