Additional Resources

(scroll down page for previous news posts)

My April 2017 Soundtrax column has just posted:

Featured Interviews:

  • Trevor Morris – Scoring EMERALD CITY
  • Chris Bacon – Five Seasons in the BATES MOTEL
  • The Animated Musical World of HEITOR PEREIRA

Soundtrack Reviews:

  • ADAM RESURRECTED (Yared), ALBION – THE ENCHANTED STALLION (Kallis), BEVERLY HILLS COP/BEVERLY HILLS COP 2/Faltermeyer, CLINICAL (Hultquist), COLOSSAL (McCreary), THE DRUMMER (Matthias), THE FOUNDER (Burwell), FRANKENSTEIN (Cauthery), The GAME OF THRONES Symphony (Silva Screen), THE MAN IN THE HIGH CASTLE (Jackman & Lewis). MY ENTIRE HIGH SCHOOL SINKING INTO THE SEA (Sharone), NOCTURNE (Mirza), PAPER LANTERNS (Cannon), POWER RANGERS (Tyler), SO FINE (Morricone) & EL GRAND EMBOUTEILLAGE(Carpi), TETRO ROUGE (Croissier), THE THIEF OF BAGDAD (Rózsa/Tadlow)

Soundtrack & Game Music News

Click here to read the column at buysoundtrax.com


Video: The Making of the SHARKNADO 4 Score

Sharknado-4

Composers Chris Ridenhour and Chris Cano. specialists in bringing The Asylum’s wild and whacky sci-fi films to a polished, cinematic musical energy, have posted a short video on YouTube about how the latest of the SHARKNADO scores was made.  This one features a super-hero theme matched with epic, apocalyptic orchestral crescendos using a powerful mix of digital and live symphonic orchestras. Watch the video here .


RDL’s “The Score” columns from Cinefantastique, interviews from CinemaScore & Soundtrack Magazine  Archived 

CinemaScore soundtrack archive site logo

Prior to writing Musique Fantastique and Music from the House of Hammer, my primary film music writing endeavors were soundtrack reviews for Soundtrack Magazine (previously called Soundtrack Collector’s Newsletter when I started), then I began doing interviews with composers for CinemaScore: The Film Music Journal which I acquired from its former publisher in 1981 and edited/published until 1987, and later a number of other magazines. With the exception of the occasional issue turning up on amazon or eBay, these magazines are pretty much long out of existence, but increasing portions of their content (and not just my own contributions, thankfully!) in online archives. The CinemaScore and Soundtrack Magazine Archives web site, published in The Netherlands at www.runmovies.eu/, continues to preserve many of the articles, reviews, and interviews from these vintage film music periodicals (both of which predated the modern print and online magazines and, for a decade or two were the only magazines devoted to this topic until the advent of Film Score Monthly in the US and Music from the Movies in the UK. There’s also a very nice tribute to what CinemaScore magazine meant to some in its day, from Roger Feigelson, which I am very grateful for – link to it here). In addition to archiving content from Soundtrack and CinemaScore, publisher Jeannot Boever is also posting new interviews and reviews as well as archiving out-of-copyright content from the original film music magazine, titled simply Film Music, from the 1950s, featuring articles written by prominent composers on their recent scores. (Incidentally, Boever also manages a Hugo Friedhofer website, preserving old and new articles, reviews, and interviews).

CFQ online logoIn other pre-Musique Fantastique archive news, Along with the occasional soundtrack review, I wrote most of Cinefantastique magazine’s film music/composer interview oriented “The Score” columns from 1982 to 1999, and then in the magazine’s online incarnation from 2009 to 2011. The latter are archived at Cinefantastiqueonline at this link, and include interviews of such variety as John Debney (IRON MAN 2, PREDATORS),  Brian Tyler (THE FINAL DESTINATION), Robert Carli (George A. Romero’s SURVIVAL OF THE DEAD), Tom Hiel (SHARKTOPUS), Tyler Bates (HALLOWEEN II), Rafael May (Australia’s crocodile terror thriller BLACK WATER),l and Brian Ralston & Kays Al-Atrakchi (SyFy’s BATTLE OF LOS ANGELES). – rdl 06/27/16


For Older News – see our NEWS ARCHIVE page HERE


 

%d bloggers like this: