Soundcast Stereo (Ep. 17) The Musical Possibilities of The Matrix Redooded

Episode 17 - The Musical Possibilities for The Matrix: Redooded

Eric Woods and Christopher Coleman jack back in and talk over the musical possibilities of the apparently inevitable reboot of The Matrix franchise.  Could composer Don Davis return?  If not, they discuss who they'd like to see write the score and, lastly, we asked you Twitter, who YOU would like to write the score aside from Don Davis.


Episode Highlights
00:04 - Intro and What is The Matrix Redooded?
02:43 - Does Don Davis come back?
15:00 - Other Cover Art Atrocities
21:46 - If not Don Davis, then who?
25:16 - Twitter response - Who YOU want to score it.
29:18 - Closing thoughts


Music Selections

00:00 - "Main Title" - (The Matrix: Reloaded) by Don Davis
41:50 - "Calm Like a Bomb" (The Matrix: Reloaded) by Rage Against the Machine

Notes:

Follow Erik Woods on Twitter.
Cinematic Sound Radio 

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

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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 (Ep. 15) Composer Dominance

Episode 15 - Composer Dominance

Will the director-change for the DCEU's upcoming "The Batman" mean a composer change?  Could that composer change somehow be Michael Giacchino?  Erik and Christopher discuss the possibilities and the potential repercussions.  That discussion leads to a dive into some reflection on some of Hollywood's most dominant composers over the last 40+ years and those who may be poised to dominate in the near future!


Episode Highlights
00:04 - Intro & Affleckting the DCEU ...
06:51 - Michael Giacchino dominance
08:46 - Is composer dominance a good or bad thing?
13:12 - Hans Zimmer dominance
20:48 - John Williams dominance
31:46 - Henry Jackman dominance


Music Selections

00:00 - "Bumper to Bumper. Rail to Rail" (Speed Racer) by Michael Giacchino

54:44 - "Romanian Wind" (Sherlock Holmes: A Game of Shadows) by Hans Zimmer

COMPANION PLAYLIST (on Spotify) - Soundcast Stereo Episode 14 Companion Playlist - https://bit.ly/sscp-15

These are unique Spotify playlists 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:

Follow Erik Woods on Twitter.
Cinematic Sound Radio 

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

Subscribe and More Info

aCAST
GOOGLE PLAY

iTUNES

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STITCHER RADIO

TUNEIN RADIO

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 Ep. 86 - Rogue One: A Star Wars Story by Michael Giacchino

Episode 86 - Rogue One: A Star Wars Story by Michael Giacchino

Marius Masalar, Erik Woods and Christopher drop in from hyperspace to talk about ROGUE ONE:  A STAR WARS STORY and its original score by Michael Giacchino.  Following the latest edition of WHYBLT? (What have you been listening to?) the trio dive into Disney/Lucasfilm's prequel to Star Wars: A New Hope and break down their personal reactions to the film, itself, how the score operates in context and lastly how it works as a stand-alone listen.

Episode Highlights

00:30 - "Together Again, huh?"
03:00 - What Have You Been Listening To?
22:30 - Rogue One - The Film (SPOILERS!)
44:40 - Rogue One - The Score in Context (SPOILERS!)
55:19 - Rogue One - The Score as stand-alone listen (SPOILERS!)
75:58 - "Now let's blow this thing and go home!"

Music Selections

00:00 - "Rogue One" (Rogue One) by Michael Giacchino
22:38 - "The Imperial Suite" (Rogue One) by Michael Giacchino
44:02 - "Jyn Erso & Hope Suite" (Rogue One) by Michael Giacchino
75:21 - "Hope" (Rogue One) by Michael Giacchino
86:41 - "The Master Switch" (Rogue One) by Michael Giacchino

Notes:

"Star Crash" by John Barry - https://youtu.be/MxlHUgRNCoU

Follow Erik Woods on Twitter.
Follow Marius Masalar on Twitter.
Follow Christopher Coleman 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

Subscribe and More Info

aCAST
GOOGLE PLAY

iTUNES

RSS FEED

STITCHER RADIO

TUNEIN RADIO

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 (Episode 11) - Unexpected Composer Assignments

Episode 11 - Unexpected Composer Assignments

Erik and Christopher react and discuss the recent announcement of Mark Mothersbaugh as composer for the original score to the upcoming Thor: Ragnarok.  They go on to have a lengthy discussion about Michael Giacchino for Doctor Strange and a firey discussion about Johan Johannsson for Blade Runner 2.  Lastly, they take a quick dive into some of history's other "unexpected composer assignments" that would have rocked the Internet, had it existed. Soundcast Stereo episodes are two channel, 30 (ish) minute conversations about a single topic from the world of film, television and game soundtracks. This 11th episode includes 11 minutes of bonus-castiness.

NEW! COMPANION PLAYLIST (on Spotify) - Soundcast Stereo Episode 11 Companion Playlist - https://bit.ly/sscp11

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.  

Let us know what you think about this feature!  If we hear enough positive feedback, we'll continue to include them!

Episode Highlights

00:04 - Intro + Channel Fact "Fav Mark Mothersbaugh Score?"

01:05 - Reactarok!

10:00 - Doctor Giacchino

17:33 - Blade Runnin' with Johannson

30:22 - Historic Unexpected Announcements 

Music Selections

00:00 - "Powering Up" (Cloudy with a Chance of Meatbalss) by Mark Mothersbaugh

40:48 - "The Lastest Invention" (Cloudy with a Chance of Meatbalss) by Mark Mothersbaugh

Notes:

Follow Erik Woods on Twitter.

Cinematic Sound Radio 

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

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Dawn of the Planet of the Apes (Soundtrack) by Michael Giacchino + Audio Review

Thrills and Feels

Review by Christopher Coleman

Two years ago the movie-watching-world got a pleasant surprise with RISE OF THE PLANET OF THE APES; however, the bad taste left by Tim Burton’s reimagining of THE PLANET OF THE APES, a decade earlier had not quite left the mouths of some. This somewhat hindered RISE from the box office heights it probably should have hit. That Wahlbergian-foulness was resilient enough to still be found in the detectable quantities come 2014 and the dawning of the sequel to RISE. DAWN OF THE PLANET OF THE APES would see two significant changes behind the camera from director Rupert Wyatt to Matt Reeves and from Patrick Doyle to MICHAEL GIACCHINO as the score’s composer. Would such significant changes continue the resurrgence of the franchise or send it back down the apocalyptic hole from whence it came?

Thankfully, DAWN OF THE PLANET OF THE APES has been both a critical and box office smash, hopefully setting us up for further sequels of similar quality. After a summer of critical failures raking in countless millions and the critically acclaimed under-performing at the box office, it is, on some level, a relief to see that quality story-telling and character development can be equally rewarded. In the case of DAWN, the story in this sequel is brilliantly told and shifts the central characters from the humans to the apes - who were by far the most interesting element of RISE. Caesar, Koba, Maurice, and Rocket are all back and they have built up a peaceful community of apes, thriving but mere miles from some of the humans that survived the ALZ 113 virus that exacted its mortal, global toll. With the humans struggling to maintain their hold on life, and the apes continuing to develop their own, the intersection of the two species was inevitable and the eventual, inherent plagues that seem to stem from intelligent, familial communities such as: hubris, mistrust, miscommunication, bare their ugly head and plunge the two groups into kill-or-be-killed-conflict.

Patrick Doyle’s 2011 score for RISE OF THE PLANET OF THE APES, while adequate enough for the film, provided less emotional lift or personality than some hoped for, especially in comparison to another 2011, Doyle-project, THOR. That said, his triumphant “rise” theme delivered a couple of very emotional moments, especially at the film’s conclusion as the newly emancipated apes literally rise into the nearby forest-trees. If nothing else, this theme alone seemed to provide a solid launch pad for any sequels that might come, but alas, it wasn’t to be.

READ THE FULL REVIEW

In Context - Dawn of the Planet of the Apes (Michael Giacchino)

In-Context is a new series where I will deliver my thoughts on how an well original score functions within its specific context:  feature film, television program, or video game!   Our first stop is Matt Reeves' DAWN OF THE PLANET OF THE APES with an original score by MICHAEL GIACCHINO.  You can watch this series on our Youtube channel and/or read the text version here on our blog!  Either way, let us know what you thought of the Giacchino's score as it performed in-context or what you think of this new series.

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DAWN OF THE PLANET OF THE APES is the perfect sequel to the vastly under-rated RISE OF THE PLANET OF THE APES (2011) and has become the high-water-mark for 2014 movies so far.  For DAWN the directorial reins moved from Rupert Wyatt to Matt Reeves and soon thereafter, the scoring duties from PATRICK DOYLE to MICHAEL GIACCHINO.  The focus of this sequel clearly takes the audience from the perspective of the humans to that of this newly rising community of intelligent apes.  With one race trying to hold on to its civilization and another trying to build its own, is conflict inevitable?  Ten years after the events of RISE, Reeves and Giacchino reunite us with our favorite ape characters: Caesar, Maurice, Rocket, and Koba and also introduce us to a small band of surviving humans and explore the answer to this question.

So let's take a look at how Giacchino's original score worked in context.

I watched this film at the AMC Theater in Downtown Disney, Orlando.  This is truly one of the best movie theaters in the Orlando area and one of the few equipped with a Dolby Atmos. Unfortunately, I did not see DAWN on this screen.  I sat about 1/2 way back at the on the left side of the center section.  This was the very same screen where I had one of my worst movie-audio experiences of my life ... GODZILLA (2014).   I'm happy to report that this was not the case this time and the sound mix and volume was fantastic and matched the emotion and intensity of the images being shown to myself and the rest of this packed house.

In context, MICHAEL GIACCHINO's original score is one of the most effective of any summer movie release this year. One of the more intriguing elements are the nods to Jerry Goldsmith's impressionistic style for the original PLANET OF THE APES from 1968.  Giacchino even goes as far as to include some of the unique instrumentation found in Goldsmith's original.  Our prolific composer tends to lean more and more upon these impressionistic tendencies as the plot advances and the potential for large-scale conflict increases.  His use of such techniques are certainly not just for nostalgic purposes, but to create an atmosphere of unease which cocoon's the audience in with their sense of fear and dread.  There are a couple of moments where we get a dose of dissonant strings and chorus that, along with the imagery, cannot help be evoke thoughts of 2001: A Space Odyssey.  It's quite the rare thing to find this style score attached to a mainstream, summer, blockbuster film these days and due credit must be given to Reeves and Giacchino for daring to do so.

Now, MICHAEL GIACCHINO does not go as far experimentally as Goldsmith did and manages to keep his own, signature sound close at hand.  Aside from the chilling aspects of the score, the listener will likely take away two main musical ideas upon viewing the film.

First, is the harmonious, peaceful title theme, which hinges upon two, simple piano notes.  It is used all throughout the score, not only in this form, but at times, plucked on the harp or played by full orchestra.  It is a device used in quite a number of Giacchino's scores, but fans of the early seasons of LOST will be the group that most certainly recognizes it.  The overall effect of the theme, and in particular the abbreviated motif, is this sort of "fragile peace;" somehow telling the audience that everything is good ... for the moment.

The second takeaway is what could be called Koba's theme.  In stark contrast to the aforementioned peace-theme, Koba's theme is, at its core, a quick set of six notes.  It maintains the rising and falling shape of the two-note motif, but is usually delivered in militaristic fashion - often lead on brass and underscored strongly with various percussion.  As the plot develops, the theme grows and ultimately is played over the Apes community as the tragic, pieces fall into place and they mobilize for the inevitable conflict with the humans.

Overall, as had been said by many already, DAWN is easily one of the Summer's best films ... or even one of 2014's best.  MICHAEL GIACCHINO's score has a crucial part to play.  And while his most enjoyable music tends to be for original properties over reboots or inherited sequels, you will definitely want to hear his score in context ... probably more than once.

Be sure to lookout for more IN-CONTEXT episodes on our YOUTUBE channel and also for my full soundtrack review of DAWN OF THE PLANET OF THE APES in the very near future.

SoundCast Episode 61 - "Star Man Trekking into Dark, Iron Oblivionness"

Episode 61 - Star Man Trekking into Dark, Iron Oblivionness

Michael Coleman (Soundworks Collection) and Kristen Romanelli (Film Score Monthly/ Watcher Junior) join the full cast and crew for a triple feature review!  Three of this year's top action and sci/fi films are the topics of discussion: Michael Giacchino's STAR TREK INTO DARKNESS, Brian Tyler's IRON MAN 3 and M83 + Joseph Trapanese's OBLIVION.

Episode Highlights

00:22 - Intro and Welcome: Michael Coleman and Kristen Romanelli

04:48 - Listener Feedback

07:40 - Star Trek Into Darkness - Movie talk

27:56 - Star Trek Into Darkness - Score in the film 

38:15 - Star Trek Into Darkness - The soundtrack release

46:09 - Iron Man 3 - Movie talk

56:54 - Iron Man 3 - Score in the film

65:55 - Iron Man 3 - The soundtrack release

73:43 - Oblivion - Movie talk

80:49 - Oblivion - Score in the film

86:40 - Oblivion - The soundtrack releases

94:43 - Wrapping up the triple feature

Music Selections

00:00 - "Star Trek Main Theme" (Star Trek Into Darkness) by Michael Giacchino

07:11 - "Pranking the Natives" (Star Trek Into Darkness) by Michael Giacchino

28:19 - "Spock Drops, Kirk Jumps" (Star Trek Into Darkness) by Michael Giacchino

32:37 - "Main Title" (Star Trek 2 - The Wrath of Kahn) by James Horner

33:32 - "London Calling" (Cloud Atlas) (Star Trek Into Darkness) by Michael Giacchino

35:27 - "Get Carter" (John Carter) by Michael Giacchino

42:15 - "The San Fran Hustle" (Star Trek Into Darkness) by Michael Giacchino

44:18 - "Star Trek Main Theme" (Star Trek Into Darkness) by Michael Giacchino

46:08 - "Iron Man 3 Main Theme" (Iron Man 3) by Brian Tyler

59:18 - "The Mechanic" (Iron Man 3) by Brian Tyler

64:25 - "Stark Goes Green" (The Avengers) by Alan Silvestri

65:00 - "New Beginnings" (Iron Man 3) by Brian Tyler

66:15 - "Iron Man 3 Main Theme" (Iron Man 3) by Brian Tyler

73:23 - "Waking Up" (Oblivion) by M83 and Joseph Trapanese

80:58 - "Fearful Odds" (Oblivion) by M83 and Joseph Trapanese

87:14 - "You Can't Save Her" (Oblivion) by M83 and Joseph Trapanese

99:00 - "Earth 2077" (Oblivion) by M83 and Joseph Trapanese

Other notes:

Michael Coleman

Check out Soundworks Collection www.soundworkscollection.com

Follow on Twitter (@soundworksvideo, @colemanfilm)

Kristen Romanelli

Read her articles on Film Score Monthly Only - www.fsmonlinemag.com

Follow on Twitter (@watcherjunior)

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SoundCast Ep. 51 - The Return of Star Wars!

Episode 51: The Return of Star Wars!

Erik Woods (Cinematic Sound) and Jeremy Meyers (Deeper Context) join Helen, Marius, Chris, and Edmund to talk about the newly announced Star Wars films and who they hope to see score them. Could John Williams return?  Is Michael Giacchino the next, most logical choice?  And what about Hans Zimmer? (Dun dun dun!)

Episode Highlights

00:00 "I always said I wasn't going to do any more..."

00:49 Welcome and Intros

03:08 Reaction to George Lucas' big annnouncements

13:12 Will JOhn Williams return?

25:50 Is Michael Giacchino on deck?

31:15 Who we'd like to see announced as composer

58:20 What about a video game composer?

62:50 Some REALLY outside-of-the-box picks

76:31 Conclusion

Music Selections

00:00 "Tales Of A Jedi Knight-Learn About The Force" (Star Wars: A New Hope) by JOhn Williams

25:55 "Colditz Castle" (Medal of Honor) by Michael Giacchino

34:47 "Main Theme" (The Last Starfighter) by Craig Safan

36:43 "Peace, The Jedi Consular" (Star Wars: The Old Republic) by Mark Griskey, Gordy Haab et al

39:00 "The Battle of Dark Versus Light" (Vol. 1) by Two Steps from Hell

41:53 "Flight to the Wasteland" (Final Fantasy) by Elliot Goldenthal

52:34 "Finale" (Tron: Legacy) by Daft Punk

55:26 "Fight!" (Kingdoms of Amalur: Reckoning) by Grant Kirkhope

79:19 "The Throne Room-End Title"  (Star Wars: A New Hope) by John Williams

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John Carter (Soundtrack) by Michael Giacchino - Review

The Leap

Review by Christopher Coleman

It only took 100 years from the publish date of the first volume of Edgar R. Burroughs’ JOHN CARTER sci-fi series to make the big screen; 100 years and about that many directors. One element or another of the JOHN CARTER series has been pursued for translation to a feature film (both animated and live action) since the 1930s, but for one reason or another, it was simply never able to make the leap. After most recently transporting itself from the directing-likes of James McTiernan, Robert Rodriguez, and John Favreau, the property ultimately came into the hands of Walt Disney and director Andrew Stanton.

Ironically, the century-old story finally finds a release in the full digital age but in the hands of a first-time, live-action, director. While Stanton has certainly proven his game in the animated feature arena with stunners such as WALL-E and FINDING NEMO, there was certainly a bit of trepidation on whether he’d be able to mimic that success in this territory. Afterall, even though live-action films can contain as many digital elements as animated, and even though Stanton’s Pixar-partner, Brad Bird, seemed to calm similar apprehensions with his work for MISSION: IMPOSSIBLE - GHOST PROTOCOL, the world of animation and live-action can be as far apart as say Jasoom is from Barsoom.

Be that uncertainty as it may, a pretty safe bet these days is to hire composer MICHAEL GIACCHINO for your sci-fi, animated, or action film. While he does score the occasional drama, teen comedy, or television show, Giacchino has become the go-to-composer for many of those who are climbing their way to the top of Hollywood’s young-directors-list. Giacchino has already proven his own world-leaping abilities moving from that of video games to television to feature filmS.  Now, for JOHN CARTER he has been tasked with scoring the leap of a 19th century hero across time and space.

READ THE FULL REVIEW HERE

The SoundCast - Ep. 38 - M:I - Shooken It Enough!

Episode 38 - M:I - Shooken It Enough!

The crew breaks down MISSION: IMPOSSIBLE - GHOST PROTOCOL (the movie and the score) and discuss how it compares to ther previous films. Also, they sidetrack on Shore’s music in THE HOBBIT trailer and the Thomas Newman on SKYFALL bomb!

Episode Highlights

00:21 — Welcome and Happy New Year
01:52 — WHYBLT? - Little Women, Memories of Murder
03:33 — WHYBLT? - Humble Indie Bundle, Baldur's Gate II
06:30 — WHYBLT? - Hugo, Twilight for Chamber Orchestra
08:56 — WHYBLT? - Halo: Combat Evolved
14:43 — WHYBLT? - The Darkest Hour
17:50 — SideTracks: Shore's music in The Hobbit trailer, prequel/sequel scores
25:20 — SideTracks: Thomas Newman Scoring the next James Bond film, Skyfall
35:36 — Main Discussion: Mission: Impossible - Ghost Protocol and "pre-yond"
63:47 — Conclusion

Select Music

00:00 — "Theme from Mission: Impossible" (Music Inspired by Mission: Impossible) by Larry Mullen/ Adam Clayton
02:10 — "Orchard House (Main Title)" (Little Women) by Thomas Newman
07:14 — "The Chase" (Hugo) by Howard Shore
07:51 — "Bella's Lullaby" (Twilight/ Chamber Orchestra) by Carter Burwell
10:00 — "Installation 04" (Halo: Combat Evolved) by Martin O'Donnell/ Michael Salvatori
14:46 — "Now What_" (The Darkest Hour) by Tyler Bates
18:08 — "Hymn of the Dwarves" (The Hobbit Trailer) by Howard Shore
35:34 — "Light the Fuse" (M:I - Ghost Protocol) by Michael Giacchino
46:48 — "Railcar Rundown" (M:I - Ghost Protocol) by Michael Giacchino
52:23 — "Nyah and Ethan" (Mission: Impossible 2) by Hans Zimmer
56:47 — "Mission- Impossible - Firebird" (Mission: Impossible - My Life in Music) by Lalo Schifrin
63:59 — "Mood India" (M:I - Ghost Protocol) by Michael Giacchino

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Cars 2 Soundtrack by Michael Giacchino: Live-Tweet-First-Listen Recap

For our third first-listen-live tweet, I took on Disney/Pixar's upcoming animated feature, CARS 2. Admittedly, I found CARS to be the weakest effort from Pixar and found Randy Newman's score equally "blah." So it was with restrained hope that I dove into the CARS 2 soundtrack with score provided by the ever-busy MICHAEL GIACCHINO.

So what was my first time through the soundtrack like? Read on...


(oh...I spared you the first 5 tracks which were nothing but forgettable pop-song inclusions)

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Cars 2 Track 6 - Turbo Transmission - Guitar, bongos, drums, strings...feels like classic surfing fare. #cars2firstlisten




Cars 2 Track 7 - It's Finn McMissle - Two note guitar and then brass motif? 60s vibe w/ hammond b3, congas, drums, brass #cars2firstlisten




Cars 2 Track 8 - Mater the Waiter - Banjo, brass, country/bluegrass, comical only 43 seconds long #cars2firstlisten




Cars 2 Track 9 - Radiator Reunion - A bit more playful honky-tonk, mouth-harp, trans to new piano theme #cars2firstlisten




Cars 2 Track 10 - Cranking Up the Heat - Sounds like we've got r villainous element; low piano; strings jab, heroic brass #cars2firstlisten




Cars 2 Track 11 - Towkyo Takeout - Return to central 60s theme; ominous brass w/ guitar, chase/action cue #cars2firstlisten




Cars 2 Track 12 - Tarmac the Magnificent - Soft theme starts, builds to central theme again w/ bold brass, strongest piece #cars2firstlisten




Cars 2 Track 13 - Who's Engine is this? - Slow tempo central theme; strings and b3 organ; ominous low strings #cars2firstlisten




Cars 2 Track 14 - History's Biggest Loser - Pensive harp and strings; low brass; dark mysterious tone, #cars2firstlisten




Cars 2 Track 15 - Master of Disguise - Funk groove + banjo? Another short track at 48 seconds #cars2firstlisten




Cars 2 Track 16 - Porto Corsa- Big brass fanfare, an anthem by full orchestra #cars2firstlisten



Cars 2 Track 17 - The Lemon Pledge - Big dramatic opening; returns to 60s groove; drum runs, brass accents, villain theme? #cars2firstlisten




Cars 2 Track 18 - Mater's Getaway - Dramatic launch turns to new 60s rhythm w/ a ton of brass again...short #cars2firstlisten




Cars 2 Track 19 - Mater Warns McQueen - Pensive, methodic rhythm, quirky tension building piece, #cars2firstlisten




Cars 2 Track 20 - Going to the Back Up Plan - A march; snare, heavy brass, interchange btwn strings, banjo and back to march #cars2firstlisten



I'll interject here that I'm pretty disappointed by what I've heard thus far. #cars2firstlisten




Cars 2 Track 21 - Mater's the Bomb - Methodical start turns to 60s rhythm w/ low strings; more quick tempo brass exchanges, action cue #cars2firstlisten




Cars 2 Track 22 - Blunder and Lightning - Two note motif on brass; banjo; rhythm guitar; ...and back to the 60s central theme again. Bold ending #cars2firstlisten




Cars 2 Track 23 - The Other Shoot - Quick tempo variation and arrangement of main theme. Refreshing. #cars2firstlisten




Cars 2 Track 24 - Alexrod Exposed - Brass accents; vibraphone; methodical motif returns; think Twilight zone + Jaws, light, string ending #cars2firstlisten




Cars 2 Track 25 - The Radiator Springs Grand Prix - Triumphant piece w/ much brass, and that main theme again, turns to woodwinds, strings, nice close #cars2firstlisten




Cars 2 Track 26 - The Turbomater - Well, central theme yet again at even faster tempo. Par for the Cars 2 course. #cars2firstlisten




Done. Disappointed here. Short tracks. Poor mix. Repetitive, surprisingly flat. Nothing like Incredibles. #cars2firstlisten

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Well, there you have it.  Despite measured expectations my initial reaction to the CARS 2 soundtrack was clear disappointment.  There's always hope that the film and the score within it will be a vastly better experience, but as of now, my motor just isn't revving very high for this.

Look for more coverage of CARS 2 in the coming weeks!

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.

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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.

Who Should Score The Amazing Spider-Man?

If you missed the coverage of the next iteration of SPIDER-MAN on the big screen, don't worry there is going to plenty of coverage over the next 12 to 18 months.  Today, however, Sony made it's first press release regarding the upcoming reboot.  The film will be entitled THE AMAZING SPIDER-MAN and will star the likes of: Andrew Garfield, Emma Stone, Denis Leary, Martin Sheen, and Sally Field. The film is being directed by Marc Webb (500 Days of Summer).  Now that's not too shabby at all.

Well, of course, you have noticed that there is no announcement of the composer for the original score just yet...and likely won't be for some months, but that just gives us time to specula...err dream a little.

With a full reboot after only a decade, I have to wonder just how far they will move away from what Raimi, Elfman, et al did for the last Spidey-trilogy.  As one of the seemingly few, who didn't enjoy the last three films all that much, I see it as a great opportunity to do something special with the film...and it's score. 

I would say that I'm disappointed in the fact that the film is going to be shot "entirely in 3D" but that is just the way of things for big-budget-movies and with a Spider-Man movie there are just too many "ooooo aaaaah" 3D opportunities to pass up.  That being said, my second greatest hope is that they lay off the second-rate CGI this time, which, ironically, went a long way in making the last films feel fairly flat and uninteresting to me - a faux pas that Iron Man 2 also fell into.  If it must be done, then I hope mark Webb and company have a look at the last HULK, first IRON MAN film, or even X-MEN 2 as a template. (ie.  make sure you have a good screenplay and use CGI only when you absolutely have to.)

Notice I said "second greatest hope" above?  Of course, you did.  My greatest hope is that the director and producers do something truly daring...and that is to resurrect that classic theme originally written by Bob Harris.  You'll probably remember Harris' catchy, jazz, melody was given its true addictiveness by Paul Francis Webster's lyrics, "Spider-man, Spider-man.  Does whatever a spider can..."  Instead of delivering another mostly-adequate-underscore, I'm hoping they do something much more risky, something much more memorable to help set this super-hero film apart from the deluge of such films that will pound through our local multiplexes over the next two years.

Now it wouldn't be even remotely practical to think that they could score the entire film with Harris', and later Ray Ellis', edgy jazz style, but taking that original theme and letting it drive the score (contemporary adaptations and all) would prove memorable and just a whole bunch of fun.  (These movies are still supposed to be fun.  Aren't they?)

Lastly, I'd like to put forward at least one name that could pull off this sort of score coup.   The composer who immediately comes to mind is MICHAEL GIACCHINO, who certainly handled the 60s style jazz genre with spectacular results in THE INCREDIBLES and has successfully taken on franchises with iconic musical themes:  STAR TREK and MISSION: IMPOSSIBLE.

So here's a chance for one super-hero franchise to do something truly amazing...at least in the realm of the original score.  Leave us a comment telling us what you think about the upcoming Spider-Man movie, what sort of score it deserves, and who should score it.

Medal of Honor - 8 Disc Limited Edition Soundtrack Collection Coming

If you have loved the music of the MEDAL OF HONOR video game franchise, then this press release is going to make you very, very happy!  Read on...

FOR IMMEDIATE RELEASE
LA-LA LAND RECORDS IN CONJUNCTION WITH
ELECTRONIC ARTS TO RELEASE 8 DISC LIMITED EDITION
MEDAL OF HONOR SOUNDTRACK COLLECTION

Includes original scores from Michael Giacchino, Christopher Lennertz, and Ramin Djawadi

LOS ANGELES, CA – Electronic Arts (EA) continues to make new strides in video game music with the release of the MEDAL OF HONOR SOUNDTRACK COLLECTION. The limited edition eight disc collection includes original scores from the 14 MEDAL OF HONOR titles, previously unreleased material from the award-winning composers Michael Giacchino, Christopher Lennertz and Ramin Djawadi, a 40-page booklet with complete track information, and an introduction by game creator, Director Steven Spielberg. According to Steve Schnur, Worldwide Executive of Music and Marketing at EA, “the box set representing the 12-year-old franchise is an absolute milestone for video game scores. The millions of MEDAL OF HONOR fans around the world deserve nothing less. We are honored to partner with LA-LA Land Records.” The limited edition box set will be released March 1st.

In choosing an appropriate composer to convey the mood of the first MEDAL OF HONOR, legendary director Steven Spielberg was introduced to and impressed with young unknown composer, Michael Giacchino. “I did what anybody in their right mind would do,” said Spielberg. “I signed him up to score MEDAL OF HONOR—and the rest of Giacchino’s history belongs to him.” Giacchino’s video game score pioneered live orchestral recordings of videogame music.

After four highly successful video game scores, the baton was passed to Christopher Lennertz, who also composed the score for the Quantum of Solace game. Lennertz recorded MOH European Assault and Pacific Assault with the Hollywood Studio Symphony, which has recorded for legendary composers such as John Williams.

Last year the game was reinvented and for the first time in its 12-year history, MEDAL OF HONOR left World War II and entered the modern day warfare in Afghanistan. The most recent disc of the collection demanded an intense score that could bring the game into this brand new era, and Ramin Djawadi was brought on for the challenge. Known for his score for Iron Man and the Prison Break television series, Djawadi’s score matches the intensity of the soldier’s story and Tier 1 experience in 2010’s MEDAL OF HONOR.

The increasing demand of the MEDAL OF HONOR scores by soundtrack aficionados led to EA's musical compendium of the MOH music. The rising popularity of videogame music has created an outcry to the National Academy of Recording Arts and Sciences (NARAS) to create a GRAMMY category honoring "Best Videogame Score." Currently, the Grammys recognizes video game music as part of the category “Best Score Soundtrack for a Motion Picture, Television or Other Visual Media.”


Search Amazon.com for "Medal of Honor soundtrack"

Let Me In (Soundtrack) by Michael Giacchino - Review

Fit Me In
Review by Richard Buxton

Following an Academy Award for UP and then his final duties for the long running LOST series, MICHAEL GIACCHINO makes his first foray into the horror genre in LET ME IN. GIACCHINO is fast becoming one of the Hollywood film scoring giants with an aura of reliability in his composing abilities. Therefore seeing him attached to a remake of a universally lauded Swedish horror comes as no surprise.

LET THE RIGHT ONE IN was released in 2008 to critical acclaim across the world. A fresh approach to the vampire genre and outstanding performances from the cast meant that the Swedish production was a sure-fire hit. Following recent trends of film remakes, Hollywood studios felt the need to reinterpret LET THE RIGHT ONE IN, and so LET ME IN was born. Telling the story of a twelve-year-old boy's friendship with a vampire, LET ME IN manages to elevate itself above the wealth of hashed out remakes in recent memory, perhaps largely due to the shot-by-shot following of the original. A fine score from Swedish composer JOHAN SÖDERQVIST accompanied the original. SÖDERQVIST’S compositions interspersed a distinctive optimism among the terror, while GIACCHINO’S interpretation of the story has taken a somewhat more formulaic path into horror territory.

Read the full review

Up (Soundtrack) by Michael Giacchino - Review

It Crosses the Heart

Review by Christopher Coleman

Pixar's streak of critical and popular success is uncanny. With the possible exception of CARS, no matter how much hype, they seem to deliver one delightful film after another. After ten feature films, so lovingly and painstakingly put together, it really shouldn't come as a surprise any more, but somehow I find myself tickled with such surprise as I watch their handiwork each time. In UP, we have the simple tale of a lonely, aging man, Carl (voiced perfectly by Edward Asner), who has lost the love of his life and a specific promise of adventure they had covenanted to share. In a desperate act to make good on his promise to his late-wife, Ellie, Carl constructs the most unique "mobile-home" you'll ever see. With helium, latex, and the wind as his means, Carl is determined to bring his home to Paradise Falls in South America, rather than let it fall into the evil clutches of property developers. On his journey, he is befriended by the immediately likable, Russell, who is determined to earn his final "boy scout" merit badge by assisting an elderly person. With equal resistance, Carl's gang is further increased by the tag-alongs: Kevin, the elusive "snipe," Dug, the outcast from a pack of villainous pooches and, finally, Charles F. Muntz, the one-time adventurer. What struck me about UP is that there isn't one glaring thing that makes the film so enjoyable, but a combination of many small elements. As with most Pixar creations, the characters are distinct and likable, not in spite of their flaws, but because of them. Their subtly, clever writing continues and their attention to fine detail never sharper. Counted among Pixar's "small elements" was the hiring of Michael Giacchino to provide the musical character for UP.

Read the full review here

SoundCast Episode #7 - Star Trek Roundtable

Episode #7:
Star Trek Roundtable discussion with Marius Masalar and Tom Hoover (Scorenotes.com), Double SoundCast Spotlight: Austin Wintory's Captain Abu Raed, Jermaine Stegall's Enigma + Gametime 2009 Update with Diego Stocco interview tease!

Recorded May 24-26, 2009
Published May 26, 2009

Episode Highlights

00:00 - SoundCast Intro: The Final Frontier
04:45 - New Movies and New Reviews
09:21 - Spotlight: Captain Abu Raed by Austin Wintory
14:28 - Gametime Update!
16:33 - Interview Tease with Diego Stocco (The Conduit)
17:38 - Spotlight #2: Enigman by Jermaine Stegall
23:37 - Star Trek Roundtable Discussion with Marius Masalar and Tom Hoover (ScoreNotes)


Music Clips (Select musical clips contained in this podcast)

00:00 To Boldy Go - Star Trek (Michael Giacchino)
05:00 Paper Mache World - The Soloist (Dario Marianelli)
05:47 Opening - Terminator Salvation (Danny Elfman)
11:18 End Credits - Captain Abu Raed (Austin Wintory)
14:00 Gametime! (downRising)
16:33 The Conduit - Suite (Diego Stocco)
20:20 Main Title - Enigma (Jermaine Stegall)
22:27 Enterprising Young Men - Star Grek (Michael Giacchino)
42:15 The Enterprise - Star Trek The Motion Picture (Jerry Goldsmith)
44:12 End Credits - Star Trek (Michael Giacchino)
47:55 End Credits - Star Trek (Michael Giacchino)
53:33 Star Trek - Star Trek (Michael Giacchino)
54:39 Speed Racer - Speed Racer (Michael Giacchino)
55:55 Star Trek - Labor of Love (Michael Giacchino)

Listen to the latest episode of The SoundCast

Star Trek by Michael Giacchino (Soundtrack Review)

Boldly Going...Nowhere New

Review by Marius Masalar

As the release date of the new Star Trek film loomed, I'll admit that I was uneasy. Despite having mastermind J.J. Abrams at the helm, "Trekkies" were faced with the prospect of a film that would not only tinker with the history, but precede the narratives of the other ten films as well. A prequel. A re-launch of the franchise. The last time something like this happened to an established sci-fi universe of similar magnitude, we ended up with Jar-Jar Binks.

Despite these worries, the film was very successful with critics — due in large part to the amazing chemistry and sharp performances of the cast. Interestingly enough, Abrams himself is not a bona fide "Trekkie"; rather, he is a more casual fan who worked with writers Roberto Orci and Alex Kurtzman ("Trekkies" themselves) to create a more balanced film that could be appreciated by a fresh audience too. As was expected, Abrams brought on his right-hand man of music, Michael Giacchino, to provide the musical score for Star Trek's rebirth.

Read the full review here

Win the Star Trek (Soundtrack) by Michael Giacchino!

Oh yes! Oh yes! The caption contest is back! Not only is it back, but it's all new - making entering the contest even easier than before. To mark this special caption-occasion, thanks to Varese Sarabande, the prize for contest #93 is none other than the original soundtrack from STAR TREK by MICHAEL GIACCHINO.

So do you have the captioning-chops for the pic above? If so,...

Enter the contest here!

Star Trek by Michael Giacchino: Autograph Session in Los Angeles

Varese Sarabande records, who will be releasing the original motion picture soundtrack for STAR TREK by MICHAEL GIACCHINO is having a special signature session:

May 5, 2009
Best Buy
West Hollywood CA (Store 393)
1015 N. La Brea Ave
West Hollywood, CA 90038


For more details check the official site here