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)



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

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Ain't Them Bodies Saints (Soundtrack) by Daniel Hart - Review

A Dreary Countryside We’ve Heard Before

Review by Thomas Midena

AIN’T THEM BODIES SAINTS is a romantic drama set in the picturesque hills of Texas and featuring the small-scale story of an outlaw who escapes from prison to reunite with his wife. This setting and plot is simple and familiar, leaving the tough job of creating a unique and engaging tone to up-and-coming composer DANIEL HART.

Somber independent American dramas have come to sound alike in the past few years. The long hollow tones and eerie, wailing strings are joyless and persistent. In this way AIN’T THEM BODIES SAINTS is a predictable score. Sustained drones are an easy way to fill the sonic space with (seemingly meaningful) sound, and it wasn’t long before they became uncomfortable in my ears.

The dream-like nature of the score as a whole wears thin quickly, and there is little substance to latch on to. This is a common drawback of the ambient, minimalist style soundtrack, but sometimes there is something unique or interesting enough to hold your hand and pull you through. An entry point, so to speak. So what makes AIN’T THEM BODIES SAINTS stand out? Possibly it’s use of human body percussion. For the most part DANIEL HART forsakes drum beats for the more natural sounds of clapping hands and slapping thighs. I am, in general, an emphatic fan of clapping sounds in music. It’s often rather rousing, a fine way to make the music feel alive, and in some strange way - social. It can engage the listener in the momentum. To some extent it is similarly effectual in AIN’T THEM BODIES SAINTS, however the rest of the score is so desolate that it’s hard to get too excited. This clapping quirk is not unique enough to make AIN’T THEM BODIES SAINTS musically interesting for me. 

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Soundcast Episode 68 - Gravity

Episode 68 - "Gravity" 

Kristen Romanelli (FSM) rejoins the Tracksounds team to talk about Alfonso Cuaron's weighty, masterpiece, GRAVITY, including composer Steven Price's compelling original score.  WHYBLT? is back with mentions of Doctor Who: Series 7, Lost Planet 3, and Beyond: Two Souls.

Episode Highlights

00:00 - Gravity's Silhouette Remains
00:31 - Welcome and the lost recording
02:20 - Reintroducing Kristen Romanelli
03:00 - WHYBLT?: Man of Steel, Hocus Pocus, Lost Planet 3
13:59 - WHYBLT?: Doctor Who (Series 7), Summer in February, Beyond: Two Souls
24:43 - Gravity: General Reaction
35:05 - How we watched Gravity: 3D, Atmos?
39:21 - Is Gravity truly "sci fi?"
51:17 - Gravity: Spoiler time
63:55 - The score as heard in film
86:50 - The score as a stand-alone listen
98:40 - Is the Gravity score a sure-thing come Oscar noms?

Music Selections

00:00 - "Gravity" (Continuum) by John Mayer
01:47 - "Gravity" (Gravity) by Steven Price
03:24 - "Oil Rig" (Man of Steel) by Hans Zimmer
05:53 - "Main Titleu" (Hocus Pocus) by John Debney
07:22 - "Garden of Magic" (Hocus Pocus) by James Horner
09:44 - "Hoedown Showdown" (Lost Planet 3) by Jack Wall
14:07 - "The Speeder" (Doctor Who: Series 7) by Murray Gold
16:33 - "Lamona" (Summer in February) by Benjamin Wallfisch
18:56 - "Dawkin's Suite" (Beyond: Two Souls) by Lorne Balfe
24:12 - "Above Earth" (Gravity) by Steven Price
62:40 - "Tiangong" (Gravity) by Steven Price
67:40 - "Debris" (Gravity) by Steven Price
75:26 - "Gravity" (Gravity) by Steven Price
79:33 - "Above Earth" (Gravity) by Steven Price
94:49 - "Above Earth" (Gravity) by Steven Price
97:26 - "Debris" (Gravity) by Steven Price
102:29 - "Gravity" (Gravity) by Steven Price

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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Other notes:

Kristen Romanelli on Twitter

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Europa Report (Soundtrack) by Bear McCreary - Review

The Wonder of Space Realized

Review by Thomas Midena

A scientific expedition travels further into space than humanity has ever gone before and uncovers an incredible mystery about our universe? Sounds like the recipe for an excellent science fiction soundtrack! 

The EUROPA REPORT film uses a realistic “found footage” format to present a fictional story of the first crewed mission to one of Jupiter’s moons, Europa. You only need to listen to the first minute of this score to have a good idea of the style of the whole album, and that’s all the time it took for me to be hooked.

The same rapid, pulsing beat which opens in “Lift Off” (1) can be heard through a large portion of the score, providing a consistent and wonderfully exciting tonal base. Similar to MCCREARY’s other recent science fiction score, “Defiance”, swirls of increasingly emotive strings wash over the low beat. There’s nothing unique here - or in any of this soundtrack - but MCCREARY certainly has a way of playing with melodies that is very easy to listen to. There’s nothing too musically complex going on here, so the vast majority of listeners will enjoy themselves to some extent.

However, unlike “Defiance” - which is deliberately hyped up to eleven with screaming electronic sounds - EUROPA REPORT is notably subdued. MCCREARY shows remarkable restraint, keeping the music at a temperate level even when he needs to communicate shock and excitement. Sure, the bombasity of “Defiance” may be more unique and memorable, but EUROPA REPORT is arguably a more beautiful, tonally-consistent album.

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Top 5 Pieces From Hans Zimmer’s Batman Trilogy

“Top 5 Pieces From Hans Zimmer’s Batman Trilogy”
by Thomas Midena

Hans Zimmer’s scores for The Dark Knight trilogy, with significant contributions from James Newton Howard, marry all of the dark, twisting tones of a gritty thriller with the noble, hopeful melodies of a hollywood superhero flick. Since Zimmer, Howard and Christopher Nolan teamed up to make Batman Begins eight years ago, we have been lucky enough to receive three incredible soundtracks from the series. Now that it’s all over and we’re as sonically attuned as a bat in a cave, I thought I’d share my five favourite pieces from the heap.


5. A Dark Knight (The Dark Knight)



It almost feels like cheating. This is a 16 minute track from The Dark Knight, which hits many of the main themes and emotional beats of the film, hence capturing the tone of The Dark Knight film perfectly. With gorgeously woeful strings it meanders through the black city of Gotham. Occasionally there is a whiff of a heroic theme. But every time one tries to rise, it either fails or is overwhelmed by the tragic undertones like a footballer in a collapsing stadium.

Near the end of the piece the tension builds into a long stalemate, which is eventually dissipated by the arrival of a powerful action theme. Then follows the powerful two-note theme for Batman, finally strong enough to compete with the dark tones of Gotham.


4. Molossus (Batman Begins)



This is the ultimate Batman action cue. It’s from Batman Begins, and although it is undoubtedly repetitive it’s also an intensely rewarding listen. The powerful action melody repeats itself again and again, Batman’s two-note theme making appearances throughout. And just when you think the track has exhausted it’s energies, and it seems to peter out, the orchestra rises for yet another moment of heroism.
Don’t worry, it’s natural to feel exhausted after elbow-fighting your way through “Molossus”.


3. Imagine The Fire (The Dark Knight Rises)



Still got a little bit of fight in ya? I like that. “Imagine The Fire” takes us through the final action set piece of the trilogy, in The Dark Knight Rises. Familiar themes representing Batman and Gotham get an extra dose of adrenalin as they mix with the even more maniacal sounds of Bane in a 7 minute long battle of melodies which is actually toe-tappingly rhythmic. By the time the “deshi deshi basara basara” chanting arrives it’s obvious that some serious Batman is occurring. The track barely takes a breath, maintaining it’s heart-pounding energy to the last note.

Though the rather electronic sound might not be to everyone’s tastes, it’s Zimmer at his best. Fans will find similarities to many of his other works, such as “The Battle” from Gladiator and “The Kraken” from Pirates of the Caribbean: Dead Man’s Chest.


2. Harvey Two-Face (The Dark Knight)



There is a speck of hope for Gotham, a brief glint of nobility in the dark. I find this piece from The Dark Knight particularly emotionally effective because the music tells the story of a single shred of hope which is trying to rise, but is weighed down by all the darkness of Gotham. The contrast to the rest of the soundtrack is unmistakable, this is probably the only real romantic cue in the whole trilogy. The final section of the track, which is never heard within the films themselves, builds into quite a powerful fanfare of brass. The tragedy of Harvey Dent is told masterfully here.

Unless I’m mistaken, most of this piece comes courtesy of James Newton Howard’s side of the composing partnership. Kudos, Mr Howard.


1. Gotham’s Reckoning (The Dark Knight Rises)



Bane - a huge, threatening man with a mask. What is he capable of? This track holds the chaotic answer. Bane is a terrifying and unstoppable, and so is Zimmer’s music here.

A superb companion to The Dark Knight Rises’ opening action set piece, Zimmer has filled this track with a powerful and unpredictable sense of fear. For the first couple of minutes “Gotham’s Reckoning” chugs along moodily, it’s catchy-as-hell 5/4 time signature etching itself into your mind. Then, all of a sudden, strings start stabbing through the soundscape. A powerful melody fills the background which rises and falls, rises and falls. It effectively gives the sense that events are going tragically awry. When the loud, raw brass gets going - stabbing at uncomfortably high notes relentlessly - it feels as though Zimmer is sweating to fill me with adrenalin and fear, and I love it.

So there they are, my top five Bane-bashing-bits-from-Batman. Do you agree with my choices, or are your favourites entirely different? I’d love to hear your comments below!

Frozen Planet (Soundtrack) by George Fenton - Review

Cold and Classy, Bold and Brassy

Review by Thomas Midena

There’s nothing like a top-grade nature documentary which displays most intriguing wildlife on Earth through stunning visuals. But these visuals are only one side of the experience. A sweeping documentary isn’t sweeping without a sweeping soundtrack. Luckily, FROZEN PLANET is scored by the ever-classy George Fenton, and it’s sweeping! FROZEN PLANET is a seven-part series from the BBC about nature in the Arctic and Antarctic. It explores the intrigues of wildlife, land formations and weather, including the confronting effects of climate change. It’s a setting which is inspiring, but also gives FENTON the freedom to explore and experiment - an opportunity he does not waste.

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Snitch (Soundtrack) by Antonio Pinto - Review

Perhaps Snitch Has A Niche?

Review by Thomas Midena

SNITCH is a fast-paced action thriller, but you wouldn’t know that from the soundtrack. Composer ANTONIO PINTO has put together a score which is slow and ethereal, blending a diverse stable of sounds and instruments to create music which does little more than lurk shyly in the shadows. Welcome to a melancholy soundscape of uncomfortable, grating strings and tracks so dark that you might need to re-light your metaphorical fireplace.

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SoundCast Ep. 56 - 2012 Cue Awards!

2012 CUE AWARDS! The Tracksounds team reveal the official winners and welcome a handful of notable guests who join us live to accept their awards.  The first ever winners of "The Marius" and "The Monkey King" awards are also unveiled.  Please make your way down the red-carpet as the lights are dimming and the show is about to begin...

Episode Highlights

00:37 Introduction to the 2012 Cue Awards
05:47 What is the Genius Choice Vote?
07:08 Record Label of the Year
08:55 Best Original Score for Television
11:12 Best Dramatic Score
23:40 Best Action Score
32:20 Breakout Composer of the Year
35:33 Best Cue
40:17 Special Award: The Monkey King AWard
45:19 Best Animated Score
47:17 Best Video Game Score
62:10 Most Memorable Theme
70:54 Special Award - The Marius

74:30 Surprise of the Year
79:49 Best Overall Score
85:48 Composer of the Year
99:29 Thank You's Galore


Music Selections

00:00 "Cue the Orchestra" (Theme of the Cue Awards) by Marius Masalar
09:30 "Priceless" (Priceless) by Naoki Sato
11:44 "Pi's Lullaby" (Life of Pi) by Mychael Danna
24:08 "Who's Up For An Adventure_" (Journey 2: The Mysterious Island) by Andrew Lockington
27:49 "Lizard Chase" (Journey 2: The Mysterious Island) by Andrew Lockington
32:46 "Apotheosis"(Journey) by Austin Wintory
36:11 "Mysterious Island Main Titles" (Journey 2: The Mysterious Island) by Andrew Lockington
42:47 "Naoki Sato Suite" (Compiled by Richard Buxton) by Naoki Sato
45:43 "Main Titles" (Frankenweenie) by Danny Elfman
47:59 "Heart of Pandaria" (WOW:  Mists of Pandaria) by Brower, Acree, Soule, Cardon, Guidotti
62:54 "Mysterious Island Main Titles" (Journey 2: The Mysterious Island) by Andrew Lockington
71:30 "Indy Game Suite" (Compiled by Marius Masalar) by Various
75:02 "A Forest Adventure" (Metsan Tarina) by Panu Aaltio
80:30 "Who's Up For An Adventure_" (Journey 2: The Mysterious Island) by Andrew Lockington
82:39 "The Treehouse" (Journey 2: The Mysterious Island) by Andrew Lockington
90:00 "Cue the Orchestra" (Theme of the Cue Awards) by Marius Masalar

Additional Notes:

The Official Cue Awards Tumblr

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SoundCast 55: 2012 Cue Award Nominees Show

Episode 55: 2012 Cue Award Nominees


2012 CUE AWARD NOMINATION SHOW. New Tracksounds reviewer, Thomas Midena joins Christoper, Marius, Richard and Edmund to proudly announce the official Cue Award Nominees for 2012. Every nominee from all 12 award categories is revealed.



Episode Highlights:

00:38 Welcome back to the Cue Awards
04:23 Surprise of the Year Nominees
14:36 Most Memorable Theme Nominees
30:36 Breakout Composer of the Year Nominees
38:48 Best Dramatic Score Nominees
54:41 Best Action Score Nominees
69:17 Best Animated Score
74:52 Best Score for TV Nominees
79:32 Best Score for Video Game Nominees
93:12 Best Record Label Nominees
96:06 Composer of the Year Nominees
102:31 Best Cue Nominees
108:20 Best Overall Score Nominees
112:15 Special Awards: The Marius, The Monkey King
115:06 What's next?


Music Selections:

00:00 "Cue the Orchestra" (Theme of the Cue Awards) by Marius Masalar
05:00 "Requiem" (Halo 4) by Neil Davidge and
07:54 "The Treehouse" (Journey 2: The Mysterious Island) by Andrew Lockington
09:01 "Main Titles" (There Be Dragons) by Robert Folk
09:34 "Main Title" (Kingdoms of Amalur: Reckoning) by Grant Kirkhope
11:44 "A Forest Adventure"(Metsän Tarina) by Panu Aaltio
15:50 "Main Title - Young Peter" (The Amazing Spider-Man) by James Horner
18:20 "Cloud Atlas Finale" (Cloud Atlas) by Tykwer, Klimek, Heil
23:15 "The Right of Challenge" (John Carter) by Michael Giacchino
26:32 "Misty Mountains" (The Hobbit: An Unexpected Journey) by Howard Shore
39:24 "Entre La Luz Y El Pecado" (For Greater Glory) by James Horner
42:35 "Overture" (Anna Karenina) by Dario Marianelli
44:26 "The Impossible Main Title" (The Impossible) by Fernando Velasquez
46:42 "The People's House" (Lincoln) by John Williams
50:55 "Pi's Lullaby" (Life of Pi) by Mychael Danna
54:35 "Battle for Madrid"(There Be Dragons) by Robert Folk
55:09 "Rise" (The Dark Knight Rises) by Hans Zimmer
60:05 "Barcelona"(Haywire) by David Holmes
62:26 "Lizard Chase" (Journey 2: The Mysterious Island) by Andrew Lockington
66:40 "The Fight for Helium" (John Carter) by Michael Giacchino
67:59 "Going In" (Prometheus) by Marc Streitenfeld, Harry Gregson-Williams
70:29 "Ted, Audrey And The Trees" (The Lorax) by John Powell
71:49 "Main Titles" (Frankenweenie) by Danny Elfman
72:25 "Wreck-It Ralph" (Wreck-It Ralph) by Henry Jackman
73:43 "In Her Heart" (Brave) by Patrick Doyle
80:15 "Homeworld (Starhawk) by Christopher Lennertz
81:23 "Heart of Pandaria"(WOW: Mists of Panderia) by Brower, Acree, Soule, Cardon, Guidotti
82:19 "Journey Theme" (Journey) by Austin Wintory
87:56 "I Will Watch Over The Ones Who Live On" (Mass Effect 3) by Dikiciyan, Velasco, Hulick, Lennertz, Mansell
91:01 "Cider Time" (Fastfall-Dustforce) by Lifeformed
91:59 "The Makers Theme" (Darksiders II) by Jesper Kyd
104:45 "Out of the Frying Pan" (The Hobbit: An Unexpected Journey) by Howard Shore
105:54 "Portrait Mr. Boogie" (Sinister) by Christopher Young
106:01 "Cue the Orchestra" (Theme of the Cue Awards) by Marius Masalar


Additional Notes:

The Official Cue Awards Tumblr

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Nobody Walks (Soundtrack) by Fall on Your Sword - Review

"Everybody Listens"

Review by Thomas Midena

Led by Will Bates and Philip Mossman, FALL ON YOUR SWORD is an electronic band making a name for themselves through their scores for independent films. NOBODY WALKS is one of their most recent albums, accompanying the dramatic American independent film of the same name directed by Russo-Young. The film premiered at the Sundance Film Festival in 2012, and due to its limited release not many have seen it - including myself. Therefore I will be approaching this soundtrack by FALL ON YOUR SWORD as a collection of music without any specific context. Does it hold up? Let’s see ...

The initial assumption is that an indie score by an indie band such as this will blend a modern musical sensibility with a risqué stable of unusual styles to achieve a mood which is feel-good with a constant reminder of its disturbing dramatic centre. As it happens, this is essentially what you’ll find in NOBODY WALKS.

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Ten Best Tracks from the Harry Potter Movies

It’s been over a year since the film series came to a conclusion, so now is a great time to look back over the extensive catalogue of top notch orchestral music from Harry Potter. Within the eight soundtracks there are a total of 181 fabulous pieces. Today I do the stupid impossible heroic, and choose what I believe are the ten most rich and inspiring tracks from the entire Harry Potter series.

Sadly none of Patrick Doyle’s score for The Goblet Of Fire made it into my Top 10. This is unfortunate, since I really do love Doyle’s unique take on the Potter franchise. My favourite cues, however, all come from Nicholas Hooper, Alexandre Desplat and of course John Williams. It should come of no surprise that my list is dominated by John Williams.

Before I dive into the list, I feel I should note once more that this really is an impossible task, and that many superb pieces of music will inevitably be left out. However if there are some in particular that you would include in your top ten, I’d be very interested to hear from you! Simply leave a comment at the bottom of this page.

Without further ado, let’s jump in to-

10. Obliviate

As the first track of The Deathly Hallows Part 1, this was an excellent introduction to Alexandre Desplat’s slice of the series. After a very slow and quiet opening the track builds into a wistful, rhythmic melody. The undercurrent impersonates the chugging sound a steam train (fitting for Potter) as the foreground is filled by seductively emotive strings. It’s an extremely effective piece I’ve been in love with since the very first time I heard it.

9. Dumbledore’s Farewell

Nicholas Hooper brought us many dark themes over his two-movie-long relationship with Potter, and this is certainly one of the best. It’s gentle and tender, with powerful strings accompanied by subtle, eerie chorals. This piece supplies a perfectly morose tone for several of the most tense and cheerless moments in the film series.

8. Statues

Rarely has fantasy action been so sentimental. Alexandre Desplat seems to rarely, if ever, compose action cues in the traditional way I expect. Instead, he creates beautiful, rhythmic pieces like this one, which don’t so much “score” the action of the film but instead toy with our emotions. The result in “Statues” is an beautiful piece of music which also works excellently in the film. I should note the similarity to another piece from The Deathly Hallows Part 2, “Courtyard Apocalypse”, which meddles with the same melody in a similar fashion. In the end I chose “Statues” for my list.

7. Dobby The House Elf

Playing to the lighter side of The Chamber Of Secrets, it’s impressive how well this track holds up by itself outside of the context of the film. In fact, I probably prefer this piece outside of the film, where you can really appreciate its musical prowess. Playful, mischievous and quirky, this piece is still totally grounded and controlled like all of John Williams’ greatest.

6. Flight Of The Order Of The Phoenix

This track from Nicholas Hooper’s first Harry Potter score may be tragically short, but it uses it’s one-and-a-half minute runtime to build into a spectacular cue. As with all of these great Harry Potter tracks, Hooper combines palpable senses of excitement and wonder to form a magical piece of music. It’s a tragedy that Hooper didn’t get to spend more time developing themes like this one.

5. Harry’s Wondrous World

As we head adventurously into the final five tracks, here’s John Williams doing what John Williams does best: non-stop magnificence. I think of this piece as the unofficial theme for Hogwarts, as it seems to describe musically the magical castle we know and love. It’s a remarkable combination of the themes of The Philosopher’s Stone, stirred together with copious doses of pure triumph, ending the film on a glorious note.

4. A Window To The Past

The perfect antithesis to “Harry’s Wondrous World”, this is John Williams taking Potter into dark and sombre territory in The Prisoner of Azkaban. The wistful melody never fails to conjure powerful images in my mind of darkness and snow and hooded Dementors from The Prisoner of Azkaban. Essentially a woodwind solo, this track contains the power to bring (manly) tears to my eyes. It really encapsulates an intense and childlike sense of longing.

3. The Chamber Of Secrets

Excitement and mystery are incarnate in this grandiose, almost vampirical piece. A spine tingling series of descending notes on organ lead into a waltz of strings and horns, building powerfully to an epic conclusion. The orchestra seems to come together so fluidly and graciously, changing drastically from moment to moment but never leaving the listener behind.

2. Hedwig’s Theme

This is the quintessential piece of Harry Potter music. From the delicate tinkling of the iconic theme we’ve all heard a thousand times to the cheeky pumping of brass, and then into the inevitable culmination of the united orchestra. Most of this track is used in film to score the action-packed wizarding sport, Quidditch. I’m glad Williams doesn’t hold back.

1. Fawkes The Phoenix

Fluttering out of the magic and mystery, this piece will forever be romantically entwined with the Harry Potter universe. Mixing an absolutely epic scale of majesty and grandeur with the delicate beauty and wonder of the enchanting melody, this track is another of the many reasons that John Williams is one of the greatest composers of all time.

There it is! My favourite magical music from Harry Potter. As I mentioned at the beginning, there are so many more incredible tracks and themes that I absolutely adore in the eight Potter soundtracks. In the end I whittled down to this list of ten, but maybe your list would be different? Let me know, what are your favourite pieces of music from the Harry Potter series?

Skylanders: Giants (Game Soundtrack) by Lorne Balfe - Review

Flamboyant Fun

Review by Thomas Midena

Before listening to this soundtrack I had never heard of the SKYLANDERS franchise, so I approached this score as a newcomer. It turns out that I wasn’t prepared for the fun I was about to have with LORNE BALFE’s delightful and enthralling score for SKYLANDERS: GIANTS.

SKYLANDERS: GIANTS is the follow-up to last year’s Skylanders: Spyro’s Adventure. The video game sees players delve into a fantasy world of battle and adventure. SKYLANDERS: GIANTS is LORNE BALFE’s return to the Skylanders franchise, and he has pounced on the opportunity to develop and expand the vibrant music of this colourful world.

SKYLANDERS: GIANTS is cheeky, mischievous, upbeat and energetic. With so much soundtrack music of late aiming to be dark, grim and sparse, I found it refreshing to hear something so enthusiastic and carefree. BALFE has crafted a surprisingly enjoyable listening experience in its own right, even for those ignorant of the context of the game like myself.

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Four Reasons You Should Listen to a Warcraft Soundtrack

“Four Reasons You Should Listen to a Warcraft Soundtrack”
By Thomas Midena

Since the first Warcraft game debuted in 1994, Blizzard’s fantasy universe has spanned 4 computer games and 6 expansion packs. Featuring the fictional continent of Azeroth, these games see the player assume roles as various races such as humans, orcs and elves, and fight to claim the world from one another. This unending war has been immortalised through the legendary music of Warcraft, which has, over the years, set the standard for orchestral video game music. You don’t have to be a gamer to immerse yourself in the humbling scope of Warcraft music, and here’s why you should.


1. Pure Epicness

17 years ago the Warcraft franchise was already proving its audio prowess. 1995 saw the release of Warcraft II: Tides of Darkness, a real time strategy game for DOS and Mac OS. This music might not be backed by the power of a full orchestra as we expect today, but the way it develops and has fun with its themes foreshadows Warcraft’s glorious musical future. No long term Warcraft fan can help resist feeling sentimental in a Warcraft II piece like “Human Level 2”.



Warcraft III: Reign of Chaos released in 2002 with a soundtrack that was less melodic than most music in the franchise. The soundtrack by Derek Duke builds an ethereal soundscape which was excellent in the context of the game, but struggles to stand on its own.

2004 saw the launch of the juggernaut online game, World of Warcraft, which took Warcraft music to another level. The first track from the game, “Legends of Azeroth (Main Title)” sets the stage for a huge fantasy game. The power of the orchestra is used to full effect, the rhythmic drums and swirling strings are pure fantasy adrenalin.



It doesn’t take long to fall in love with some of the musical themes throughout World of Warcraft. Notable pieces that highlight this include “A Call To Arms”, “Seasons of War” and “Stormwind” - a beautiful world-building track. In general, Warcraft music has a very romantic perspective on war and the world. Pieces like these make me fantasize about magical lands with castles and heroes. These pieces spark my excitement on every listen, proving that the music can stand on its own with no visual accompaniment.




2. Fantastic Composers

Over the years many incredibly talented composers have worked on Warcraft music. Some big contributors over the years include Russell Brower, Tracy Bush, Derek Duke, Jason Hayes, Matt Uelmen, Glenn Stafford, Neal Acree, Sam Cardon, Edo Guidotti and Jeremy Soule - renowned composer for the Elder Scrolls and Guild Wars series of games. These are some of the best composers in the video game industry, and the vast range of creative talent comes together to form unique styles in Warcraft.


3. Copious Quantities

Four games with six expansion packs means a ridiculous amount of music. Each expansion to World of Warcraft has built on the title track. And these pieces are long, with Cataclysm’s stunning title track reaching 12 minutes in length.



There’s so much to appreciate in these title tracks alone. From the audacity of “The Burning Legion (Main Title)” to the valiant mystery of “Wrath Of The Lich King (Main Title)” to the destructive madness of Cataclysm’s “The Shattering” to the beautiful Asian influences of Mists of Pandaria’s “Heart of Pandaria”.



The latest soundtrack release, “Mists of Pandaria” is arguably the best Warcraft score of them all. “Way of the Monk” is a heroic piece which succeeds in inspiring. A confident new theme triumphs in “Serpent Riders”, which has the fingerprints of Jeremy Soule and the emotional satisfaction of a blockbuster film.



Due to the long period of time that Warcraft has been growing and evolving, recurring themes and motifs have been allowed incredible amounts of room to develop and expand. Themes from Warcraft 3 were brought into World of Warcraft, as demonstrated in one of my favourite tracks, “Echoes of the Past”.



The mood and style of the music is allowed to change quite drastically from game to game, album to album and even track to track. An excitingly dark new sound appears in the “Wrath of the Lich King” soundtrack, exhibited in the understated heroic piece, “Assault On New Avalon”.




4. Recklessly Original

The composers on Warcraft have demonstrated that they are willing to try new things. The very broad and lively fantasy lore of the Warcraft franchise has assisted them in this, allowing them to flex their creative muscles in a variety of unexpected ways.

Occasionally these soundtracks verge on the side of utterly ridiculous. Mists of Pandaria’s “Stormstout Brew” is a playfully silly piece which plays to stereotypical Asian sounds. Also from Mists of Pandaria, “The Traveler’s Path” features a dreamily deep male voice singing an enigmatic Asian song.



Last but most certainly not least, a piece which has become incredibly popular amongst fans of World of Warcraft. Released as a part of downloadable content, Russell Brower’s “Invincible” is a haunting piece featuring a breathtaking choir. The track marks a significant moment in the Warcraft storyline, which I won’t spoil here. “Invincible” is a perfect example of the best of Warcraft music: splendidly majestic and delicately personal at the same time.



Warcraft soundtracks have led the way in regards to video game music for many years, proving that a game can sound just as good as a film. Don’t miss out on some of the greatest fantasy music of the last decade - delve into a Warcraft soundtrack today!

Welcome our Newest Team Member: Thomas Midena

The Tracksounds Gang...err Team continues to grow, so join us in welcoming our newest member, Thomas Midena. Thomas has already contributed several soundtrack reviews and blog posts:

BREAKING BAD BY DAVE PORTER

STAR WARS: THE OLD REPUBLIC BY MARK GRISKEY

TOP 10 TRACKS FROM DOCTOR WHO (SEASONS 1 - 4)

You can look forward to more great posts and reviews from Thomas in the days to come! Meanwhile you can reach him on Twitter @Thoroughmas.

Breaking Bad (Original Score from the Television Series) by Dave Porter - Review

Breaking Bad Isn't Breaking Ground 
Review by Thomas Midena

Since the first season aired in 2008, this American drama series created by Vince Gilligan has risen to small-screen fame, and is now one of the most popular shows on television. Breaking Bad is a dark thriller which follows the story of Walter White, a man who descends into a life of crime in order to provide for his family. Supplying the soundtrack for the show since the beginning is composer Dave Porter. His music, however, takes a backseat in this production. It fulfills the necessary action and emotional beats, but never emerges beyond the format of a glorified soundscape.

READ THE FULL REVIEW

10 Best Pieces From Doctor Who Seasons 1-4

“10 Best Pieces From Doctor Who Seasons 1-4”
by Thomas Midena

Murray Gold is one of my favourite composers working today. But unlike someone like Hans Zimmer, whose work varies because of the various films they work on, for many years Murray Gold has been slaving away to one show: Doctor Who. Luckily for us, this doesn’t mean he has lacked in his creative range. Doctor Who has given him a chance to explore dozens of flavours of music, and since he joined the show in 2005 we’ve been graced with an indecent number of incredible soundtracks.

For those who either aren’t familiar with Murray Gold’s work on Doctor Who, or those who haven’t listened to it for a long time, I am going to list my 10 favourite pieces from Doctor Who Seasons 1-4. That includes the entire Christopher Eccleston and David Tennant eras, from 2005 to 2009. This is by no means an easy task, and I have had to exclude a ridiculous number of tracks which I wholeheartedly adore.

Nevertheless, here are the 10 pieces I believe to be the best from Doctor Who Seasons 1-4.


10. The End Draws Near

This piece boasts a truly epic cinematic scale which is totally inappropriate for television - and that is why I love it. The latter half of the piece is a perfect example of the sense of excitement Murray Gold can weave into his music.




9. The Futurekind

It’s a perfect Doctor Who action cue if ever I’ve seen one. Groovy, cheeky, and intrinsically Sci-Fi. In the episode it comes from, “Utopia”, this piece makes running around with brutal cannibals at the end of the universe seem like buckets of fun! This track may be short but it ain’t short on fantasticness!




8. All The Strange Strange Creatures

It’s the action theme for the David Tennant era. For any fan of the show this piece is sure to conjure up images of The Doctor running about in his brown trenchcoat, dashingly classy hero as he is. There’s bucket loads of Doctor Who’s signature ‘screaming brass’ in here, too.




7. Doomsday

It’s Rose’s Theme gone wild with tension, drama and an unhealthy dose of sadness. A sweeping mixture of piano, drums, electric guitar and indisputably beautiful vocals. It’s one of Murray Gold’s more rhythmic pieces, and I find it makes me cry and tap my foot at the same time. Wait, I’m a man - did I say I cried? No, there’s just something in my eye … *sniff*




6. A Special Sort Of Bus

This pick from “Planet Of The Dead” may seem an unusual choice. It’s certainly a much lighter and optimistic piece than everything else here. But out of my entire music library, this is one of my most replayed pieces over the last couple of years. It’s also the ringtone on my phone. It’s so stylish. I’m disappointed it was only used the once, and in an episode I didn’t like very much.




5. Vale Decem

It’s the “End Of Time” for the 10th Doctor. The incredibly haunting choir sings ‘Vale Decem’ throughout, which is ‘Farewell, Ten’ it Latin. It builds and builds, until we are graced with one final (and epic) rendition of “The Doctor’s Theme” as David Tennant regenerates into Matt Smith.




4. The Doctor Forever

Did I mention sadness? There’s more emotion in this piece than a school playground. This track from Season 3 takes “The Doctor’s Theme” from the first season and builds it into something tragically heroic. The first half of this piece has appeared in at least half a dozen episodes of the show, and for very good reason. It’s magical.




3. The Doctor’s Theme Series 4

Speaking of magical, I’m segwaying again! It’s the latter end of Season 4 and The Doctor has become lonelier and more tragic than ever, and this is his song to match. The way it is used to conclude the episode “Forest Of The Dead” blows my mind every time.




2. A Dazzling End

If Doomsday is the continuation of Rose’s Theme, then this is the climax to Donna’s Theme. Murray Gold has entwined reckless levels of excitement into this piece. A bass guitar thrums the whole way through like a heartbeat, and the high pitched strings cry out the sense of finality approaching.




1. This Is Gallifrey: Our Childhood, Our Home

This stunning theme for The Doctor’s home planet is filled with sadness and longing, but never ceases being beautiful. In the show it is used as a backing track for David Tennant’s monologue about Gallifrey, but this ain’t no backing track. It deserves to be played loud and frequently. This is a fine example of Murray Gold’s incredible work as a composer on Doctor Who.





Again, there are a ridiculous number of incredible pieces I didn’t mention here, but I had to narrow it down to 10 else this article would go a bit bonkers. Your favourite music is also a very opinion-based topic, so let me know what you think! Are there particular pieces you think should have made it into my top 10?

Star Wars: The Old Republic (Soundtrack) by Mark Griskey - Review

New Music for The Old Republic

Review by Thomas Midena

BioWare’s mammoth online game enlists a massive team of composers to create an authentic Star Wars soundtrack. But can they produce quality entertainment to rival John Williams? Lennie Moore, Jesse Harlin, Gordy Haab, Wilbert Roget II, Steve Kirk, Jared Emerson Johnson and Peter McConnell unite with MARK GRISKEY (composer of the previous game in the series, Knights of the Old Republic II) to conquer this task.

The game, which was released in December 2011, is a Massively Multiplayer Online game created by BioWare - a studio renowned for their Mass Effect and Dragon Age games. Said to have cost $200 million to develop, Star Wars: The Old Republic is certainly one of the largest video games ever created. Players can create and customize their own character then jump right into this massive Star Wars universe with thousands of other online gamers.

A soundtrack disc containing 17 tracks was released with the Collector’s Edition of STAR WARS: THE OLD REPUBLIC, and another 30 pieces were released online for free download. This totals a whopping 47 tracks of original music from MARK GRISKEY and his team. And as an avid follower of the game since its announcement in 2008 and a dedicated player since its launch in 2011, I’ve listened to every beat of the soundtrack to delusion. Here are my thoughts.

READ THE FULL REVIEW