NEW GENRE SOUNDTRACKS
June 26, 2017
Stuart Hancock scores quirky UK Horror Comedy CRAZYHEAD – soundtrack now available on digital platforms
MovieScore Media returns to the small-screen with an electrifying Stuart Hancock score balancing between a teen comedy and a horror film. CRAZYHEAD is created by BAFTA-winning Howard Overman whose previous big hit MISFITS detailed the lives of teenagers blessed (or cursed) with superpowers. The new show’s six episodes chronicle another unorthodox coming-of-age story as our two heroines, Amy (Cara Theobold) and Raquel (Susan Wokoma) navigate their way through the choppy waters of their early twenties whilst simultaneously kicking the ass of some seriously gnarly demons. Originally shown on UK’s Channel 4 in October 2016, CRAZYHEAD is now available worldwide on Netflix.
“As a composer, scoring Crazyhead was a new stylistic departure for me.” explains Stuart Hancock about his 80s inspired, retro cult sound for the show. “I had previously worked with the team at Urban Myth Films to create the soundtrack for ATLANTIS, which had an epic orchestral sound, whereas CRAZYHEAD called for a grungy, more electronic sound world with a nod to the classic retro horror scores of the likes of John Carpenter. It was a whole lot of fun to explore this style, and to contrast subtle emotional underscoring with a bold, eyeballs-out brutality for the action and horror.”
For more info and audio samples, see:
June 22, 2017
Sharks Behind Bars! Cirino’s Prison Shark Massacre Soundtrack Makes CD Premiere
Kritzerland has announced the world premiere CD release of the soundtrack by Chuck Cirino for Jim Wynorski’s 2015 sharksploitation mash-up: SHARKANSAS WOMEN’S PRISON MASSACRE. When the SyFy Channel called writer/producer/director Jim Wynorski and asked him, “Do you have anything like Sharknado?” being the resourceful and clever fellow he is he immediately made up something with a shark – and instantly pitched SHARKANSAS WOMEN’S PRISON MASSACRE. With a production schedule not much longer than it takes a shark to swallow an escaped prisoner – well, fifteen days – Wynorski had the film in the can, ready for his composer of choice, Chuck Cirino, to give it the final musical magic. “Jim comes from a time when making movies was nothing but a fun adventure, and Chuck understands that sensibility perfectly,” noted Kritzerland’s Bruce Kimmel. “Chuck is a fine composer and understands these films and knows just what kind of music they require – as Jim Wynorski says, ‘Heartfelt and pulse-pounding melodies.’ It’s truly a fun score.”
For more details, to order or hear audio samples, visit http://www.kritzerland.com/sharkansas.htm
Return of Sky Pirates – Australian Composer Brian May’s Exciting Orchestral Score Reissued
Dragon’s Domain Records, distributed through buysoundtrax.com, announces a sparkling newly mastered reissue of Australian film composer Brian May’s long sold-out score to the science fiction-adventure thriller SKY PIRATES. The movie is an exciting tale in the vein of RAIDERS OF THE LOST AKA and ROMANCING THE STONE, about an Australian Air Force pilot and his newfound love interest rush to find a set of ancient stone tablets that hold the key to arcane knowledge and power before a self-serving villain can acquire them for nefarious purposes. May’s boisterous and colorful musical score gives the movie a thoroughly exuberant dynamic. SKY PIRATES is immersed in bold gestures, large orchestral adventure, and heroic measures that are expressed in energetic and exciting terms. Based on melody, mystery, and motif, May’s orchestral score is one of his finest, buttressing the film very well and more often than not subverting the movie’s logistical failures with the diversion of thrilling adventure. For more details, or to hear audio samples, see buysoundtrax.com
tomandandy’s wistful, scary score for THE MONSTER comes out for download this week
Lakeshore Records will release tomandandy’s score for THE MONSTER, the suspenseful and scary 2016 film from by horror filmmaker Bryan Bertino (THE STRANGERS). The film, which after a limited release last November was released to home video in January, is about a mother and daughter who must confront a terrifying monster when they break down on a deserted road. The pair’s potent score for THE MONSTER ranges from the opening reflective piano motifs through to large blocks of synthesized sound, interacting with the constancy of the music’s piano foundation to creates a haunting, frightening, and occasionally violent accompaniment that retains its focus on the character situation with which it started.
The soundtrack will be available digitally on June 23th. Tomandandy’s latest horror film scores include 47 METERS DOWN, released last Friday, and WISH UPON, which premiere’s July 17.
June 16, 2017
Update: Gerrard-Orr Score to 2:22 on Digital June 30, CD forthcoming
Varèse Sarabande will release the original motion picture soundtrack to 2:22 – digitally on June 30 (revised from original July 14 announcement) and CD later this year. The album features the original music composed by Lisa Gerrard and James Orr. “The director was very sensitive to sound and tone,” described Gerrard. “There was scope in the score for a main theme for the two principal characters, Dylan and Sarah. This is played briefly at the beginning of the film with piano, and then resurfaces throughout in various different guises, culminating in the orchestra in the finale.”
The film, directed by Paul Currie, follows a man whose life is permanently derailed when an ominous pattern of events repeats itself in exactly the same manner every day, ending at precisely 2:22 PM.
“The theme itself was one element, but the nature of the sound that produced it was very important to him. It needed to fit in with the idea of it being something contemporary and fresh,” Orr added. “We experimented a lot with recording both organic and synthetic sounds – voice, piano, guitar, strings – but manipulating them in a way that twisted them more to an electronic feel. The voice was key throughout, but it’s often used in a way that morphs the sound into something else, and is often a textural component and not a lead.”
“Time and memory are two very important themes in the film, and the characters are in a constant state of uncertainty and unpredictability about future events,” Gerrard concluded.
June 9, 2017
Song CD & Score Download Coming June 16 for Disney·Pixar’s CARS 3
As Lightning McQueen heads to the big screen alongside his new tech-savvy trainer Cruz Ramirez, Disney•Pixar’s CARS 3 fuels two soundtrack releases – both available from Walt Disney Records on June 16 as the film opens in theaters nationwide. The CARS 3 Soundtrack [I’ll call it a songtrack album] features eight tracks—including original songs by Dan Auerbach and ZZ Ward, four covers by various artists (including The Beatles’ “Drive My Car” performed by Jorge Blanco, and Aretha Franklin’s “Freeway of Love” performed by actress Lea DeLaria), and two instrumental tracks from Brad Paisley. The CARS 3 original score album features the music composed and conducted by Randy Newman, reuniting the CARS franchise with its original Oscar®-winning composer.
Newman, who was behind the Oscar®-winning music in Disney·Pixar’s TOY STORY 3 and MONSTERS, INC., composed the score for the first CARS movie and penned the Oscar®-nominated song “Our Town.” For CARS 3, Newman created a score that reflects the heart and high-octane action of the film – 21 tracks are included on the soundtrack. “Randy has a real connection to the ‘Cars’ world,” says MacDougall. “His ability to capture the feeling of this film, its characters, locations and the Americana theme throughout is extraordinary—the music is so naturally fluid and inspired. It really feels like Randy is coming home with this score.” Newman used a 110-piece orchestra to record the score. The CARS 3 score by Randy Newman is available digitally June 16 from Walt Disney Records and can be pre-ordered from Disney Music here.
June 6, 2017
Back Lot Music will release Brian Tyler’s score to Universal’s new THE MUMMY digitally on June 9th, with a CD to follow at an unspecified date. The movie is the in Universal’s new Dark Universe revival of its classic monsters, shows in theaters the same day.
Michael Giacchino’s score to SPIDERMAN: HOMECOMING will be released on CD by Sony Masterworks on July 7th. In addition to Giacchino’s original score, it will include the theme from the 1960s’ SPIDER-MAN cartoon series by Paul Francis Webster and Bob Harris.
The soundtrack for Luc Besson’s grandiose fantasy adventure VALERIAN AND THE CITY OF A THOUSAND PLANETS, with music composed by Alexandre Desplat (THE GRAND BUDAPEST HOTEL, HARRY POTTER AND THE DEATHLY HALLOWS, GODZILLA ) will be released on CD on July 21 by EuropaCorp. In addition to Desplat’s original score, the album will include four songs, including the film’s opening credits song, “Space Oddity” by David Bowie.
On June 13, Back Lot Music will release a digital soundtrack album for the fantasy adventure DRAGONHEART: BATTLE FOR THE HEARTFIRE, composed by Mark McKenzie. This is the fourth film in the DRAGONHEART franchise – McKenzie scored the the first and second sequel, DRAGONHEART: A NEW BEGINNING and DRAGONHEART: A SORCERER’S STONE, after Randy Edelman scored the first DRAGONHEART in 1996.
June 2, 2017
Rupert Gregson-Williams: WONDER WOMAN Soundtrack Released on CD & Digital
WaterTower Music has released the WONDER WOMAN soundtrack, which features an original score by composer Rupert Gregson-Williams and the powerful end title track, “To Be Human” sung by Sia, featuring Labrinth. The soundtrack to this epic action adventure film from director Patty Jenkins is now available both digitally and on CD.
“Patty and I worked together to find the themes for the movie,” Gregson-Williams related. “She has a great ear, and guided me early on to colors she felt had an affinity with the characters.”
“Engaging with the emotional language of music is a part of the filmmaking process that I deeply cherish, and its importance cannot be overstated,” Jenkins explained. “With WONDER WOMAN, we had an exceptional undertaking at hand: bringing a legendary character to life with a score befitting one of the greatest super heroes of all time, while musically bridging three entirely different worlds. Not a small task for anyone, but not beyond the beauty and elegance of Rupert Gregson-Williams. He embraced the challenge and created an entire world of themes and textures that organically grew with Diana’s storyline. He found her voice, her hope and all of her dreams, and brought them to life around her.”
On his philosophy of the merging of the music with the storyline, Gregson-Williams expounded: “Wonder Woman is an origin story; we meet Diana before she understands her powers, so her theme needed to reflect her innocence and naiveté. She moves from young girl to a woman who knows her path through the journey of the film.
“I used a hybrid of orchestra and ethnic drums and vocals for the origin story, and as the character grew I introduced electric cello and more electronic colors,” he continued. “By the end of the movie I brought in orchestra, full choir, percussion, and a large palette of electronica.”
“I am immensely proud of the score Rupert created and so grateful he was able to bring such integrity and beauty to the movie through his music,” Jenkins elaborated. “He is a special and unique talent, whose art sings throughout our film.”
Listen to Gregson-Williams score track, “Angel on the Wing:”
Listen to the End Title song, “To Be Human,” by sung by Sia with Labrinth”
May 31, 2017
It’s 2:22 Again – Lisa Gerrard & James Orr Score Fantasy Thriller
The romantic fantasy thriller 2:22 will be released on CD by Varese Sarabande on July 14th [see update, June 16th, above], and is available now for pre-order on Amazon. A digital release is said to be forthcoming in a couple of weeks. The film, directed by Paul Currie, follows a man whose life is permanently derailed when an ominous pattern of events repeats itself in exactly the same manner every day, ending at precisely 2:22 PM. The album features the film’s original music composed by Dead Can Dance’s Lisa Gerrard and James Orr, plus three pop songs used in the film.
Watch the film’s trailer on IMDB here.
May 19, 2016
New PIRATES OF THE CARIBBEAN Score Arrr-ives on May 26
Geoff Zanelli’s score to fifth film in the PIRATES OF THE CARIBBEAN franchise, DEAD MEN TELL NO TALES, will be released on May 26, 2017 by Walt Disney Records. The film also opens the same date. Zanelli (DISTURBIA, INTO THE WEST, THE PACIFIC, HITMAN, THE ODD LIFE OF TIMOTHY GREEN) is a protégé of Hans Zimmer, the lead composer for the series, and contributed additional music to the first four movies in the franchise, so one can expect a degree of musical continuity in the new score. “What Hans did for the PIRATES movies redefined the sound of the entire genre, it has been very fulfilling to work alongside him and [producer] Jerry [Bruckheimer] on the past four films,” Zanelli said in an August 2016 interview with Andrew Barker for Variety. “DEAD MEN TELL NO TALES enlarges the PIRATES universe with many new, unique elements, and I’m building a distinctive sound for this film that springboards off of many years of collaborating in the Pirates world.”
For more details, including track list, see filmmusicreporter
See the official movie website for updates on the film.
May 18, 2017
Brian Reitzell Scores AMERICAN GODS – Soundtrack due June 16th
The score to the eclectic and mercurial Starz cable TV series AMERICAN GODS was composed by Brian Reitzell (LOST IN TRANSLATION, HANNIBAL). A soundtrack album will be released digitally on June 16th on Milan Records (with a vinyl and cd edition to follow later in the summer). AMERICAN GODS was developed by Bryan Fuller and Michael Green for Starz based on the novel of the same name by Neil Gaiman – it’s about the conflict between the old gods of mythology, whose powers have waned as their believers have decreased in number, and the new American Gods who are manifestations of modern life and technology, such as the Internet, media, and modern means of transport.
The soundtrack album includes 15 tracks from Reitzell’s score and five songs heard in the series, including the original “Queen of the Bored” composed by Reitzell and sung by Shirley Manson of Garbage (listen to it here in Soundcloud), as well as classic covers sung by Mark Lanegan and Debbie Harry of Blondie, who joins Manson for a powerful take on Persiansinger Googoosh’s “Tehran 1978.” Similar to BIG LITTLE LIES, GAME OF THRONES and STRANGER THINGS, AMERICAN GODS features music front and center as an essential element of the show. Each week Milan Records is releasing a digital single in conjunction with the airing of new episodes.
Sample Reitzell’s Main Theme from AMERICAN GODS at Milan Records’ site here.
The first of eight episodes of AMERICAN GODS Season 1 debuted via Starz on April 30th. Check out the AMERICAN GODS official site
or Milan Records for more info.
3-CD POLTERGEIST II reissue from Intrada
Intrada Records has produced a totally remastered and expanded “specially-priced” 3-CD reissue of its own very first Jerry Goldsmith release, POLTERGEIST II. Goldsmith anchors his sequel score with not one but two new themes associated with Taylor, the Native American character played by Will Sampson: the first is lean, sinewy idea over sparse open chords, while the second is a powerful, major-key theme typically heard from the French horns and trumpet. For portions of film dealing with evil Kane, Goldsmith introduces dynamic satanic choral writing plus disturbing hymn variants. The first movie’s “Carol Anne’s Theme” makes judicious appearances here, but then wraps up the entire score in gentle fashion. For this definitive edition of POLTERGEIST II, Intrada presents both alternate digital album mixes in their entirety, plus the analog film mixes, allowing the listener to choose their preference. CD 3 presents an abundance of extras including, for the first time ever, Goldsmith’s complete initial version of the massive final confrontation, “Reaching Out/The Astral,” which was dropped in post-production and re-scored by the composer.
For full details, see: Intrada
May 15, 2017
Sneak Preview of Daniel Hart’s A GHOST STORY score
Via Indiewire: Music plays an appropriately haunting part in David Lowery’s Sundance hit “A Ghost Story,” which stars Rooney Mara and Casey Affleck as they attempt to navigate love, loss, and the afterlife. The film hits theaters on July 7, along with an evocative soundtrack as intimate, haunting, and elegant as Lowery’s stylish and riveting direction. The film’s soundtrack has been crafted by violinist Daniel Hart, who has toured and recorded with his bands The Physics of Meaning and Dark Rooms, as well as other notable artists.
The A GHOST STORY soundtrack is being released via Milan Records on both CD and digital on July 7, with a special 180 gram white vinyl coming up on July 14.
Listen to this exclusive sample of the first track from Hart’s soundtrack, “The Secret In the Wall,” at indiewire, here.
May 5, 2017
WaterTower Music has released the first soundtrack album for the Netflix original science fiction series SENSE8. The album features selections from the show’s original music composed by Johnny Klimek & Tom Tykwer; also included are songs from the first season (the ratio is 10 score tracks to 4 songs). Audio samples available on amazon.
For more details, see filmmusicreporter
Paul Leonard-Morgan’s soundtrack to the video game Warhammer 40,000: Dawn Of War III due on May 9th – CD to follow.
Sumthing Else Music Works, the premier record label dedicated to releasing video game soundtracks, Relic Entertainment, and Games Workshop, proudly present the official soundtrack for Warhammer 40,000: Dawn of War III, the long-awaited third installment of the critically acclaimed real-time strategy franchise. Featuring the game’s original score by BAFTA award winning, EMMY and Ivor Novello nominated composer Paul Leonard-Morgan (LIMITLESS, BATTLEFIELD: HARDLINE, DREDD 3D), the official soundtrack will be released May 9 via digital and streaming outlets worldwide, with a physical CD release to follow.
(For more information on the composer, see my interview with Leonard-Morgan from in my Feb 2016 Soundtrax column here.)
Warner Bros.’ Water Tower Music will release Rupert Gregson-Williams’s score to the forthcoming DC Extended Universe feature film WONDER WOMAN on CD June 2nd. Pre-orders available on amazon and elsewhere.
May 1, 2017
Lakeshore Records Presents Two Companion EPs For THE RISE OF THE SYNTHS
Lakeshore Records will be releasing two official companion EPs for the upcoming documentary THE RISE OF THE SYNTHS this spring. THE RISE OF THE SYNTHS EP 1 features tracks from Giorgio Moroder & Raney Shockne, Dance With The Dead, OGRE, Lazerhawk, Mega Drive, Voyag3r, and Carpenter Brut’s “Night Stalker”, which was released earlier this year. The EP will be released exclusively through Lakeshore Records’ Bandcamp site on May 1st and through all digital providers on May 12th.
THE RISE OF THE SYNTHS is a documentary film project exploring the synthwave music scene. The filmmakers are interviewing both new artists and classic composers who helped to create the genre. The film is currently in production after a successful Indiegogo campaign. THE RISE OF THE SYNTHS EP 2 will be released in June.
– Via The Krakower Group
Coming May 9th: 3-CD Set of Wonder Woman Goodness from La-La Land Records
La-La Land Records, Warner Bros., and DC continue the celebration of 75 years of Wonder Woman, with a very special, limited edition 3-CD SET featuring original scores from the classic 70’s WONDER WOMAN TV series starring Lynda Carter.
Composers Charles Fox, Artie Kane, Robert Prince, Johnny Harris, Robert O. Ragland, Angela Morley and Richard LaSalle were the maestros who propelled this iconic superhero through her thrilling adventures, spanning three seasons and two exciting time periods with a breathtaking meld of traditional orchestra, rock, pop and jazz. Among this set’s musical highlights are the original TV movie score, the 2nd season premiere score, a dynamic selection of episode scores (The Bermuda Triangle Crisis, The Deadly Sting, Hot Wheels, and Skateboard Wiz, among others!), all three season variations of the immortal main titles (music and lyrics by Charles Fox and Norman Gimbel), and more.
Produced by Neil S. Bulk and mastered by James Nelson from 3-Track WB studio vault elements, this limited edition of 3000 units also features a 28-Page booklet with exclusive liner notes by writer John Takis and a forward by Wonder Woman comic author and authority, Andy Mangels. Heroic art design by Dan Goldwasser helps spin this celebratory release into action!
– via La-La Land Records
April 30, 2017
Omega productions announces the world premiere release of LE LAC DES MORTS VIVANTS (1981, aka ZOMBIE LAKE) on CD – the melodious and audibly spooky score by Daniel White from the famous (and unintentionally hilarious) French horror movie by genre auteur Jean Rollin. The album will be remastered for the first time ever, with the help of Daniel Lesoeur, producer of the film and director of Eurociné. It will contain 22 tracks (+ bonus track: music from the film trailer), including some short sound design/effects elements (the “Bird’s Song,” “Peasant Terror”), and a couple short dialogue excerpts. The CD will be limited at 500 copies, in jewel case. Pre-orders of the soundtrack album on CD are now available, and include an instant download in MP3, FLAC, and other formats plus streaming via the free Bandcamp app. The CD is intended to ship on or around June 22, 2017. Special thanks to the label for making this significant genre soundtrack available on CD instead of just in digital format, which is often the case with specialty releases like this!
For details or to pre-order, see: omegaprods.
Follow Omega Productions on Facebook
April 27, 2017
Adam Taylor’s score for the new HULU series THE HANDMAID’S TALE will be released digitally by Lakeshore May 5. The series is a speculative science fiction story based on the novel by Margaret Atwood, about a dystopian society wherein women are considered property of the state. Taylor is a film composer known for his subdued, emotional, and minimalistic scores.
For more details, see the report in Genre Film Music News.
April 21, 2017
GUARDIANS OF THE GALAXY VOL. 2 Music: Marvel Music/Hollywood Records has released the digital versions of GUARDIANS OF THE GALAXY VOL. 2: Awesome Mix Vol. 2 songs-only album and GUARDIANS OF THE GALAXY VOL. original score album by composer Tyler Bates (GUARDIANS OF THE GALAXY, JOHN WICK CHAPTER 2, WATCHMEN) today. The film opens in U.S. theaters on May 5, 2017. The Awesome Mix Vol. 2 will also receive a physical CD set for release on April 28th; no word yet on a CD release of the score album.
For more details, see the report in Further Examinations.
April 20, 2017
Jed Kurzel’s soundtrack to Ridley Scott’s ALIEN COVENANT will be released by Milan on May 5. On the same date, Disney will release Geoff Zanelli’s score for the fifth PIRATES OF THE CARIBBEAN movie, DEAD MEN TELL NO TALES.
James Newton Howard has been signed to compose the score for MGM’s new TOMB RAIDER film. The film, scheduled for release in March 2018, is directed by Roar Uthaug, known for the 2015 Norwegian disaster film THE WAVE, and stars Alicia Vikander (JASON BOURNE, EX MACHINA) as Lara Croft, and Daniel Wu (GEOSTORM, WARCRAFT) as Lu Ren.]
March 24, 2017
Lakeshore Records will release a soundtrack album for the NBC fantasy-drama EMERALD CITY, featuring selections from the show’s original music composed by Emmy Award winner Trevor Morris (IMMORTALS, THE TUDORS, OLYMPUS/LONDON HAS FALLEN, THE BORGIAS, IRON FIST). The soundtrack CD will be released on May 26th and is currently availiable for pre-order on amazon
– Via filmmusicreporter.com
March 18, 2017
Horror Bites: Death Waltz Releases Michael Yezerski’s THE DEVIL’S CANDY
Death Waltz Recording Co. (A division of Mondo Tees) released last Friday via Bandcamp/iTunes/Spotify the original score to THE DEVIL’S CANDY from Australian composer Michael Yezerski. A physical vinyl release will come in May.
Yezerski’s approach to scoring THE DEVIL’S CANDY is forthright and simple: “Doom. Metal. Opera,” he stated. “Sean Byrne [writer/director], Jessica Calder and Keith Calder [producers] are visionaries. We had several deep discussions so I felt that my role was clear. I needed to provide a pervasive sense of claustrophobia and ambient doom inspired by the world of black metal and noise rock. The blending of tones had to be seamless.”
In THE DEVIL’S CANDY Jesse, a struggling artist, moves with his wife and daughter into their dream house in rural Texas, the price driven down by the property’s dark past. Their lives soon begin to unravel as the demonic forces lurking in the house take hold of the young family. Jesse’s paintings take a satanic turn while the family is plagued by Ray, the deranged son of the former owners. Soon it becomes clear that Jesse and Ray are both being influenced by the same dark forces and that Jesse and his family aren’t safe from its former inhabitant or indeed from the devil himself.
“I played strings on this score. I am not a string player,” Yezerski joked. “My wife kindly lent me her violin and I tortured the crap out of it. That should tell you something about the nature of the string writing. Let me just say that it was perfect for a horror film.”
The cue “The Swing” contains the DNA for the rest of the score. Yezerski described, “It is a deceptively simple construction, but keep in mind that often the simplest pieces of music are the most difficult to write – I needed to figure out how to create tension, build momentum without expanding the instrumentation or the style. It took a few goes to find the answer, but when I did, that track really opened up the rest of the score. We discovered that a sound, any sound, can often be at its most powerful when it is unobstructed by other tones. There is a certain beauty in allowing these found sounds to breathe on their own and not to over-produce the resulting score.”
From the gripping and contemporary, to the subtle and emotional, Michael Yezerski has displayed a unique voice in film music. Recent works include Peer Pedersen’s WE DON’T BELONG HERE and ONLY THE DEAD SEE THE END OF WAR, the searing documentary feature from Michael Ware and Bill Guttentag. Michael’s first feature film projects were the critically acclaimed THE BLACK BALLOON (dir. Elissa Down) and THE WAITING CITY (dir. Claire McCarthy); he wrote both score and songs for these films. Since then, Michael has written the scores for over fourteen feature films and has been nominated four times for Australia’s highest film honor – the AACTA award for Best Original Score.
For more information on the composer, see his web site: https://michaelyezerski.com/
– Via The Krakower Group, March 17, 2017.
March 10, 2017
Lakeshore Records To Release Soundtrack to Animated SF Feature NOVA SEED by Canadian composer Stephen Verrall – Available Digitally On March 24th
Beneath the surface of a toxic, dying world lives the evil Doctor Mindskull. He has created the ultimate weapon, using the planet’s own power to destroy it. Can mankind unite to find a way to stop this evil before it’s too late? The answer lies within the Nova Seed.
Gorgon Pictures and House of Cool recently announced the March 28th North American release of Nick DiLiberto’s sci-fi fantasy adventure, NOVA SEED, the director’s feature film debut. Animated in 2D as a solo effort by DiLiberto, this film is the product of four years’ work and is comprised of 60,000 painstakingly hand-drawn frames. DiLiberto’s, NOVA SEED has just completed a year-long run at festivals around the world including its world premiere at TAAFI in Toronto, a US premiere at Fantastic Fest, and the European premiere at 14th Carrefour du Cinéma d’Animation in Paris. NOVA SEED garnered a nomination for the coveted Satoshi Kon Award at the Fantasia International Film Festival.
Self-taught, multi-talented composer and instrumentalist, Canadian Stephen Verrall has brought over 25 yrs. of experience on his first feature film score for NOVA SEED. With influences varying from The Beatles to Depeche Mode and an interest in creating his own unique sound, he’s released two solo albums in the Alternative genre.
March 1, 2017
KONG: SKULL ISLAND SOUNDTRACK – Available March 3
WaterTower Music has announced the March 3 release of the soundtrack to KONG: SKULL ISLAND – the Warner Bros. Pictures, Legendary Pictures and Tencent Pictures film that reimagines the origins of one the most powerful monster myths of all time. Directed by Jordan Vogt Roberts, the film will be released worldwide in 2D, 3D in select theatres, and IMAX beginning March 10, 2017.
Composer Henry Jackman (X-MEN: FIRST CLASS; CAPTAIN AMERICA: THE WINTER SOLDIER; CAPTAIN AMERICA: CIVIL WAR; the KICK-ASS FILMS) created the film’s lush symphonic score. His music highlights Kong’s emotional connection with some of the characters by giving specific moments in the score what he says is “a bit of humanity and sensitivity. The great thing about a monster movie is that it opens the door to use the symphony orchestra in its most sumptuous way,” Jackman continues. “(Director) Jordan Vogt-Roberts was happy to celebrate the gravity and history that comes with a full orchestra, but we also explored less traditional elements. That’s a field day for a composer.”
In a nod to the film’s ‘70s period setting, Jackman infused the score with the bold, classic tones of the decade’s psychedelic guitars.
The music, which serves to both heighten the film’s emotion and underscore the action, was one of the final creative elements to fall into place during post-production. It was the culmination of a massive undertaking that had taken the production to three continents. Throughout the process, everyone involved in the film was intent on being respectful of Kong’s history, even while crafting a next-generation iteration of the mythic beast.
Listen to “The Island” from the Kong: Skull Island soundtrack on youtube:
The album is now available for preorder on iTunes and on CD. A vinyl version will be available on Waxwork Records.
March 1, 2017
STAR TREK VOYAGER COLLECTION: Limited edition 4-CD SET from La-La Land Records
La-La Land Records and CBS proudly present STAR TREK VOYAGER COLLECTION, a stellar 4-CD presentation of score highlights from the acclaimed television series starring Kate Mulgrew, Tim Russ and Jeri Ryan. Series composers Jay Chattaway, Dennis McCarthy, David Bell and Paul Baillargeon expand their remarkable work in the STAR TREK universe with thrilling and inventive music to such fan favorite episodes as RISE, THE VOID, BASICS parts I & II, LIFESIGNS, SCORPION parts I & II, and more!
DISC 1 features music by Jay Chattaway, DISC 2 showcases Dennis McCarthy, DISC 3 highlights music by David Bell and Paul Baillargeon, and DISC 4 includes fan faves by Chattaway and McCarthy!
Produced by Ford A. Thaxton, James Nelson, Mark Banning, and Lukas Kendall, and edited and mastered by James Nelson, this special limited edition release of 3000 units includes a 36-Page booklet with exclusive, in-depth liner notes by writer Jeff Bond, author of The Music of STAR TREK. Art designer Mark Banning complements this mission with sharp, Federation-worthy packaging.
For more information see: http://www.lalalandrecords.com
February 27, 2017
Lakeshore Records to release LOGAN soundtrack digitally on March 3rd – CD on March 31.
The album contains original music by Marco Beltrami (SCREAM, BEN-HUR, THE HURT LOCKER) who previously scored two films for director James Mangold, 3:10 TO YUMA, for which Beltrami earned an Academy Award® nomination, and THE WOLVERINE. “When I first watched LOGAN I was really impressed with its originality,” Beltrami stated. “Although it’s a Marvel superhero movie, it is also many other movies as well, all tied up into a delicate balance of brazenness and subtlety. Jim is a master at moving fluently between genres and subverting them to present a new emotional landscape, and it was in trying to define this landscape in musical terms that I found my puzzle.”
In the near future, a weary Logan (Hugh Jackman) cares for an ailing Professor X in a hide out on the Mexican border. But Logan’s attempts to hide from the world and his legacy are up-ended when a young mutant arrives, being pursued by dark forces. “LOGAN was an extremely demanding but very inspiring film score to work on. Jim distilled the innovation of an indie within the framework of a tentpole,” Beltrami explained. “He played me scores he liked and which inspired the tone of the film for him—Taxi Driver, Paper Moon (the film itself), The Gauntlet. He liked the directness and rough edges, the unpolished tone, the energy. Somehow I had to capture this while simultaneously creating a modern score. It did not need grandiose thematic music and verbose melodic statements. It was all about vibe.”
Current projects for Beltrami include scoring the hit Fox television show, LUCIFER, which recently got picked up for its third season.
February 22, 2017
Harry Manfredini’s TIMEMASTER soundtrack comes to CD
Dragon’s Domain Records, to be distributed through buysoundtrax.com, presents the premiere soundtrack release of TIMEMASTER, featuring music composed by Harry Manfredini (FRIDAY THE 13TH, SWAMP THING, HOUSE, THE OMEGA CODE) for the 1995 family sci-fi adventure. TIMEMASTER is a time-travel adventure concerning an organization of aliens who send teams of “collectors” across space and time to gather other life forms which they will use as contestants or pawns in life-or-death virtual reality games; because the story visits many different eras of past and future, Manfredini had the chance to really stretch his sonic muscles and compose music for many different periods and genres. The booklet contains liner notes written by author Randall D. Larson featuring the participation of the composer.
For more information, and to order, see: http://buysoundtrax.stores.yahoo.net/facoorsobyfr.html
Kritzerland Announces World Premiere Release of the Score to ‘50s Big-Bug Movie MONSTER FROM GREEN HELL
Directed by Kenneth Crane (WHEN HELL BROKE LOOSE, THE MANSTER), MONSTER FROM GREEN HELL was released in 1957 on a double bill with THE BRAIN FROM PLANET AROUS. One of a spate of big bug pictures, this one has something to do with scientists sending small animals into space to see if the gamma rays produce mutations. Hint: They do.
For a film like MONSTER FROM GREEN HELL, one needs the perfect composer, and they got him: Albert Glasser, whose music graced some of the most beloved and classic low-budget films of the 1950s, including BEGINNING OF THE END AND EARTH VS. THE SPIDER, THE AMAZING COLOSSAL MAN, and many more. The music for MONSTER FROM GREEN HELL is classic Glasser: all blaring brass, screeching strings, and jagged rhythms, bombastically keeping the movie trudging along for all of its 73 endless minutes.
This release was prepared from Albert Glasser’s own tapes and our restoration expert, Chris Malone, has done a masterful job in making them sound as good as possible.
For more details and to check out some soundbytes, see kritzerland.
Kronos Records announces premiere 2-CD OST for French horror fantasy, LIVID
Kronos Records is proud to present the the complete score of 2011 French horror film LIVIDE (aka “LIVID” in the US/UK) by famed directors Alexandre Bustillo and Julien Maury. The suggestion that a big treasure is hidden somewhere inside Mrs Jessel’s once renowned classical dance academy will become a lure to a deadly trap for Lucie and her friends. Raphaël Gesqua, who would work again with this duo of directors on Among The Living (also available from Kronos Records) provides an incredibly beautiful score for LIVIDE.
This is the first time ever LIVIDE is released on CD format. Also included as bonus on this limited edition 2CD set are also alternate recordings and other goodies.
For more details or to pre-order, see: http://www.kronosrecords.com/K76.html
ScreamWorks Records: Kiss the Devil in the Dark and Creatures of Whitechapel by Gerrit Wunder CD release
KISS THE DEVIL IN THE DARK and CREATURES OF WHITECHAPEL are both the work composer Gerrit Wunder. Written and directed by Jonathan & Rebecca Martin, both films are inventive fantasy/horror shorts with darkly Gothic scores steeped in rich symphonic themes. Director Jonathan Martin “has a very clear vision for his movies” explains the composer about how he approached the film. ”Regarding the score, his philosophy is that he wants to see the whole movie in front of his eyes when just listening to the music. That is why I compose wall to wall music for his films. It’s almost like an opera. Most characters have their themes and motives so you’ll be able to find a very Wagnerian leitmotif-technique approach in this score. In fact I think Jonathan would have preferred to hire Wagner himself, so he ended up with me, at least Wagner and I share the same mother tongue.”
For more information on ScreamWorks Records and its parent label, MovieScoreMedia, see http://moviescoremedia.com/