GENRE FILM MUSIC NEWS

IFMCA Award Winners 2016 Recognize Many SF/Fantasy Genre Scores

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The International Film Music Critics Association (IFMCA) has announced its list of winners for excellence in musical scoring in 2016, in the 2016 IFMCA Awards: James Newton Howard’s “Fantastic Beasts and Where to Find Them” wins for best sci -fi/fantasy/horror score; Jóhann Jóhannsson’s acclaimed score for the sci-fi hit THE ARRIVAL (a score disqualified for an Oscar) won Score of the Year; and Michael Giacchino won composer of the year, in recognition of four sci-fi/fantasy scores – DR. STRANGE, STAR TREK BEYOND, ZOOTOPIA, ROGUE ONE. Christopher Young’s Asian fantasy score for THE MONKEY KING 2 won for best Action/Adventure/Thriller, and GAME OF THRONES won for best television score; while La-La Land Records won for best archival collection for John Williams’ Jurassic Park Collection.

For details, and full list of all winners, see:
http://filmmusiccritics.org/2017/02/ifmca-winners-2016/

For full list of 2016 nominees, see:
http://filmmusiccritics.org/2017/02/ifmca-award-nominations-2016/


SOUND OF FEAR to Examine Horror Film Music Via Podcast – Crowdfunding Sought for Ongoing Series

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Everybody loves scary movies, and one of the most important elements of a good horror movie is the music. But where does the music come from and why is it so effective? Charlie Brigden, film music journalist writer and a former editor on Films on Wax and allows us to dive into the sonic scary with THE SOUND OF FEAR, a series of podcasts that looks at the scores behind the scares, from Alien to Zombie Flesh Eaters.

“I was inspired by seeing a documentary series on BBC about film music and it made me think that horror music (and films) always get a short shrift despite sound being so important – traditionally few respect the genre,” Brigden told us. “Music and sound is so crucial to horror being effective and suggestive, so I wanted to highlight that as well as give some time to some really wonderful music.”

The first episode is already completed and is available to view as a proof of concept on Brigden’s Patreon site that hosts his crowdfundung campaign. Brigden hopes the campaign will bring in some additional funding here and there “to be able to turn this into an ongoing series.”

Currently, the initial run of THE SOUND OF FEAR is set into six episodes, which will look across some broader areas of the horror genre including the Universal monsters, slasher films, science fiction in horror, and more. “If this series is successfully completed then we can look to concentrate on some of the music we’ve had to skip over, including specific episodes on composers and franchises, as well as producing some bonus material such as interviews with composers and directors.

“So what we’re asking is for money to go towards the running costs of the podcasts.”

For more information, to watch Episode 1, or to support THE SOUND OF FEAR, see: www.patreon.com/soundfearpod  


Basil Kirchin: The forgotten genius of UK music

BBC.com has posted a very interesting profile of UK composer Basil Kirchin, best known in film music circles for scoring THE SHUTTERED ROOM (1967),* THE ABOMINABLE DR. PHIBES (1971),** and THE FREAKMAKER (1974; aka US: THE MUTATIONS)*** but was far more prolific in recording experimental and ambient music.  Read the profile at bbc.com

Basil Kirchin horror soundtrack albums

Basil Kirchin horror soundtrack albums

* Kirchin’s SHUTTERED ROOM score remained an obscure non-release until 2012 when England’s Trunk Records released a prestige vinyl edition of Kirchin’s score in an expensive limited edition of only 29 copies.

** At the time of its release in 1971, a vinyl LP was released by American International Records, that contained songs from the film plus 5 minutes of music in three tracks from Kirchin’s score. In 2003 Perseverance Records, in association with the composer, released the first score album of the PHIBES music (now sold out).

***Kirchin’s avant garde music for THE FREAKMAKER was preserved on an extremely rare 19-track digital album from Master Cylindar Records (no date), described as a mixture of “straightforward film score music, messed-the-hell-up film score music, and electronically treated/created proto-dark ambient pieces.”


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