Author Archives: Film Music Central

About Film Music Central

I'm a 33 year old musicologist and blogger and I've had a lifelong obsession with film music, cartoon music, just about any kind of music!

Soundtrack News: ‘Bullet Train’ Original Soundtrack Available Now

Milan Records has released BULLET TRAIN (ORIGINAL MOTION PICTURE SCORE) with music by composer Dominic Lewis. 

Available everywhere now, the album features music written by Lewis for the action-thriller film starring Brad Pitt as Ladybug. Directed by David Leitch (Deadpool 2), the film is a nonstop thrill ride, with Lewis’ compositions to match. Working in close collaboration with Leitch, Lewis crafted an expansive soundscape covering a wide range of genres and styles, each tailored to the dynamic onscreen story and its cast of characters. 

In Bullet Train, Brad Pitt stars as Ladybug, an unlucky assassin determined to do his job peacefully after one too many gigs gone off the rails. Fate, however, may have other plans, as Ladybug’s latest mission puts him on a collision course with lethal adversaries from around the globe—all with connected, yet conflicting, objectives—on the world’s fastest train. The end of the line is just the beginning in this non-stop thrill-ride through modern-day Japan from David Leitch, the director of Deadpool 2.

Of the soundtrack, composer Dominic Lewis had the following to say:

“I really tried to approach this score as some form of concept album, asking myself, ‘What is the perfect needle drop for each moment that tells story and weaves in out of the movie’s arcs, disguised as a song but doing the job of score?’ ‘What if you were flicking through an old vinyl collection and found an obscure ‘70s record, used that for your samples on your album?’ That was the idea for the Bullet Train score, only I had to create that record before approaching each scene.” Speaking of his experience working with director David Leitch, Lewis continues, “A blank canvas can often be accompanied with instructions of which paints to use and where. Not with David. Without his trust, vision, and a collaborative experience that is second-to-none, the stars wouldn’t have aligned to create this gonzo, badass score. I hope audiences have as much fun listening to it as I did making it.”



1. The White Death

2. All Aboard

3. Prince

4. A Modern Plague

5. Royally F#*cked

6. MacGyver

7. Yuichi

8. Toilet Talk

9. Tang Fight

10. Daddy Issues

11. Fructose Overdose

12. The Hornet Stings

13. Bubbles

14. You’re the Diesel

15. Backpack

16. Polythene Pam

17. Tentomushi

18. Kyoto Eki

19. Dochka

20. Mr. Death

21. Anuvva Bruvva

22. Make or Brake

23. Not Carver

24. Fate

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Soundtrack News: Paper Girls Original Series Soundtrack Available Now

Milan Records has released PAPER GIRLS (AMAZON ORIGINAL SERIES SOUNDTRACK), an album of music by Bobby Krlic for Amazon Studios’ new series based on the best-selling graphic novels.

 Available everywhere now, the project is the latest in multi-instrumentalist, composer and producer Bobby Krlic’s extensive resume, which includes both critically-acclaimed, award-winning film, television and gaming scores as well as a successful career releasing music as The Haxan Cloak and working alongside artists like Björk, Father John Misty, Khalid, Troye Sivan and more.

Set in 1988, Paper Girls tells the story of four girls caught in the midst of a war between time travelers and transported to the year 2019 where they set out on a high-stakes journey to return to their present and change the course of their future. Throughout the album’s 17 tracks, Krlic has crafted a dark and atmospheric soundscape that straddles the series’ two timelines, utilizing foreboding synths and tension-building instrumentation to capture the thrilling onscreen story. All eight episodes of Paper Girls are available exclusively on Prime Video in more than 240 countries and territories worldwide.

Of the soundtrack, composer Bobby Krlic had the following to say:

“The world of Paper Girls is something I’ve wanted to explore musically for a long time. It was such a pleasure to have something so rich and nuanced to work to and be inspired by. I wanted to encapsulate the spirit of youth, not only in its boundless energy, but the naivety, trepidation and exploration that comes with the transitory period of childhood. The show and the performances encapsulate that beautifully, and it’s my hope that the music will do the same.”


In the early morning hours after Halloween 1988, four paper girls—Erin, Mac, Tiffany, and KJ—are out on their delivery route when they become caught in the crossfire between warring time-travelers, changing the course of their lives forever. Transported into the future, these girls must figure out a way to get back home to the past, a journey that will bring them face-to-face with the grown-up versions of themselves. While reconciling that their futures are far different than their 12-year-old selves imagined, they are being hunted by a militant faction of time-travelers known as the Old Watch, who have outlawed time travel so that they can stay in power. In order to survive, the girls will need to overcome their differences and learn to trust each other, and themselves. 



1. Something’s Not Right

2. The Girls

3. You Travelled 

4. Capital Offence

5. Watching, Secretly

6. Child Soldiers

7. Young Missy

8. We Were Chosen

9. Batteries Not Included

10. We Do It Better

11. Dead Ringers

12. KJ’s Discovery

13. Up Till Dawn

14. Worth a Shit

15. Time Rip

16. A Great Year For Music

17. Get Your Baseball Bat

Will you be checking out the soundtrack for Paper Girls?

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Soundtrack News: ‘The Good Neighbor’ Soundtrack is Available Now From Scoring Records International

Scoring Records International has released the The Good Neighbor (Original Motion Picture Soundtrack) with music by Enis Rotthoff (Guns AkimboThe Sunlit NightWetlands, Love Sarah) on all major digital platforms. The film is available now in select theaters and digital platforms.

Directed by Stephan Rick, the film unfolds during a nightmarish evening for neighbors David (Luke Kleintank) and Robert (Jonathan Rhys Meyers) when they accidentally hit a woman on her bike with their car and flee the scene. While David is increasingly plagued by feelings of guilt, Robert shows no remorse and becomes overbearing and possessive. When David meets Vanessa (Eloise Smyth), the victim’s sister, he submits to a reckless passion and underlying sense of redemption before realizing Robert will do unspeakable things to protect their secret.

Enis Rotthoff is a German composer who splits time between Los Angeles and Berlin. His passion for scoring films with his orchestral mastery and cutting-edge electronic sounds, has made him a leading voice for cinematic music in Germany and has contributed to his growing international reputation. Through his focus on close collaborations with filmmakers, he is able to build true cinematic concepts providing a unique musical language for each film he scores. 

Rotthoff’s score injects retro electronic sounds with a classical string ensemble. Together with director Stephan Rick, Enis Rotthoff wanted to honor the thriller genre with exciting and lush string compositions while adding contemporary electronic and experimental elements.

The album was recorded with the Budapest Art Orchestra and showcases a 42-piece string ensemble and solo cellist Marianna Pleszkan. In order to add to the warmth of the orchestra Rotthoff opted for analogue synthesizers and partly mashed their performance up with today’s electronics and technology. On the string composition side Rotthoff tried to channel a retro thriller mindset. On the electronic side his approach was more radical and chaotic. He experimented with custom string instruments, electronic guitars and analogue synthesizers running them through effects and distorting them, adding textures, atmospheres, and impactful pulses to the music.


1. The Good Neighbor 3:41

2. Welcome to Riga 2:47

3. Vanishing Evidence 1:46

4. Visions 1:54

5. You Hit Something 3:01

6. Excursion 2:11

7. Vanessa and David 1:45

8. Wrong Caller 1:29

9. Romantic Detour 1:11

10. Midnight Stalker 1:42

11. Final Triangle 3:22

12. Waves Of Worry 2:04

13. Equal Disappointment 1:37

14. Telling Some Truth 1:39

15. Going Fishing 1:19

16. The Bad Neighbor 1:24

17. Do Not Ruin Us 3:03

18. Vanessa´s Journey 1:37

19. A Beautiful Moment 1:49

20. Dark Triad 1:57

21. Cause and Effect 1:29

22. Sleeping Vanessa 1:17

23. Relief And Sorrow 2:12

24. Tin Soldier 1:06

25. The Neighbor Suite 3:42

26. Forever United feat. Ezra de Zeus 2:22

27. Afterparty Cruise 2:38

28. Janine And David 4:02

29. Let Us Be Friends 4:53

30. We Are in This Together 5:08

31. Back To Robert 3:56

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Bringing the Show to Life: Talking with Ian Eisendrath about ‘Come From Away’

I recently had the chance to talk with Ian Eisendrath about his work as music supervisor for Come From Away. Eisendrath worked on both the Broadway show and oversaw the filmed production that is now on AppleTV+. Come From Away, for those not familiar, recounts the real-life story of when hundreds of passengers were stranded in Newfoundland for a period of time in the immediate aftermath of the September 11 terrorist attacks. It’s a powerful story of people coming together in a time of need and I recommend checking the show out if you get the chance.

I hope you enjoy this interview!


Just to start with, can you explain what a music supervisor does?

It’s challenging to describe, and everyone will have their own definition. I have found that the role and responsibilities shift from project to project.   I have also spent the last year and a half working as an executive music producer, collaborating with some very talented music supervisors).  At the end of the day, we take responsibility for managing and bringing together all of the musical elements, from development through post. We support, manage, collaborate, and participate in the realization of the filmmaker, songwriter, studio, producer vision for how music exists and functions specifically and overall in the world of the film or show.  

It’s a bit more detailed than just being the composer for something.

Yes, I  often interact with almost every member of the filmmaking team, production team, and cast. I  get in the trenches with the songwriters, supporting development of the musical language, the musical structures, and overall vibe for how the story is being told through music. On the non-creative side, I often manage (and work closely with other members of the music team and studio) to schedule overall workflow for music development, music production, music rehearsal, on-set music recording, and the final stages of music production that take place during post.  Throughout prep – the period of time before rehearsal and principal photography begin – I interact closely with the director, providing support and feedback to ensure that music is headed in a direction that supports their vision. Wrangle and support the extensive noting/approval/revisions processes that take place between songwriters, directors, choreographers, producers, the studio, and members of the music team. I will often = produce or co-produce the demo sessions, hire and rehearse the demo singers and instrumentalists,  engage arrangers and orchestrators, oversee the creation of the scores that will be used for rehearsal and production, and really…just do what needs to be done to get the material ready for rehearsal and filming.   During rehearsal, I spend a lot of time coaching the actors on their vocal performances (connecting every musical choice to character, dramaturgy, and the acting values that the director and actors are discussing), work closely with the (very talented) vocal coaches brought on to support each specific actor (Eric Vetro, Liz Kaplan, Fiona McDougal), work closely with the songwriters, director and choreographer to ensure that they are getting what the need out of the music and vocal performances being developed, supporting the dance creation process – which often involves adding or shifting music to support what will be happening on camera, and working closely with the entire production team to plan how we’re going to record and playback music and vocals for each camera setup (what are we recording live?, when are we lip-synching to playback?, how do we get in and out of a each section of music?, what will the actors and filmmakers hear?)

During the shoot – principal photography – the entire music team is responsible for making sure that everything goes seamlessly from a musical perspective and that they are never waiting on music. I am also on hand to implement in-the-moment shifts and changes to the music, to coach and oversee  vocal performances. It is so crucial that the performance being captured on camera is both musically and dramatically sound because we will be living with that timing and performance forever!  

During post, I work closely with the music editorial department to support the director’s process throughout their picture cut, manage and oversee the recording and production of the final versions of each cue, and participate in the mixing process for the music in the film.  I am also sometimes lucky enough to conduct the orchestra, which is one of my favorite things in the world to do.

You worked on the Broadway version of Come From Away also right?

I was fortunate to be involved from the beginning and to work closely with David [Hein] and Irene [Sankoff], the writers – who are also the songwriters, the director, Chris Ashley, and the choreographer, Kelly Devine, on the creation and development of the Broadway production. I was engaged as the music supervisor, music director, and arranger, and in addition to my work as a music supervisor, I wrote the musical arrangements, conducted the band, and played keys and accordion. From a musical perspective, our goal was to use songs, themes, and motifs to create (what feels like) a 100-minute, through-composed documentary, something that felt unlike any other show currently playing on Broadway. [ I was so fortunate to be the Music Supervisor, Arranger, and Music Director for almost every phase of development, including readings, workshops, rewrites, out-of-town productions in La Jolla, Seattle, DC, and Toronto, and the original Broadway production.    After a successful opening on Broadway, we ended up opening four additional companies – Toronto, UK, Australia, and the North American tour, telling the story across the globe.   

When and how was it decided that you’re going to make a film version of this show?

The pandemic made this adaptation timely and necessary. There had been an ongoing discussion of adapting it for feature film, but with live theatre shut down, it became necessary. We were in a time when people were in dire need of stories that bring comfort and inspiration, and also in need of anything close to what feels like communal story-telling and music making. So – our producers and creative team decided to create a film version of the live theatrical production that gives people that experience of watching the show in the theater. 

So is the show that you created a single performance? Or were there multiple takes that were compiled together?

It was a combination of a single performance in front of a live audience – I believe it was the first audience that had been assembled in a Broadway theatre since Broadway shut down – and many shorter takes, from various angles and distances. 

So what changes, if any, did you have to make for the production to let it be filmed?

The material remained untouched, but we had to re-approach HOW we filmed and recorded the material.  This is what made my job as music supervisor most interesting on the film.  The show features live music – instrumental and vocal – that runs throughout 95% of the show, underneath intimate dialogue, solo vocals, and featured instrumentals. I really enjoyed working closely with our sound team (Gareth Owen, Sound Designer, Tod Maitland, Production Sound Mixer & Recordist and Russell Godwin, Sound Associate) and our music production team (Wendy Cavett, Scott Wasserman, Derik Lee, Chris Ranney, and many others) to figure out how to playback and record music in a way that would provide as much separation and flexibility for the editing process.

It’s sort of ironic, because, in order to create a film mix that gives the audience the impression of a live experience, we needed to get as clean and separate of an audio capture on the individual elements – solo vocals, group vocals, solo instruments, dialogue, foley/environment, etc… – as possible. We ultimately decided to fit every actor and musician with in-ear monitors, as you would on a film, so that we could keep the theatre as quiet as possible in order to capture live vocal and instrumental elements. We’d sometimes do a pass with the soloists singing out loud while the group vocals and instrumentals would be performed silently, and then we’d get isolated coverage on solo instruments, foley, shouts, etc…. Once we finished filming, all of the raw material that was re-assembled in the music and picture edit process (shoutout to August Eriksmoen, our Associate Music Producer who helped me balance this while working on a couple of other film projects), remixed the music and hopefully ended up with something that feels like a live theatre experience.

It sounds like it was a big job. How long did it take to like complete the adaptation from stage for film?

We found out about this, I think it was November of 2020. And then everyone started working non-stop, working on the changes that needed to be made to make it filmable, many, many discussions with the talented musicians and sound team members about how we were going to record and produce the music. [It also involved] working with the film team and working with general management on, how do we get everyone, an entire company, and film crew, quarantined, living in a hotel, COVID tested and COVID free so that we could all gather in a contained theatre with cast and  members not wearing masks. This was earlier in the pandemic, when we didn’t know how COVID worked, and the rules were constantly changing!  It was a massive undertaking, from many people across many facets of production – from creative to management, to talent, to catering, to transportation, to hotels…everyone had to think way outside the box. And, honestly, it was this beautiful synthesis of the film world coming together with theater world and figuring out how to bring together the people, cultures, and traditions of film and live theatre, because we all need each other to make this happen. Sort of like what the film is about…, all of these people from all over the world ending up together without any warning, during a moment of crisis, figuring out how to survive and make the best of a challenging time. So it feels like we were having our own Come From Away experience while we were filming and telling the story.

Yeah, I did have a more general music question too. I noticed that it said the traditional Newfoundland songs are included. How was it decided which ones to use?

David Hein and Irene Sankoff, the writers, and I immersed ourselves in the music. We fell in love with the music of Newfoundland, had playlists that last four to five days, and just listened and loved the music.  We brought on Bob Hallet (Newfoundlander musician, writer, producer of GREAT BIG SEA fame) to be our music consultant, August Eriksmoen (orchestrator/multi-instrumentalist with a massive background in folk music), and we hired several musicians from the Celtic/folk world to be part of our band from the first out of town production through the closing of our Broadway production.  These incredibly skilled and knowledgeable musicians – Ben Power, Caitlin Warbelow, Romano DiNillo – were great mentors to me throughout the process.  

Our goal was to honor and recreate the incredibly unique sound of that region.  Since the music in the film is almost entirely original music, with the exception of a couple references to pop songs, some traditional prayers, and two folk songs of Newfoundland, we spent a great deal creating and arranging themes and motifs that supported character and story, while also capturing the essence of the music of Newfoundland. In the end, we have a rhythm section (drums, keys, bass, and guitars) plus instruments that are part of the traditional and contemporary music scene in Newfoundland (fiddle, whistles, flutes, button accordion, octave mandolin, mandolin, bodhran, etc…)  I love that the ultimate sound is a mashup of traditional and contemporary, Celtic and pop…best of all worlds.  


I’d like to thank Ian Eisendrath for taking the time to talk with me about his work on adapting Come From Away for the small screen. I hope you enjoyed this interview and have a great rest of the day!

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Soundtrack News: Persuasion (Soundtrack From the Netflix Film) is Available Now

Netflix is excited to announce the release of Persuasion (Soundtrack From the Netflix Film) by composer Stuart Earl. Coinciding with the release of the film, the album is available now, on all major digital streaming platforms and includes the single “Quietly Yours” by Birdy. Stuart Earl is an award-winning, Ivor Novello nominated composer. He’s based in London and works in film, television drama and theatre. 

Living with her snobby family on the brink of bankruptcy, Anne Elliot (Dakota Johnson) is an unconforming woman with modern sensibilities. When Fredrick Wentworth (Cosmo Jarvis), the dashing one she once sent away, crashes back into her life, Anne must choose between putting the past behind her or listening to her heart when it comes to second chances.

Regarding the score for Persuasion, composer Stuart Earl had the following to say:

“Composing the score for Persuasion and the creative process with [director] Carrie Cracknell was a complete joy. I was brought on relatively early in the process, which was great, as it allowed me to work on ideas whilst they were still shooting, including writing the music that they dance to in one of the scenes. But what was really creatively enjoyable, was that some of those very early sketches written to script, went straight into the edit and stayed there.”

He continues, “One of the real challenges with the score for Persuasion was getting the balance of tone between the lighter, comedic material alongside the more emotional journey that spans the film. This was something that definitely evolved over time during the editing process and swung between the extremes until we found a mix that seemed to sit well together and hold and deliver both of these tonal ideas together.”


1. Quietly Yours+ 3:54

2. Clifftop Prelude 1:27

3. Journey to Uppercross 1:35

4. Lanterns 0:59

5. Into The Sea 1:39

6. The Letter 2:15

+Original Song by Birdy

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Soundtrack News: ‘The Sea Beast’ Original Soundtrack is Available Now

Milan Records has released The Sea Beast (SOUNDTRACK FROM THE NETFLIX FILM) with music by three-time GRAMMY Award-winning composer Mark Mancina. Available everywhere now, the album features music written by Mancina for Netflix’s animated adventure film. The project reunites Mancina with Academy Award-winning filmmaker and The Sea Beast director Chris Williams, the duo having previously worked together on 2016’s Moana. For their latest collaboration, Mancina has crafted an expansive, multilayered soundscape that adds depth and nuance to the seafaring epic while capturing its adventurous spirit.

In an era when terrifying beasts roamed the seas, monster hunters were celebrated heroes – and none were more beloved than the great Jacob Holland. But when young Maisie Brumble stows away on his fabled ship, he’s saddled with an unexpected ally. Together they embark on an epic journey into uncharted waters and make history. From Academy Award winning filmmaker Chris Williams (Moana, Big Hero Six, Bolt), The Sea Beast takes us to where the map ends, and the true adventure begins.

Of the soundtrack, composer Mark Mancina had the following to say:

“How grateful I am for the opportunity to have composed The Sea Beast’s original score. A successful score, in my opinion, is one that deeply enhances the film, yet can stand on its own. I think our team accomplished that with this score. It was also a great pleasure to collaborate once again with the brilliant Chris Williams.” 

Of his collaboration with Mark Mancina, director Chris Williams adds:

“When I started developing The Sea Beast, I knew I wanted to tell an original story that evoked the classic adventure films I grew up with. And I knew, without a doubt, that Mark would be perfect for it. Mark brought his talents to bear, and created a score that acknowledged its influences without feeling trapped in the past. It’s an invigorating blend of the timeless and the new, and it’s everything I could have hoped for.”

1. Prelude to the Sea – Mark Mancina
2. The Sea Beast – Mark Mancina
3. King and Queen – Mark Mancina
4. Someday – Mark Mancina
5. Jacob Evolving – Mark Mancina
6. Captain Crow – Nell Benjamin & Laurence O’Keefe
7. The Fight of the Giant Crab – Mark Mancina
8. The Hunters Code – Mark Mancina
9. One More Try – Mark Mancina
10. Jacob into the Sea – Mark Mancina
11. Crow’s Betrayal – Mark Mancina
12. Little Blue – Mark Mancina
13. Red – Mark Mancina
14. Gwen Batterbie – Mark Mancina
15. Wear It Down – Mark Mancina
16. Blue and Maisie – Mark Mancina
17. Maisie’s Speech – Mark Mancina
18. Wherever the Wind Takes Us – Mark Mancina

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Soundtrack News: The ‘Resident Evil’ Soundtrack from the Netflix Series to be Released July 15

Milan Records has announced the release of RESIDENT EVIL (SOUNDTRACK FROM THE NETFLIX SERIES) with music by composer Gregory Reveret. Available Friday, July 15, the album features score music written by Reveret for Netflix’s Resident Evil, the first live-action series of the global franchise.

A longtime fan of Resident Evil, Reveret crafted an action-adventure-horror score wholly unique to the new series, which unfolds over eight episodes and across two distinct timelines. Recording with a South African orchestra, the multidimensional soundscape incorporates heavy percussion, tribal vocal chants and a sound bed largely produced by vintage laboratory test equipment. At times sweepingly orchestral and others darkly industrial, Reveret’s expansive score straddles the divide between the show’s timelines with a genre-defying sound befitting the brand new story.

The soundtrack also features “My Heart Has Teeth,” a brand-new original song from a long-time fan of the franchise, critically acclaimed electronic musician deadmau5 featuring pop vocalist Skylar Grey. For his soundtrack contribution, deadmau5 drew upon his older JUNO and Jupiter synths forgoing trendy analog synths and sci-fi features, resulting in a grindy, downtempo vibe. “’Dystopian suburbia’ is the kind of vibe I had in mind when making this song.  It’s been pretty cool because I like that weird, corporate overtone of this entity that owns the village if you would. I just imagine what that would be like while roughly composing the song with of course the vocal accoutrement of Ms. Skylar Grey.  She’s an amazing talent to work with and she just nailed the lyrics.”  Look for the song to be available as a single on deadmau5’ label mau5trap soon.G

Of the soundtrack, composer Gregory Reveret had the following to say:

“I wanted to explore and push the boundaries from the earlier sounds of the franchise while delivering a fun, action-packed score that would give fans something they could really enjoy and have fun with. The thematic material needed to be bold, to really serve as a continuous thread between the two timelines in the story. I bought this obscure lab/test-equipment that was originally used in NASA laboratories and is not really supposed to make music, but it sounds really interesting and alive. It gave the music a cool industrial edge and eventually became a main feature of the score. Much of the story is based in my hometown of Cape Town, South Africa, so I also worked with local musicians and recorded a South African orchestra, which is something I’m very proud of.”


Year 2036 – 14 years after the spread of Joy caused so much pain, Jade Wesker fights for survival in a world overrun by the blood-thirsty infected and mind-shattering creatures. In this absolute carnage, Jade is haunted by her past in New Raccoon City, by her father’s chilling connections to the sinister Umbrella Corporation but mostly by what happened to her sister, Billie.



  1. Sea of Zeroes
  2. Plague from God
  3. The Doberman
  4. What is Happening
  5. Evelyn’s Plan
  6. Lab Search
  7. My Son is Dead
  8. Venus Flytrap (Main Theme)
  9. Meet Bert
  10. Humvee Chase
  11. Don’t Eat Cats
  12. Home Safe
  13. Lickers Attack
  14. Final Battle
  15. My Heart Has Teeth – deadmau5 featuring Skylar Grey

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My Thoughts on: The Music Room (1958)

Yesterday, for the first time in a while, I sat down and watched a movie from my collection. I’ve actually seen The Music Room before, but I hadn’t blogged about it, so today I decided to change that.

If you’ve never seen Indian cinema, then The Music Room (Jalsaghar) is a pretty good place to start. The film was directed by the legendary Satyajit Ray and was released in 1958. I believe the story is set sometime after India achieved its independence from the British Empire in the late 1940s, a time of great change for millions of people. But for Biswambhar Roy (Chhabi Biswas), the main character of the story, all of these things don’t concern him in the least. He’s a zamindar (landlord) from a noble family and he happily spends his days throwing parties and music recitals instead of managing his lands or his dwindling finances.

Biswambhar Roy’s financial difficulties, and indeed his decline throughout the story are set in direct contrast to the rise, well, the attempted rise, of Mahim Ganguli (Gangapada Bose), the son of a moneylender, who works and invests his way into great wealth by the end of the story. It is made painfully obvious that Mahim is attempting to buy his way into the polite society that Biswambhar Roy belongs to, thinking that money alone is all he needs to get in. But what Mahim fails to understand is that, in this society at least, money is not what makes one noble, but rather one’s background. That’s why, despite eventually being left with no money, Biswambhar Roy still receives more respect from the locals than Mahim can ever dream of getting.

However, don’t think that this is only a story about Mahim Ganguli rising where Biswambhar Roy falls. While that is a significant side plot, the crux of the story is with Roy and the end of life as he knows it. As I said at the beginning, Biswambhar Roy is obsessed with giving music recitals, indeed he’s obsessed with music in general (even his wife comments on it). And it’s this obsession that leads to the downfall of the family. Even though Biswambhar Roy is cautioned that the money is running out, the zamindar is determined to prove that he can still provide the entertainments traditionally expected of men of his status, especially if it shows up upstarts like Mahim Ganguli. This he does….but with tragic consequences that bring Roy’s world crashing down upon him in a scene of pure heartbreak.

Speaking of music, part of what makes The Music Room so notable is that the film highlights Indian music and Indian dance and incorporates both into the story. We are treated to several vocal performances from some of India’s greatest musicians of the time (I particularly highlight Begum Akhtar’s performance as the singer in the film’s first music sequence). The Music Room was the first film to do this and I feel it captures a perfect snapshot of Indian music and dance from that era. Indeed, if I ever found myself teaching a music class again, when the time came to discuss world music I would have my students watch this film because it highlights so much of Indian music so well.

Ultimately, The Music Room is a tragedy of the highest order. No matter how much Biswambhar Roy wishes it, the glory days of his family will never return and watching this man lose everything is a heartbreaking experience that will stick with you long after the credits roll.

Let me know what you think about The Music Room in the comments below and have a great day!

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Soundtrack News: HOA (Original Video Game Soundtrack) Available July 15

Sony Music Masterworks today releases the lead single from HOA (ORIGINAL SOUNDTRACK) with music by composer Johnannes Johansson – listen to “Waltz” here. Johannes Johansson is a Swedish composer and pianist. He is best known for his YouTube channel Akmigone where he posts original music, piano arrangements, as well as other creative piano-related content.

Available in full Friday, July 15 and to preorder now, the album features music composed by Johansson for the breathtaking new puzzle-platforming game from PM Studios. Johansson was assisted by an audio team consisting of orchestrator and sound design Lauri Koivisto, who led the soundtrack’s live recording sessions, and sound engineer Simon Evig, whose mixing, editing and recording expertise brought the music of Hoa together. The resulting 17-track collection matches the peaceful, relaxing atmosphere of the game with captivating story-telling and a touch of nostalgia. Hoa is available to play now on PC, Mac and consoles.

Hoa is a beautiful puzzle-platforming game that features breathtaking hand-painted art, lovely music, and a peaceful, relaxing atmosphere. Experience the magic of nature and imagination as you play the main character, Hoa, on her journey through breathtaking environments back to where it all began.


  1. Intro
  2. Waltz
  3. Hoa
  4. Bouncy Larvas
  5. Dance of the Ladybugs
  6. Hello Rocks
  7. Underwater
  8. The Factory
  9. Rescue
  10. Alarm
  11. RUN!
  12. Remember
  13. Memory
  14. Lullaby
  15. Lullaby (Mirror)
  16. Lullaby (Upside Down)
  17. Lullaby (Reverse)

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Soundtrack News: ‘Rise’ Original Motion Picture Soundtrack Available Now

Walt Disney Records has released the RISE Original Motion Picture Soundtrack, featuring a stirring score by Ré Olunuga. Ré Olunuga is a Nigerian composer of multi-genre orchestral and experimental music. With a unique approach to instrumentation that imbues his music with an unmistakable sense of engagement and tactility, Ré’s work spans across Film & TV soundtracks to ambitious art pieces and even a dalliance with the mainstream through collaborations with commercial recording artists. 

 RISE is based on the triumphant real-life story about the remarkable family that gave the world the first trio of brothers to become NBA champions in the history of the league – Giannis and Thanasis Antetokounmpo of the Milwaukee Bucks and Los Angeles Laker Kostas Antetokounmpo, and their younger brother Alex. 


  1. The Adetokunbos (0:59)
  2. The Whole Family Scores (2:03)
  3. Giannis Discovers Basketball (1:34)
  4. Mama! Police! (1:16)
  5. Charles and Vera’s Escape (3:41)
  6. Bamidele’s Rent (1:05)
  7. This Is Our Home (1:22)
  8. Giannis Wonders About Francis (2:17)
  9. Vera’s Hope (2:58)
  10. Giannis and Thanasis Train in the Rain (1:32)
  11. Like Father, Like Sons Pt. 1 (1:14)
  12. A Difficult Game / Ko Easy! (1:15)
  13. Akin’s BBQ (1:00)
  14. Like Father, Like Sons Pt. 2 (0:56)
  15. The Family Gets Evicted (0:59)
  16. Leading the Team (2:21)
  17. Charles and Vera (1:30)
  18. Tell Them Who We Are (2:35)
  20. Rise – Ofili (3:38)
  21. Obago (feat. Obi Iross) – Ofili (3:29)
  22. One Day – Shirazee (3:35)

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