Bonus SoundCast - Remembering James Horner

Bonus - The Soundcast Remembers James Horner

The Soundcast and Tracksounds team come together to talk about composer James Horner.  The team has a bit of a group therapy session as they share their own stories of the first time they each took note of the name, "James Horner," their thoughts on his lasting legacy in the film music genre, the score that epitomizes James Horner's work.  The main points of discussion are divided by clips from some of James Horner's lesser known, yet no less compelling, works.

Episode Highlights

00:00 — Introduction
04:22 — Hearing the bad news
10:09 — Our first James Horner score
21:48 — James Horner's place in history
34:23 — Some personal stories
41:22 — The epitome of James Horner
08:51 — Introduction to special tribute
36:08 — Close

Music Selections

00:00 — "There's No Goodbye ... Only Love" (Perfect Storm) by James Horner
19:48 — "A Far Away Time" (To Gillian on her 37th Birthday) by James Horner
33:35 — "Time Brings All Things To Light ... I Trust It So" (All The King's Men) by James Horner
40:15 — "Fresh Water" (Black Gold) by James Horner
52:33 — "Fallen Friends" (In Country) by James Horner

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SoundCast Ep. 80 - The 2014 Cue Awards

Episode 80 - The Cue Awards 2014 

The 7th Cue Awards are finally revealed!  Christopher Coleman, Marius Masalar, Edmund Meinerts, Richard Buxton, Thomas Medina, and Steven Sharrat, are joined by award-winning composers and record industry professionals to accept their awards.  All eleven award categories are announced as well as the winners of The Genius Choice Vote!  Additionally, Richard Buxton's spotlight on scores and composers from Asia returns with The Monkey King Award.

Episode Highlights

00:00 — Opening and Welcome to the 2014 Cue Awards
04:08 — How the Cue Awards Work
06:36 — Best Action Score: Cue Award and Genius Choice Award Winner
22:58 — What is The Genius Choice Vote?
23:35 — Best Dramatic Score: Cue Award and The Genius Choice Vote Winner
35:55 — Best Score for Television: Cue Award
38:11 — Best Score - Television: The Genius Choice Winner
45:10 — Best Score - Video Game: Cue Award and Genius Choice Winner
01:03:04 — Best Score - Animation: Cue Award and Genius Choice Award Winner
01:13:37 — Best Cue - Cue Award and Genius Choice Award Winner
01:22:55 — The Monkey King Award
01:26:31 — Record Label of the Year: Cue Award and Genius Choice Award Winner
01:36:06 — Best Theme: Cue Award and Genius Choice Award Winner
01:46:00 — Composer of the Year: Cue Award and Genius Choice Award Winner
01:50:05 — Best Overall Score: Cue Award and Genius Choice Award Winner
01:57:43 — Wrap Up and Spotlight Titles from 2014
02:11:14 — Credits and Thanks

Music Selections

00:01 — Cue the Orchestra by Marius Masalar
06:59 — Sun Wukong, The Monkey King (The Monkey King) by Christopher Young
11:35 — Niu Wo Wang, the Buffalo Demon King (The Monkey King) by Christopher Young
23:59 — Main Title (The Field of Lost Shoes) by Frederik Wiedmann
32:09 — The Imitation Game (The Imitation Game) by Alexandre Desplat
36:17 — Main Theme (Gunshi Kanbee) by Yugo Kano
38:34 — Main Theme (Game of Thrones) by Ramin Djawadi
45:50 — The Seeding (Civ. Beyond Earth) by Michael Curran, Geoff Knorr, Grant Kirkhope, Griffin Cohen
47:06 — Planetfall (Civ. Beyond Earth) by Michael Curran, Geoff Knorr, Grant Kirkhope, Griffin Cohen
47:46 — The Signal (Civ. Beyond Earth) by Michael Curran, Geoff Knorr, Grant Kirkhope, Griffin Cohen
51:49 — Planetfall Ambient Late 2 (Civ. Beyond Earth) by Michael Curran, Geoff Knorr, Grant Kirkhope, Griffin Cohen
54:49 — Xeno Titan (Civ. Beyond Earth) by Michael Curran, Geoff Knorr, Grant Kirkhope, Griffin Cohen
01:03:33 — Dragon Racing (How To Train Your Dragon 2) by John Powell
01:14:06 — The Future of Mankind (Civ. Beyond Earth) by Geoff Knorr
01:17:38 — Flying With Mother (How To Train Your Dragon 2) by John Powell
01:17:38 — Naoki Sato Suite - Arranged by Richard Buxton
01:17:38 — Son of Batman (Son of Batman) by Frederik Wiedmann
01:36:35 — A New Beginning (Civ. Beyond Earth) by Geoff Knorr
01:40:18 — Maleficent Flies (Maleficent) by James Newton Howard
01:46:24 — Opening Titles (Monuments Men) by Alexandre Desplat
01:50:43 — Two New Alphas (How To Train Your Dragon 2) by John Powell
01:50:43 — Should I know You? (How To Train Your Dragon 2) by John Powell

Notes:

Special thanks to:  Albert Tello (Costa Communications), Laura Engel (Kraft/Engel), Maria Klienmann (Walt Disney Music),  Dan Berry (Gorfaine Schwartz Agency)



Support Tracksounds:

You can purchase Marius Masalar's original piece "Cue The Orchestra" on Bandcamp!

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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SoundCast Episode 79 - Oscar Best Score Nominations

Episode 79 - Oscar Best Score Nominations

Yes.  The Oscar nominations have been public for a while, but it takes time for these things to settle in.  The crew assemble (virtually) to discuss each of the five nominees in the BEST SCORE category for the 87th Annual Academy Awards.  We give our predictions as to who we think will win and also who we'd like to see win.  We also share some responses from Twitter and Facebook on the topic.  Also in this episode WHYBLT? is back and Edmund Meinerts gets his chance to lay down his thoughts on Shore's Battle of the Five Armies score and our discussion in ep. 78.

Episode Highlights

00:00 — "Olflactenal Nominations"
00:39 — Intro and welcome
02:04 — WHYBLT?
24:48 — Re-Battle of the Five Armies with Edmund
39:30 — Oscar Best Score Nominations Intro
41:09 — The Grand Budapest Hotel by Alexandre Desplat
49:09 — The Imitation Game by Alexandre Desplat
53:38 — Interstellar by Hans Zimmer
68:20 — Mr. Turner by Gary Yershon
81:09 — The Theory of Everything by Johan Johannsson
90:51 — How to find and follow us
92:12 — Listeners Twitter/Facebook responses:  Who will win?  Who do you want to win?
95:44 — The Final Quesitons: Who will win?  Who do you want to win?
24:48 — Re-Battle of the Five Armies with Edmund
39:30 — Oscar Best Score Nominations Intro
41:09 — The Grand Budapest Hotel by Alexandre Desplat
49:09 — The Imitation Game by Alexandre Desplat

Music Selections

00:00 —  "Clippers Discoteque Break" (Pan Am - The Sound of the 70s) by Yoshinori Sunahara
02:17 —  "1st Movement" (Jupiter Ascending) by Michael Giacchino
03:36 —  "Save This World"  (Phantasy Star Universe) by Hideaki Kobayashi
06:38 —  "2002 FIFA World Cup Official Anthem" by Vangelis
08:37 —  "Big Hero 6" (Big Hero 6) by Henry Jackman
18:00 —  "Roman Fanfare" (Coliseum) by Marc Timon Barcelo
19:22 —  "Sands of the Coliseum" (Coliseum) by Marc Timon Barcelo
23:03 —  "Ecstasy of Gold"  (The Book of Life) by Gustavo Santaolalla
38:07 —  "The Return Journey"  (The Hobbit: The Battle of the Five Armies) by Howard Shore
39:03 —  "The Darkest Hour" (The Hobbit: The Battle of the Five Armies) by Howard Shore
41:12 —  "Mr. Moustafa" (The Grand Budapest Hotel) by Alexander Desplat
49:10 —  "The Imitation Game" (The Imitation Game) by Alexander Desplat
53:39 —  "First Step" (Interstellar) by Hans Zimmer
81:12 —  "Cambridge, 1963" by Johan Johannsson
92:23 —  "M. Ivan" (The Grand Budapest Hotel) by Alexander Desplat
95:44 —  "Where We're Going" (Interstellar) by Hans Zimmer
105:35 —  "Moonshine (Traditional)" (The Grand Budapest Hotel) arranged by Alexander Desplat

Notes:
The Video Game Music Database (http://vgmdb.net/)
Blizzard "Overwatch" Announcement trailer: http://youtu.be/UXCNNDHboho

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!

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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!

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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!

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Soundcast Ep. 75 - Top 10 2014 Summer Scores!

Ep. 75 - Top 10 2014 Summer Scores!

Christopher, Marius, Richard and Edmund reconvene to countdown their top ten scores from the very ripe, 2014 Summer movie line up!  It's been a few months, but we're back with  almost two-hours of episodic vengeance!

Episode Highlights

00:00 - Summer Countdown Mix
01:00 - Intro and How We Spent Our Summer Vacation
09:31 - #10
27:35 - #9
37:10 - #8
45:08 - #7
64:49 - #6
73:10 - #5
76:07 - #4
80:00 - #3
93:19 - #2
97:14 - #1
99:31 - Scores that didn't make the list

Music Selections

00:04 - "The Pod Chase" (Guardians of the Galaxy) by Tyler Bates
09:55 - "Dochi Theme" (Kundo:  Age of the Rampant) by Jo Yeong-wook
12:56 - "You Understood Us" (Earth to Echo) by Joseph Trapanese
16:38 - "Guardians United" (Guardians of the Galaxy) by Tyler Bates
21:00 - "The Kylin Escape" (Guardians of the Galaxy) by Tyler Bates
23:14 - "TMNT March" (Teenage Mutant Ninja Turtles) by Brian Tyler
30:38 - "Son of Zeus" (Hercules) by Fernando Valezquez
37:21 - "Training Dusty" (Planes 2: Fire and Rescue) by Mark Mancina
40:45 - "Godzilla!" (Godzilla) by Alexandre Desplat
45:14 - "There He Is" (The Amazing Spider-Man 2) by Hans Zimmer et al
52:03 - "Main Titles" (The Giver) by Marco Beltrami
56:49 - "Enough Monkeying Around" (Dawn of the Planet of the Apes) by Michael Giacchino
58:41 - "Level Plaguing Field" (Dawn of the Planet of the Apes) by Michael Giacchino
65:01 - "Hiten-Kyoto" (Rurouni Kenshin - Kyoto Inferno) by Naoki Sato
66:55 - "End Title Suite" (A Million Ways to Die in The West) by Joel McNeeley
69:17 - "Main Titles" (Belle) by Rachel Portman
73:16 - "Trajectory of a Miracle" (Magical Sisters Yoyo and Nene) by Go Shina
77:07 - "Dragon Racing" (How to Train Your Dragon 2) by John Powell
80:15 - "Hassan Learns French Cooking" (Hundred Foot Journey) by A. R. Rahman
82:52 - "Maleficent Suite" (Maleficent) by James Newton Howard
89:00 - "Main Titles" (X-Men: Days of Future Past) by John Ottman
93:34 - "Marnie" (When Marnie Was There) by Takatsugu Muramatsu
98:05 - "Opening Title" (Stand By Me Doraemon) by Naoki Sato
100:02 - "The Unspeakable Has Happened" (The Boxtrolls) by Dario Marianelli
103:12 - "Angel of Verdun" (Edge of Tomorrow) by Christophe Beck
105:34 - "Toothless Found" (How to Train Your Dragon 2) by John Powell

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!

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Snowpiercer (Soundtrack) by Marco Beltrami - Review + Audio

Frozen Motion
by Richard Buxton

Based on the French graphic novel LE TRANSPERCENEIGE, SNOWPIERCER marks BONG JOON-HO’S English-language debut, and the last of the South Korean film industry’s big three directors (Bong Joon-ho, Kim Jee-woon, Park Chan-wook) to venture west in recent years. Though its release was subject to substantial delays outside Asia, Snowpiercer is nothing less than a riveting, refreshing, and downright entertaining science-fiction action film from an immensely talented director.

SNOWPIERCER, set in a grim dystopian future aboard a self-sustaining train without a terminus, charters the uprising of the oppressed within the remnants of humanity’s fragile existence. This ambitious, claustrophobic sci-fi is director Bong’s first foray into action, and has been met with almost universal praise. While his equally talented South Korean colleages Kim Jee-woon, and Park Chan-wook stumbled somewhat with their English-language debuts, SNOWPIERCER’S critical success has made great waves for the South Korean film industry on an international scale.

Aside from Japanese composer TARO IWASHIRO’S score for MEMORIES OF MURDER, music in Bong’s films hasn’t particularly stood out, either in-context or standing alone, nor has the director formed any sort of long-lasting relationship with a composer. As a result, MARCO BELTRAMI boarded the project. Had BELTRAMI produced a by-the-numbers action score, it would have been a missed opportunity to provide something unique for a truly unique film. However, Beltrami has most definitely succeeded in his work for SNOWPIERCER, though in a way that is not entirely satisfying.

The dark reality of SNOWPIERCER’S world is immediately evident in the score’s bleak opening - a fog of desolation that never clears and ultimately represents the divide between the score’s success and failure. As a supporting character in the film, BELTRAMI’S score blends in perfectly, but as a solo act it doesn’t quite have the muscle to boast consistent thrills. Subsequently, those who have not seen the film will have greater difficulty in finding moments worth revisiting.

READ THE FULL REVIEW

Interview: Jeff Russo (Fargo)

Richard Buxton talks with composer Jeff Russo about his foray into writing music for television, balancing his career between composing for film and TV with his band-work, how he came to write the score for the first season of Fargo and more.

RB -   Having started your career in rock music, how did you find yourself composing for visual media, and was it a path you had considered taking before being presented with the opportunity?

JR - I was asked to play guitar on a score for a movie back in 2000. I really loved working to picture, so I thought "This is something I would love to do!" About 5 years later, when Tonic was on hiatus, I was talking to Wendy Melvoin about it, and she asked if I wanted to come into their (Wendy and Lisa's) studio to watch what they were doing. Soon after, I started working for them on various projects. That was my introduction to writing music for visual media. I had always loved film music, but this was the first time I thought about it as something I would like to do long term.

RB -  The last few years has seen a dramatic increase in the amount of scores being written by musicians who have a professional musical background outside film music. What do you think that such composers can offer that those who have worked solely in film scoring perhaps cannot?

JR - It's just a different perspective. When you come from a completely different background than a classically trained composer, you'll have a totally different musical point of view. That's the thing that is so attractive about it.

READ THE FULL INTERVIEW

Soundcast Ep. 74 - Summer Catch Up

Ep. 74 - Summer Catch Up

The Soundcast crew reconvenes with guest, Kristen Romanelli (Film Score Monthly), to get caught up on the first half of the Summer of 2014 big movies and big move scores:  The Amazing Spider-Man 2, Godzilla, X-Men: Days of Future Past and Edge of Tomorrow.

Episode Highlights

00:00 - Summer Catch-Up Mix
00:55 - Welcome to the Summer
08:10 - Feelings about the first-half of the Summer
13:22 - The Amazing Spider-Man 2
25:00 - Godzilla
44:30 - X-Men: Days of Future Past
60:39 - Maleficent
72:45 - Edge of Tomorrow
86:17 - What's left of the Summer
96:00 - Find and Follow

Music Selections

00:00 - "There He Is" (The Amazing Spider-Man 2) by Hans Zimmer
00:25 - "I'm Spider-Man" (The Amazing Spider-Man 2) by Hans Zimmer
13:45 - "I'm Electro" (The Amazing Spider-Man 2) by Hans Zimmer
20:27 - "The Electro Suite" (The Amazing Spider-Man 2) by Hans Zimmer
25:01 - "Godzilla!" (Godzilla) by Alexandre Desplat
29:57 - "Golden Gate Chaos" (Godzilla) by Alexandre Desplat
44:08 - "The Future (Main Titles)" (X-Men: Days of Future Past) by John Ottman
45:01 - "Hope" (X-Men: Days of Future Past) by John Ottman
46:15 - "Time" (Inception) by Hans Zimmer
46:58 - "Hope" (X-Men: Days of Future Past) by John Ottman
47:37 - "Time in a Bottle" (X-Men: Days of Future Past) by John Croce
56:26 - "Time's Up (Orig. Version)" (X-Men: Days of Future Past) by John Ottman
58:54 - "Time's Up (Film Version)" (X-Men: Days of Future Past) by John Ottman
60:40 - "Maleficent Suite" (Maleficent) by James Newton Howard
66:38 - "Maleficent is Captured" (Maleficent) by James Newton Howard
72:54 - "Angel of Verdun" (Edge of Tomorrow) by Christophe Beck
98:47 - "The Queen of Faerieland" (Maleficent) by James Newton Howard

Notes:

Follow Kristen Romanelli on Twitter - @kbfornow

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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24: Score Another Day - Interview with Sean Callery

Fox's television-series-turned-cultural-phenomenon, "24," began airing some 13 years ago and with each tick of the proverbial and practical clock, with each twist, turn and double-turn experienced by Jack Bauer and his covert cohorts was the music of composer SEAN CALLERY. Richard Buxton chats with the composer about the legacy and challenges of "24," and his return to the franchise with 24: LIVE ANOTHER DAY.

RB - How does it feel to be back working on 24 with Live Another Day?

SC - It's wonderful to be back. I was curious, after having written the last score for "24" over 3 years ago, how it would be fitting back into the series. For me, and for many of my colleagues, it felt as natural as ever. We picked up where we left off, and continue to work at making each episode as great as possible.

RB - You initially worked with creators Joel Surnow and Robert Cochran, and director Jon Cassar on La Femme Nikita before joining them on 24 and now Live Another Day. What is the dynamic like between you and the show’s producers and directors?

SC - Over the years we have developed this intuitive synergy with one another and it has evolved into a great collaboration that also grew into great friendships. These are very talented people, and I am very lucky to be working among them. With Joel and Jon, we went on to do “The Kennedys” together. Recently I scored a film for Joel Surnow called “Small Time,” which came out last month, starring Chris Meloni and Dean Norris.

READ THE FULL INTERVIEW

Drama Period. Interview with Trevor Morris

Richard Buxton chats with Trevor Morris about some of the prolific composer's most recent work spanning across video games, feature films and some of television's most popular period dramas.

RB - You spent a number of your career’s earlier years at Remote Control Productions providing additional music to scores headed by the likes of Hans Zimmer and Steve Jablonsky. Looking back, how valuable was that experience both as a learning process and as a career path?

TM - I’m very grateful for that time and the experiences that went with it.

RB - How much influence does a composer of additional music have when scoring a film?

TM - Not much influentially. The composer is the leader, or “chef”.

RB - In 2013 you scored five television shows as well as the feature film Olympus Has Fallen. How do you manage to juggle such a large amount of work?

TM - Schedules fall in different ways that help allow multiple projects to happen, but that was a particularly busy time to be sure!

RB - Do you ever find themes or ideas from one show creeping into another given their proximity?

TM - No, not really. It’s very important to me, and inherent in the nature of different projects, to want and deserve original ideas.

READ THE FULL INTERVIEW

Rio 2 (Soundtrack) by John Powell

Rio ... Grande!

Review by Richard Buxton

Despite making a large dent in the box-office and receiving a generally warm critical response, 2011’s RIO was a largely forgettable and formulaic production that did little to stand out from the many anthropomorphic animal adventures that queue up for release each year. Its failings were hardly unique and were not quite enough to derail the film to the point of it being unenjoyable, but there was still a sense that RIO was just another run-of-the-mill animated stop-gap before the year’s bigger releases, and it was a feeling that coursed through the entire film. Despite emphasis on the film’s exotic Brazilian setting, RIO could have taken place just about anywhere and had similar results. There was a lack of conviction behind the film’s Latin American setting, and at times this extended even as far as JOHN POWELL’S score. That’s not to say that POWELL’S score was not at times excellent, but on the whole it failed to fully ignite in the way many have come to expect his works to. If his score for RIO 2 is anything to go by, the film’s geographical focus has increased significantly.

READ THE FULL REVIEW

Top 10 Metal Gear Solid Tracks

Top 10 Metal Gear Solid Tracks
by Richard Buxton

Hideo Kojima’s ‘Metal Gear Solid’ franchise is undoubtedly one of the most influential to ever hit gaming consoles. The legendary Solid Snake was infiltrating the lairs of supervillains long before the stealth action game was even recognised as a genre by the mainstream, and with the 1998 release of Metal Gear Solid on the Playstation, Kojima had changed the landscape of the action game forever. Combining state-of-the-art visuals and cutscenes, larger than life characters with the voice acting to match, intensely rewarding gameplay, and outstanding cinematic music, each Metal Gear Solid release has pushed the boundaries of what was thought possible.

With the recent release of ‘Metal Gear Solid V: Ground Zeroes’ and the launch of ‘The Phantom Pain’ slowly creeping ever closer, I’ve compiled a list of my top 10 tracks from my favourite series in gaming: Metal Gear Solid.

10. Debriefing by Harry Gregson-Williams (Metal Gear Solid 3: Snake Eater)

For such an eccentric video game franchise, Metal Gear is as effective as any at bringing an emotional hammer down upon the player, and no moment in the franchise managed this as effectively Snake Eater’s bittersweet conclusion. Harry Gregson-Williams’ mournful hymn captures the moment beautifully in three distinct but equally anguished sequences that rank among the most touching of the series, going so far as to draw audible tears of anguish from the normally so robust and inspiring main theme.



9. Battle in the Jungle by Norihiko Hibino (Metal Gear Solid 3: Snake Eater)

The industrial setting of the previous Metal Gear Solids was often reflected in the intensely rigid ‘alert mode’ music, so it comes as no surprise that Snake Eater’s jungle-based alert theme has a noticeably more flexible and expressive personality. Ethnic woodwinds reflect the jungle setting as chugging guitars and synth-bass get the heart racing. Snake Eater’s jungle-based alert theme comes in a collection of forms, and is discovered at its most thrilling in the fan compiled soundtrack ‘Metal Gear Solid 3: Snake Byte’.



8. Sins of the Father composed by Akihiro Honda, performed by Donna Burke (Metal Gear Solid V: The Phantom Pain)

Despite the game still being some way off release, the use of “Sins of the Father” in the E3 2013 ‘Phantom Pain’ trailer was enough to secure it a place in the lower half of this top 10. A heart-rending opening leads into an electric fusion of synthetic and orchestral elements courtesy of Akihiro Honda that is completed by an enormous vocal performance by Donna Burke.

Metal Gear creator Hideo Kojima is keenly aware of his games’ reputation for the hyperbolic, and has used this spectacular song as yet another opportunity to push the series further into the outlandish. We wouldn’t have it any other way.



7. Mobs Alive by Harry Gregson-Williams (Metal Gear Solid 4: Guns of the Patriots)

As the musical backdrop to a massacre, “Mobs Alive” is an electrifying ascent into an orgy of nanomachine-fueled violence. Electronics propel and strings churn as Liquid Ocelot’s Haven Troopers slaughter helpless Marines in a “violent ceasefire”, the haunting choir condemning them to a bloody death. MGS4 isn’t short on intense musical sequences, and this track stands out thanks in part to its inclusion in the game’s hype-injecting E3 2007 trailer.



6. Opening Infiltration by Harry Gregson-Williams (Metal Gear Solid 2: Sons of Liberty)

MGS2’s opening was a seminal moment for video games. Not only did it give the world a glimpse at what the PS2 was really capable of - given that the game was, at the time, arguably the most visually impressive title available on the platform - it was the beginning of a game at the heart of the gaming industry’s cinematic revolution. As games steered further towards the realm of film, Kojima’s franchise continued to pioneer cinematic storytelling in video games. Kojima’s visual and narrative intent was abundantly clear. All the game needed was a score to match, and Harry Gregson-Williams’ haunting choral cries and rising brass launched Snake’s leap of faith in stunning fashion. This was the eagerly anticipated return of a legend, and a moment in which the potential of cinematic storytelling within a video game was truly realised.



5. Virtuous Mission by Harry Gregson-Williams (Metal Gear Solid 3: Snake Eater)

MGS3’s opening cue is perhaps the perfect musical portrayal of the world’s restless wait for the release of the long-awaited game. A slow-burn of intrigue and suspense creeps teasingly upwards until the fuse is lit and hype reaches terminal velocity as the player and Snake are sent mercifully into freefall, soaring into… another cutscene. Despite the sudden segue into yet more exposition, “Virtuous Mission” captures Snake Eater’s introduction in breathtaking fashion, and follows the trend of music playing a large part in each game’s opening infiltration sequences.



4. Encounter by KCE Japan Sound Team (Metal Gear Solid)

Aside from the main theme, this nerve-shredding “alert mode” cue is perhaps the most iconic of the Metal Gear franchise, and in hindsight foreshadowed the arrival of Media Ventures/Remote Control Productions composer Harry Gregson-Williams with its at times striking similarity to fellow MV/RCP composer Mark Mancina’s ‘Speed’ score (as shown in this comparison video). Memories of Snake frantically seeking cover come flooding back in waves of frenetic percussion and hair-raising synths in a cue that will remain eternally etched into the memories of all those who infiltrated the depths of the legendary Shadow Moses nuclear facility. It’s almost as effectively panic-inducing as the dreaded and nightmarish tune to Sonic’s watery death.



3. Calling to the Night composed by Akihiro Honda, performed by Natasha Farrow (Metal Gear Solid: Portable Ops)

Often overlooked in favor of songs heard in the series’ major entries, “Calling to the Night” is a powerful reflection of Big Boss’s ethical evolution during the events of ‘Portable Ops’, and is performed with real gravitas and a classic flair by Natasha Farrow. The grand orchestral eruption into the song’s chorus echoes Metal Gear’s unbroken passion and revered extravagance effortlessly in a song that is arguably the franchise’s most vocally, lyrically, and compositionally compelling.



2. “Metal Gear Solid” Main Theme [Metal Gear Solid 3 Version] by Harry Gregson-Williams and Tappi Iwase (Metal Gear Solid 3: Snake Eater)

Debuting in the E3 2003 trailer, MGS3’s main theme began with what has now become the main Metal Gear Solid theme, and ended with an extended and exotically-tinged rendition of the original Tappi Iwase theme. Kojima has always been known for his grandiose trailers, and Harry Gregson-Williams’ musical accompaniment did not disappoint with it’s new theme and its hectically percussive middle section that only ratcheted up the hype for a game already soaring at fever pitch.



1. Metal Gear Solid 2 Main Theme by Harry Gregson-Williams and Tappi Iwase (Metal Gear Solid 2: Sons of Liberty)

The No.1 spot was always going to be taken by the iconic theme, the only question was which variation would win out. This version of the celebrated theme was one of the first impressions of Harry Gregson-Williams’ highly anticipated score given its inclusion at the climax of the 2000 E3 trailer. It would again be heard during the game’s opening credits sequence, a sequence that preceded one of the most hyped games in history. Treating listeners to an opening action variation before the theme’s militaristic pinnacle ends it spectacularly, the “MGS2 Main Theme” is as exciting as it is inspiring, and ultimately edges out the MGS3 theme with greater conviction in its rendition of the main theme. It’s undoubtedly a source of limitless nostalgia for many gamers, a nostalgia all the more poignant given the fact that a new interpretation never be heard again as a result of unfortunate plagiarism issues concerning the theme, its original composer Tappi Iwase, and Russian composer Georgy Sviridov. In the end, no matter where the inspiration came from, this theme stands among the most memorable the video game industry has to offer.




So have we missed one of your favorite tracks from this immense franchise?  Let us know!

Soundcast Ep. 71 - 2014 Film Music Preview

Episode 71 - 2014 Film Music Preview

Allison Loring who recently published the article "The 15 Most Anticipated Movie Soundtracks and Scores of 2014" at FilmSchoolRejects.com and Kristen Romanelli (Film Score Monthly) join, Christopher, Marius, Helen, Richard and Edmund to talk about what 2014 potentially holds for the soundtrack-genius.  We also get into WHYBLT? for the first time in 2014.

Episode Highlights

00:00 - 2014 Preview Mix and Intro
06:30 - WHYBLT? Harwood, Hoffman, Olaf, Monuments, Kanbee, Kantelinen
16:50 - How to contact us
18:12 - 2014 Film Music Preview
94:54 - Where to find out more about 2014 film score releases
95:38 - The wrap up

Music Selections

00:00 - "Police Academy Acceptance" (Ride Along) by Christopher Lennertz
00:42 - "Crazy Cody" (Ride Along) by Christopher Lennertz
06:49 - "Toccata Capricciosa, Op. 36 (Rozsa)" (Composing Without the Picture) by Richard Harwood
10:13 - "Whiteout" (Frozen) by Christophe Beck
11:40 - "Opening Titles" (The Monuments Men) by Alexandre Desplat
14:42 - "Hercules and Hebe" (The Legend of Hercules) by Tuomas Kantelinen
17:51 - "Police Academy Acceptance" (Ride Along) by Christopher Lennertz
20:59 - "Title Card" (Robocop) by Pedro Brommfman
26:25 - "The Chimes at Midnight" (The Best Marigold Hotel) by Thomas Newman
43:45 - "On Its Head" (Moneyball) by Mychael Danna
46:37 - "Trailer Music" (The Amazing Spider-Man 2) by Hans Zimmer
60:35 - "Test Drive" (How To Train Your Dragon) by John Powell
62:49 - "Autobots" (Transformers) by Steve Jablonsky
71:45 - "Aletheia's Last Vision" (God of War: Ascension) by Tyler Bates
88:15 - "Following Frankie" (People Like Us) by A.R. Rahman
98:50 - "Police Academy Acceptance" (Ride Along) by Christopher Lennertz
91:44 - ""Beyond the Forest" (TH: The Desloation of Smaug SE) by Howard Shore

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



Other notes:


Read Alisson Loring's "The 15 Most Anticipated Movie Soundtracks and Scores of 2014"

Follow Allison Loring on Twitter

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Castlevania: Lord of Shadows (Ultimate Edition Soundtrack) by Oscar Araujo - Review

Highlights in Shadows
Review by Richard Buxton

It has been three years since LORDS OF SHADOW, a reboot of KONAMI’S classic franchise CASTLEVANIA, first graced consoles. Despite initial fan backlash against the game’s distinctly different style to its predecessors, LORDS OF SHADOW went on to become the most successful release of the long-running franchise. Naturally, in a generation of countless re-releases and updates, Gabriel Belmont is called upon to slay the dark lords once again in CASTLEVANIA: LORDS OF SHADOW - ULTIMATE EDITION. The timing of the game’s release has inevitably resulted in a lukewarm reception, as the gaze of the gaming world drifts on to a new generation of consoles. With the release of the ULTIMATE EDITION come new environments, weapons, and boss battles, but most interestingly for the musically-inclined, an extended release of Spanish composer OSCAR ARAUJO’S spectacular original score. Can you really have too much of a good thing? In this case, no, you cannot.

However, perhaps the most surprising target of the CASTLEVANIA fanbase’s ire was the score itself. Understandably, given the popularity of previous CASTLEVANIA music, fans had placed a certain level of expectation on the notably not Japanese composer OSCAR ARAUJO. Given the change in the game’s style, a distinct shift in composer and musical style was surely a given. The tremendously catchy, hook-based tracks of previous releases might have shone in years gone by, but would undoubtedly stick out sorely in a game-world highly dependent on a narrative structure such as LORDS OF SHADOW. One of the common criticisms leveled at ARAUJO’S score, before many had even heard it in full, was that it consisted of an “epic” genericism derived from countless Hollywood film scores of yesteryear. One can only wish that the average Hollywood score approached such a level as this though. Video game audiences are hardly known for their patience, occasionally lacking foresight and even hindsight should it suit their circumstances. Yet it still came as something of a surprise that such an outlook could come from a collective that spends much of each year complaining about the stagnation of major franchises whilst failing to back up their clamours by keeping their wallets shut. Apparently change is only acceptable with express permission. For many of those with an open mind, ARAUJO’S score was nothing short of spectacular, and to this day it remains one of the greatest scores composed for a video game. It may not have the infectious nostalgic hooks of “Vampire Killer”, “Cross Fear”, and the many other iconic themes of the CASTLEVANIA of old, but this is a score that rises above anything previously heard in this musically celebrated franchise. The release of this ULTIMATE EDITION is subsequently one that may interest fans of the score more than those of just the game itself.

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Skylanders: Swap Force (Game Soundtrack) by Lorne Balfe

The Limit's The Skies
Review by Richard Buxton

The ACTIVISION money train rolls ever onwards with the release of SKYLANDERS: SWAP FORCE - the third in the phenomenally successful SPYRO THE DRAGON reboot series -and with it comes LORNE BALFE’S third score release of the series. For those who find themselves outside the video-gaming loop, or those without children who happen to be clinically addicted to the Pokemon inspired collecting-based franchise, SKYLANDERS is a combination of video game visuals and physical toys that are connected through the use of near field communication, which sees those toys you purchase transported on to the screen and controlled by the players. Ultimately, SKYLANDERS is yet another gimmick with the sole aim of emptying the wallets of parents the world over, and to publisher Activision and the various development studios’ credit it’s one that is working tremendously well.

Having scored both SPYRO’S ADVENTURE and GIANTS, LORNE BALFE has returned for the third installment, SWAP FORCE. Like the music for the previous two releases, SWAP FORCE is endlessly playful but it is a score that is heavily restricted by the nature of the SKYLANDERS games. Like countless platformers before it, SWAP FORCE takes the player through various themed levels, and with each level comes differing musical thematic ideas. The style of gameplay within the platforming genre demands an open ended-musical structure, allowing the compositions to move along with the gameplay fittingly, despite a lack of rigid scripting within each level. This means that BALFE’S score rarely drops out, instead maintaining a consistent level of exuberance. Whilst suitable for the game itself, the score quickly becomes monotonous despite a noticeable restructuring on disc.

READ THE FULL REVIEW

Captain Phillips (Soundtrack) by Henry Jackman - Review

A Tension
Review by Richard Buxton

 Released to rave reviews, CAPTAIN PHILLIPS is another feather in the cap of PAUL GREENGRASS, a master of the “based on true events” sector of Hollywood cinema, and yet another standout performance from the ever-reliable TOM HANKS. A potential hurdle for a suspenseful biopic thriller in the vein of CAPTAIN PHILLIPS is the fact that many audiences will go into theaters with prior knowledge of the outcome of the film’s real life inspiration. In the hands of lesser talents, this would lead to a film bereft of tension and suspense, but GREENGRASS has proven time and again that he is able to inject the silver screen with palpable anxiety, and he has clearly succeeded once more. With frequent collaborator JOHN POWELL on an extended break, GREENGRASS sought the talents of the rapidly rising HENRY JACKMAN. How does this new, but likely temporary, partnership fare in pirate-infested waters?


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The Paradise (Original Television Soundtrack) by Maurizio Malagnini - Review

Paradise Found

Review by Richard Buxton

Riding the crest of DOWNTON ABBEY’S period drama wave, drama series THE PARADISE confirms that audiences’ desires to have their belief that English people, as a rule, speak with such meticulousness that the Queen herself would writhe with envy, has yet to waver. Airing on the BBC in the UK and PBS in the US, THE PARADISE tells the story of England’s first ever department store and its effect on the surrounding community, and introduces a composer who is likely to be cropping up on the radar of many in the wake of this release - MAURIZIO MALAGNINI. MALAGNINI’S career is still in its infancy, but the Italian composer is already displaying a panache far beyond that which his relatively little experience might suggest.

Many scores, particularly those from television, suffer from a wavering in quality resulting from a lack of consistency. THE PARADISE shows no such weakness in what is a remarkably dependable album that is unfailingly engaging despite lacking the highs that could decisively elevate it into greatness.

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The Ultimate Life (Soundtrack) by Mark McKenzie - Review

Beyond Doubt

by Richard Buxton

Regardless of your stance on humanity’s origins as a race, and the existence of beings greater than our own, there can be no doubt that themes of religion and faith in film frequently result in music of outstanding beauty. Composer MARK MCKENZIE has hardly been the most prolific in recent years, but he is no stranger to matters of faith illustrated on screen. THE ULTIMATE LIFE, a sequel to 2006’s THE ULTIMATE GIFT, comes two years after MCKENZIE’S critically acclaimed score to THE GREATEST MIRACLE, and while THE ULTIMATE LIFE itself has suffered critical damage in the media, MCKENZIE has once again crafted an often spellbinding score that is underpinned by sumptuous themes.

READ THE FULL REVIEW

Soundcast Episode 66 - 2013 Fall/Winter Movie Score Preview

Episode 66 - 2013 Fall/Winter Movie Score Preview

Erik Woods (Cinematic Sound Radio) and Kristen Romanelli (Film Score Monthly) continue their guest-visit to take a peek into the upcoming film scores of 2013.  Find out who's tired of Howard Shore's Lord of the Rings-style music, who's not all that excited about the potential in John Williams score for The Book Theif (or Star Wars 7) and find out who thinks Gravity could be this year's Social Network.

Episode Highlights

00:00 - "Rain May Fall/ Winds May Blow" Mix (feat. Fast Five by Brian Tyler)
01:05 - Intro and Welcome ... back
04:16 - Fall/Winter Preview: Romeo and Juliet, Gravity, 47 Ronin
17:00 - Fall/Winter Preview: Desolation of Smaug, 12 Years a Slave, Enders Game
30:44 - Fall/Winter Preview: Thor: The Dark World, Jack Ryan, A Long Walk to Freedom
39:27 - Fall/Winter Preview: Frozen, Captain Phillips, The Hunger Games, Rush
47:30 - Fall/Winter Preview: The Book Thief, Adore, Yurusarezaru mono,
58:37 - Fall/Winter Preview: Snowpiercer, Agents of SHIELD, Saving Mr. Banks
65:22 - The Wrap Up
69:56 - "Rain May Fall/ Winds May Blow" Mix - Reprise

Music Selections

00:01 - "Now You See Me (Spellbound Remix)" Now Your See Me by Brian Tyler
03:30 - "Adore" (Adore) by Christopher Gordon
05:06 - "Six Hours" (W.E.) by Abel Korzeniowski
17:06 - "Axe and Sword" (The Hobbit: An Unexpected Journey) by Howard Shore
23:22 - "Time" (Inception) by Hans Zimmer
25:32 - "Let Us Quest" (Your Highness) by Steve Jablonsky
30:52 - "Terra Nova Theme" (Terra Nova) by Brian Tyler
36:12 - "Thunderstorm" (Indochine) by Patrick Doyle
39:33 - "Dyslexia" (Percy Jackson/ Lightning Thief) by Christophe Beck
42:00 - "Michelle's House" (Stop Loss) by John Powell
43:10 - "Katniss Afoot" (The Hunger Games) by Marco Beltrami
49:02 - "Remembering Willie" (Lincoln) by John Williams
44:10 - "Main Title" (Red 2) by Alan Silvestri
49:23 - "Pacific Rim" (Pacific Rim) by Ramin Djawadi
56:04 - "Adore" (Adore) by Christopher Gordon
56:45 - "In Loneliness" (Red Cliff) by Taro Iwashiro
57:25 - "Morning of Beginning" (Ni No Kuni) by Joe Hisaishi
58:40 - "This is the Beginning" (Snowpiercer) by Marco Beltrami
59:45 - "Human Target Theme" (Human Target) by Bear McCreary
63:58 - "Amen" (The Help) by Thomas Newman
67:25 - "Fast Five" (Fast Five) by Brian Tyler

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


Other notes:

Erik Woods on Twitter

Kristen Romanelli on Twitter

Download the Episode

Subscribe and More Info