Soundcast Stereo (Episode 12) Reacting to 'The Marvel Symphonic Universe"

Episode 12 - Reacting to "The Marvel Symphonic Universe"

Tony Zhou's Youtube channel "Every Frame a Painting" recently posted one of their most viewed videos to date, "The Marvel Symphonic Universe" where the MCU's original scores are critiqued and demonstrated to be "forgettable" by the general public.  Erik and Christopher react and discuss several of the key points made in the video essay ... some of which they agree with but several of which they do not.  Is the music of the Marvel Cinematic Universe truly forgettable?  If so, why? Soundcast Stereo episodes are two channel, 30 (ish) minute conversations about a single topic from the world of film, television and game soundtracks.


Episode Highlights

00:01 - The Marvel Symphonic Universe
03:35 - Initial Reactions
06:43 - No Emotional Response?
10:11 - Too High Strung
11:08 - Forgettable?
16:40 - Covering the music
19:52 - The Loss of Main Titles
22:03 - The Temp Problem
24:19 - Stay Safe and Sound Bland
33:21 - The Good of this Video
35:15 - Wrap Up


Music Selections

00:00 - "Can You Dig It?" (Iron May 3) by Brian Tyler
35:59 - "Captain America" (Captain America: The First Avenger) by Alan Silvestri

COMPANION PLAYLIST (on Spotify) - Soundcast Stereo Episode 12 Companion Playlist - https://bit.ly/sscp-12

Don't miss our experimental, new feature, where we list tracks from most of (if not all) of the soundtrack titles referenced in the episode! And be sure to follow us on Spotify while you're at it. https://open.spotify.com/user/tracksounds

Notes:

"The Marvel Symphonic Universe" https://youtu.be/7vfqkvwW2fs by

- Brian Satterwhite: https://twitter.com/bmsatter
- Taylor Ramos: https://twitter.com/glassesattached
- Tony Zhou: https://twitter.com/tonyszhou


Follow Erik Woods on Twitter.
Cinematic Sound Radio 

Follow Tracksounds on Twitter.
Follow Christopher Coleman on Twitter.

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Most of the soundtracks mentioned in this episode can be found at Amazon.  Your purchases through these links help us to keep on keepin' on!  Thank You!


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The official podcast of Tracksounds.com, The SoundCast is hosted by Christopher Coleman and features reviews and discussions centered around film, TV, and video game soundtracks. Special edition episodes include interviews with composers and other industry professionals.

The Soundcast Stereo is co-hosted by Christopher Coleman and Erik Woods (Cinematic Sound Radio).  Each episode is a 30 minute (ish), two channel conversation about the world of film, television, and video game music.

SoundCast: Stereo - Silvestri Infinity (Episode 0)

Episode 0 - "Silvestri Infinity"

Soundcast Stereo episodes are a two channel, 30 minute conversation focused on a single topic from the world of film, television, or video game soundtracks.  Our beta-episode features ERIK WOODS (CINEMATIC SOUND RADIO), who joins Christopher Coleman to talk about the recent news that composer ALAN SILVESTRI will be composing the original scores for, what is anticipated to be, two of the biggest superhero films in history:  THE AVENGERS: INFINITY WAR PART 1 AND PART 2.

Episode Highlights

00:00 - What is SoundCast Stereo?
01:34 - The confusing musical world of the MCU
13:06 - Slashfilm article - DCEU musically superior?
26:09 - Cinematic Sound goes bananas and Conclusion

Music Selections


00:35 - "Stark Goes Green" (The Avengers) by Alan Silvestri
29:29 - "The Avengers" (The Avengers) by Alan Silvestri

Notes:

Follow Erik Woods on Twitter.

Visit the official Cinematic Sound Radio site.

Follow Tracksounds on Twitter.
Follow Christopher Coleman on Twitter.



Support Tracksounds:

Most of the  soundtracks mentioned in this episode can be found at Amazon.  Your purchases through these links help us to keep on keepin' on!  Thank You!

Buy Soundtracks at Amazon.com

Download the Episode

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SoundCast Episode 77 - The Music of Marvel Phase 3 - Part 2

Episode 77 - The Music of Marvel Phase 3 - Part 2

For part 2 of of this Marvel Phase 3 discussion, Kristen Romanelli (Film Score Monthly), David Kociemba, Wendell Jones (Sideshow Sound Radio) finish out with Christopher Coleman and Richard Buxton on Captain Marvel, Inhumans and Avengers: Infinity War Parts 1 and 2.

Episode Highlights

00:21 — Let's Talk About Phase 3 ... part 2
01:42 — Captain Marvel
24:07 — InHumans
36:44 — Avengers: Infinity War Parts 1 and 2
58:13 — Will Marvel Pull It Off?

Music Selections

00:00 — Extremis (Iron Man 3) by Brian Tyler
07:58 — Main Title (The Cape) by Bear McCreary
14:14 — Green Lantern Main Titles (Green Lantern: Animated Series) by Frederick Wiedmann
20:27 - Silver Surfer Theme (Fantastic Four: Rise of the Silver Surfer) by John Ottman
22:47 - Age of Gods (Illusions) by Thomas Bergersen
25:04 - Outlands (Tron: Legacy) by Daft Punk
31:41 - The Third Man (Battle Royale) by Masamichi Amano
33:25 — Plague, Trinity & Wasp (The Girl With The Dragon Tatoo) by Trent Reznor and Atticus Ross
43:48 - Splinter vs. Shredder (Teenage Mutant Ninja Turtles) by Brian Tyler
46:00 - Spyders (Minority Report) by John Williams
49:37 - Following Godzilla (Godzilla) by Alexandre Desplat
53:54 - Entrance to Cave (Tarzan) by David Newman
70:34 - Battle Finale (Iron Man 3) by Brian Tyler

Notes:
Follow Kristen Romanelli on Twitter (@kbfornow)
Follow Wendell Jones on Twitter (@Sideshowsound)
Follow Richard Buxton on Twitter (@monkeybutlerman)
Follow Christopher Coleman on Twitter (@ccoleman)

Support Tracksounds:
Most of the  soundtracks mentioned in this episode can be found at Amazon.  Your purchases through these links help us to keep on keepin' on!  Thank You!

Buy Soundtracks at Amazon.com


Download the Episode

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Soundcast 76 - The Music of Marvel Phase 3 - Part 1

Episode 76 - The Music of Marvel Phase 3 - Part 1

Kevin Feige recently unveiled the titles for the next massive phase of the Marvel Cinematic Universe.  Nine films will comprise Marvel's Phase 3 and will take us through 2019.  Christopher and Richard are joined by Kristen Romanelli (Film Score Monthly) David Kociemba (Adjust professor at Emerson College) and Wendell Jones (Sideshow Sound Radio Podcast) to discuss the announcement and who we'd like to see compose the scores for each of the upcoming films.


Episode Highlights

00:00 - Marvel Phase 3 Announcement Excerpt
00:37 - Introductions
05:55 - What is Marvel Phase 3?
07:08 - Captain America: Civil War
21:01 - Doctor Strange
31:35 - Guardians of the Galaxy II
46:28 - Thor: Ragnarok
60:30 - Black Panther
72:22 - You've just been "cliffhangered."

Music Selections

00:10 - "Marvel Fanfare" (Thor: The Dark World) by Brian Tyler
13:48 - "Lemurian Star" (Captain America: The Winter Soldier) by Henry Jackman
17:05 - "Main Theme" (Captain America: The First Avenger) by Alan Silvestri
19:23 - "Ivan's Metamorphesis" (Iron Man 2) by John Debney
22:40 - "The Lair II" (Batman Returns) by Danny Elfman
25:10 - "The Horror in Canisters" (Sinister) by Christopher Young
26:09 - "Humans" (Daybreakers) by Christopher Gordon
28:08 - "Evacuation" (I Am Legend) by James Newton Howard
30:03 - "The Woman in Black" (The Woman in Black) by Marco Beltrami
30:51 - "Don't Say it, Don't Write It, Don't Hear It" (Evid Dead) by Roque Banos
32:15 - "The Lifespring Rhapsody" (Warriors of Virtue) by Don Davis
33:30 - "Guardians United" (Guardians of the Galaxy) by Tyler Bates
41:02 - "The Pod Chase" (Guardians of the Galaxy) by Tyler Bates
48:25 - "That is the Target" (The Incredible Hulk) by Craig Armstrong
49:12 - "Storm" (Elizabeth - The Golden Age) by Craig Armstrong
52:34 - "Driving with the Top Down" (Iron Man) by Ramin Djawadi
53:20 - "Merchant of Death" (Iron Man) by Ramin Djawadi
58:27 - "Humans Are Predators" (Twilight) by Carter Burwell
61:25 - "Monkey See, Monkey Coup" (Dawn of the Planet of the Apes) by Michael Giacchino
62:40 - "Main Titles" (Pillars of the Earth) by Trevor Jones
65:00 - "Hercules and Hebe" (The Legend of Hercules) by Tuomas Kantelinen
69:04 - "April 1945" (Fury) by Steven Price
72:05 - "I Am Iron Man" (Iron Man 2) by John Debney
73:35 - "Battle of Vanaheim" (Thor: The Dark World) by Brian Tyler

Notes:
Follow Kristen Romanelli on Twitter (@kbfornow)
Follow Wendell Jones on Twitter (@Sideshowsound)
Follow Richard Buxton on Twitter (@monkeybutlerman)
Follow Christopher Coleman on Twitter (@ccoleman)

Support Tracksounds:
Most of the  soundtracks mentioned in this episode can be found at Amazon.  Your purchases through these links help us to keep on keepin' on!  Thank You!

Buy Soundtracks at Amazon.com


Download the Episode

Subscribe and More Info

Six Cues from the Whedonverse

Six Cues from the Whedonverse

by Kristen Romanelli

Historically, music is an active participant in the "Whedonesque" school of storytelling. As composer Christophe Beck has said, Joss Whedon is "very conscious of music and how it is used, and he's always trying to find new and different ways to implement it." Bear McCreary is the next composer to work with Whedon on the small screen. His penchant for melodies and strong thematic work makes him seem like a clear choice for a program that crosses Marvelverse with Whedonverse. With the imminent premiere of Marvel's Agents of S.H.I.E.L.D., let's look at some noteworthy cues from Whedon's past.

"Close Your Eyes" — Christophe Beck, Buffy the Vampire Slayer

While there are several innovative musical moments in this program, this particular selection is special because of how it developed over the course of three years. This falling sixth leitmotif debuted in the second season of Joss Whedon's cult classic television program, Buffy the Vampire Slayer. It is commonly known as the "Buffy-Angel love theme" and it's introduced in the episode "Surprise" when Angel silences a panicked Buffy with a kiss. As musicologist Janet K. Halfyard has observed, this tender, gentle theme enjoys this one scene as a true love theme before everything takes a turn for the worst.  "Close Your Eyes," its variations, and its harmonic partners http://youtu.be/7NjXEDyzFsk appear in Seasons 2 through 4 of Buffy, and finally in Angel Season 1 episode "I Will Remember You," which features a major key variation of the theme.

"Hero" — Robert J. Kral, Angel (Hero)

In the beginning of Angel the series, the eponymous hero was guided into his investigations by a peculiar, half-demon man named Doyle who received psychic visions from "The Powers That Be." Although Doyle never made it out of the first season, his send-off was nothing short of spectacular. Robert J. Kral's soaring orchestral music, featuring the voice of Elin Carlson, underscores Doyle's sacrifice, which prevents a device from destroying anyone with human DNA. This trope of standing as a champion in the face of sure defeat continues through the series, and the music similarly plays with both the melancholy and heroic.

"River Tricks Early" — Greg Edmonson, Firefly (Objects in Space)

Poor River Tam. Taken from her family, getting her brain sliced and diced by the Alliance—now, she finds that even on a ship full of outsiders, she remains the fringe element. When Jubal Early, a ruthless hunter looking to collect River, boards and seizes Serenity, it is up to the mysterious waif to outwit him and save the crew. Before this cue begins, River's established, minor-key piano motif plays as she sadly tells Early that she's unwanted and has become a part of the ship. A deep, eerie woodwind and guitar play beneath Early as he stalks his prey; soon, River and Early's instruments intertwine, and a distant, childlike singing echoes, juxtaposing the psychotic profile River paints of the bounty hunter's early life; and, as Early realizes that she isn't on Serenity but has seized his ship, familiar fiddle slurs and chords mark her triumph—she is a scoundrel worthy of Serenity.

"Serenity" — David Newman, Serenity

I've been unfair to Serenity in the past. While Edmonson's Firefly score is very focused on the Western aspects of the series, it's easy to get lost in the other elements contributed by David Newman. For cues like "River Goes Wild" [http://www.youtube.com/watch?v=jRYVmD44PwM], Newman's score evokes both River's damaged, triggered state of mind and the chaotic setting of the Alliance frontier. Simply enough, however, the heart of his score is found right in his Serenity theme, as the ship is introduced, flying over a dusty planet where she descends for a job. It begins with what could be described as an almost-romantic seafaring melody and flows into a bright, Western-influenced jig, which then crescendoes into a fanfare of brass... right before the ship begins to fall apart.

"Taking Down Rossum" — Rob Simonsen, Mychael Danna, Dollhouse (The Hollow Men)

The short-lived series Dollhouse doesn't have a released soundtrack, but Rob Simonsen has made a handful of tracks available. Their sound is grounded in the rapidly approaching cyber-dystopia brought on by Rossum's brain-wiping technology—it is gritty and electronic yet sophisticated. Throughout the series, "music box" arpeggios and piano capture the childlike innocence of "actives"—people who have had their minds wiped, leaving them in a blank state. "Taking Down Rossum" marries the high-pressure action of infiltrating the headquarters of the series "Big Bad" with the delicate Actives motif.

"Red Ledger" — Alan Silvestri, The Avengers

For The Avengers, Alan Silvestri was faced with the daunting task of scoring the story of a band of vastly different heroes—few of whom actually get along. While "Helicarrier" and "The Avengers" are certainly the most grandiose of the score's cues, I'm most drawn to "Red Ledger," which evokes work from Silvestri's prime. It begins with Natasha's theme, recalling back to when she "interrogates" Russian thugs at the start of the film. The music is hushed as Loki works to manipulate her, but just as we hear the two melodies play counterpoint to each other, Natasha is playing against Loki. After the Black Widow wins her bluff, Loki's manipulation continues—her counterpoint disappears and he weaves beneath the increasingly heated conversation of the Avengers.

So, will the past inform the future of music in the Whedonverse? Very likely. Alongside the superheroic music expected of a Marvel program, we can anticipate music that McCreary has described as "quirky and intimate" and very much in the vein of both Whedon and McCreary's earlier work. I believe we can expect orchestral melodies that will highlight Agents of S.H.I.E.L.D.'s narrative, and thematic development that is tightly tied to the show's characters.

What do think we'll hear in a McCreary-Whedon pairing?

Composer for Thor - The Dark World Revealed in Teaser Poster!

Marvel Studios began their press campaign with the release of the first teaser poster for THOR - THE DARK WORLD, the sequel to 2011's THOR.

While a host of details for the film were released along with the image (see below), one detail can only be found in closely examining the beautiful poster itself... and that is that none other than composer CARTER BURWELL will be composing the original score!

As you'll recall, Patrick Doyle ably composed the score for the first film, directed by Kenneth Branagh, and so with the change in the director's chair, many wondered if Doyle would return.  It has been known for some time that veteran, television-director, Alan Taylor (Game of Thrones, Boardwalk Empire, Mad Men, Law & Order, The Sopranos) will be Asgard's true master this time out, but we are now treated to this a-typically, early release of information regarding the original score's composer.

For some, is not likely that the superhero genre is what first comes to mind when thinking "Carter Burwell."  No doubt, Taylor has an impressive cable-television directorial resume; one that can lead to fans having high expectations in terms of the level of drama and character development, but what does his choice in composers say about the score?  Will it be the subtle, yet deep variety commonly coming from Burwell's pen or will he open it up and give us something as adventurous as ROB ROY?

The main themes that Doyle crafted do see like those that Burwell could naturally absorb and refit to his liking.  Take this sample for instance...

Do you think this was a good choice?  What does this do to your level of expectation for the film and its score?  Tell us in the comments below!

MORE ON THOR: THE DARK WORLD

Marvel’s "Thor: The Dark World" continues the big-screen adventures of Thor, the Mighty Avenger, as he battles to save Earth and all the Nine Realms from a shadowy enemy that predates the universe itself.  In the aftermath of Marvel’s "Thor" and "Marvel’s The Avengers," Thor fights to restore order across the cosmos...but an ancient race led by the vengeful Malekith returns to plunge the universe back into darkness.  Faced with an enemy that even Odin and Asgard cannot withstand, Thor must embark on his most perilous and personal journey yet, one that will reunite him with Jane Foster and force him to sacrifice everything to save us all.

Starring Chris Hemsworth, Natalie Portman, Tom Hiddleston, Stellan Skarsgård, Idris Elba, Christopher Eccleston, Adewale Akinnuoye-Agbaje, Kat Dennings, Ray Stevenson, Zachary Levi, Tadanobu Asano and Jaimie Alexander with Rene Russo and Anthony Hopkins as Odin, Marvel’s “Thor: The Dark World” is directed by Alan Taylor, produced by Kevin Feige, from a story by Don Payne and screenplay by Christopher Yost and Christopher Markus & Stephen McFeely and is based on Marvel’s classic Super Hero Thor, who first appeared in the comic book “Journey into Mystery “ #83 in August, 1962.

“Thor: The Dark World” is presented by Marvel Studios. The executive producers are Alan Fine, Nigel Gostelow, Stan Lee, Louis D’Esposito, Victoria Alonso and Craig Kyle.

The film releases November 8, 2013, and is distributed by Walt Disney Studios Motion Pictures.

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