Category Archives: Soundtracks

Soundtrack News: Lamb’ Soundtrack Available Now from Milan Records

Milan Records has released LAMB (ORIGINAL MOTION PICTURE SOUNDTRACK) an album of music composed by Icelandic composer and guitarist TÓTI GUÐNASON for A24’s newest folk thriller. Available everywhere now, the album features score music written by Guðnason for the terrifying debut feature from writer-director Valdimar Jóhannsson set in the Icelandic wilds.

Having worked alongside his sister Hildur Guðnadóttir on her Oscar®-winning original score for Joker and with Ólafur Arnalds on his BAFTA-winning soundtrack to Broadchurch, Tóti Guðnason makes his debut as lead composer with Lamb. A dark and unnatural folktale for the ages, Lamb is available in theaters now from A24.

Lamb was initially intended to be completely without a score, and I feel that is a humbling starting point for a composer,” says Tóti Guðnason of his work on the film. “Growing up in the north of Iceland I’m very familiar with the feeling of rural silence. That feeling is extraordinarily well portrayed by Valdimar Jóhannsson in Lamb and I did my best to play into it while respecting it. My responsibility was to create something more fitting than silence, and silence can be the greatest of sounds.” 

LAMB (ORIGINAL MOTION PICTURE SOUNDTRACK)

TRACKLISTING –

  1. Prelude
  2. The Lambing
  3. Searching for Ada
  4. Return Home 
  5. Mothers
  6. Reflection
  7. Hrútur
  8. Uncle Pétur
  9. Herding
  10. Ada
  11. Hrútmenni
  12. DÝRIÐ

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Soundtrack News: Far Cry 6 Original Game Soundtrack Available Now

Ubisoft Music has digitally released the FAR CRY 6 Original Game Soundtrack from the highly anticipated sixth main entry in Ubiosft’s critically acclaimed Far Cry franchise. The music was composed by Pedro Bromfman. Pedro has composed scores for MGM’s RoboCop; three seasons of the hugely popular Netflix series Narcos; the EPIX feature documentary Deep Web, narrated by Keanu Reeves; the 6-part series The Story Of Us With Morgan Freeman for Nat Geo; Jessica Sanders’ Sundance hit End Of The Line; the 8-part series Chain Of Command and Alex Winter’s Panama Papers, narrated by Elijah Wood.

The soundtrack features 21 tracks from the highly anticipated sixth main entry in Ubisoft’s critically acclaimed Far Cry® franchise – set to release October 7 worldwide on Xbox Series X, PlayStation®5, Xbox One, PlayStation®4, Stadia, Amazon Luna and for Windows PC exclusively on both the Epic Games Store and the Ubisoft Store.

Composer Pedro Bromfman said of the soundtrack release:

“The album is based on a very modern score, drenched in lush soundscapes, driving percussion, processed organic instruments and a ton of synthesizers…We tried to capture the soul of Yara, and its characters, by rooting the score on traditional Latin American and Caribbean music, while being completely free to experiment with contemporary sounds, elements and techniques, in hopes of creating something very fresh and unique…The score for Far Cry 6 overflows with distinctive, haunting melodies and character themes, accompanying and further immersing the players in their amazing journey through Yara. A journey full of beauty, violence, adrenaline and passion.”

Pedro Bromfman discussed the importance of “Libertad” – the soundtrack’s focus track and main theme, within Far Cry® 6:

“‘Libertad’ came about as a theme for Yara’s revolution. We needed a powerful melody, full of beauty and longing like the island itself, that could also encompass the grit, darkness and pain of a bloody war. With heavy percussion and electric guitar “Libertad” quickly builds and explodes into an anthem for Yaran’s, young and old, fighting for their freedom.”

Developed by Ubisoft Toronto, Far Cry® 6 immerses players into the adrenaline-filled world of a modern-day guerrilla revolution set in Yara, a tropical paradise frozen in time in the heart of the Caribbean. Playing as local Yaran Dani Rojas, players will explore an entire island nation and join the revolution to liberate its people from the oppressive rule of dictator Antón Castillo and his teenage son Diego – brought to life by Hollywood stars Giancarlo Esposito (The Mandalorian, Breaking Bad) and Anthony Gonzalez (Coco).

Track List

  1. El Presidente**
  2. La Espada
  3. Libertad*
  4. The Tourist
  5. Rebuild Paradise
  6. Batter Up
  7. Valle de Oro
  8. Viva Clara
  9. We Are Lions
  10. Fist of the Revolution
  11. ’67
  12. Supremo
  13. Madrugada
  14. The Guerrilla
  15. Tiger and Cub
  16. The Poison
  17. Los Montero
  18. El Este
  19. The Lion and the Lamb
  20. Balaceras
  21. Antón

Will you be checking out the soundtrack album for Far Cry 6?

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Soundtrack Review: Titane (2021)

As I’ve been enviously watching the latest film festival lineups from afar, the one film I’ve wanted to see the most out of all of them is Titane, the latest film from director Julia Ducournau. Well, I may have to wait a little longer to see the film itself, but I have been given the opportunity to listen to the film’s soundtrack and I definitely have some thoughts about it.

The soundtrack for Titane was composed by Jim Williams and is available to preorder now and will be available starting today, October 1. The film is the second collaboration between Williams and Ducournau, the duo having worked together on Ducournau’s 2016 feature film debut Raw.

Regarding the music for Titane, Jim Williams had the following to say:

“The score for Titane grows from a short theme for a scene where the protagonist leaves home in startling circumstances…Initially in a contemporary popular music style with a tinge of John Barry, later this was set with metal percussion and male voice choir using the Neapolitan Minor for a scene set in a car. As the film develops the theme takes on an emotional, darker twist.”

And what music it is!! Ever since I heard the premise for Titane, I was eager for any peek, however small, at the film. So when I got the opportunity to preview the soundtrack for Titane, I jumped at the chance.

Let me start by saying that this might not be the type of soundtrack you were expecting for a story like Titane, especially with some of the preview visuals that I’ve seen for the film. In fact, the music starts out so different at the beginning of the soundtrack that I actually double-checked to make sure I was listening to the right audio files. However, as I dove into the music and moved farther in, I realized this unusual music (it’s almost all timpani drums in the beginning) was growing on me. There’s a harsh, almost mechanical feeling to the first half of the soundtrack and given film’s premise that makes total sense.

As near as I can tell, Williams and Ducournau made the decision to center the music around the mechanical aspects of the story, at least in the beginning. There are human elements in the mix to be sure, but they don’t come out until later, presumably as the story is progressing along (this is speculation on my part as I’ve yet to actually see the film). But I’m fascinated by Williams’ decision to focus so much on percussion and drums. You don’t hear a score centered on that kind of sound mix all that often, in fact for me personally I can’t recall hearing anything quite like this before. The mix of drums and some type of gong that dominates the early part of the soundtrack, it all reminds me of a twisted, metal temple; or some type of metallic sacred space. That may sound weird but it’s the best description I can come up with. You almost have to hear the music yourself to even begin to understand it.

Even when the music does shift away from being strictly percussion (one example is “Bathroom Pieta”), the percussive sounds never really go away, they’re always lingering in the background. And I like how the music that’s created during these later tracks (again, “Bathroom Pieta” and also “Belly Oil”) still feels twisted and warped. Everything about this music will feel slightly “off” to your ears and I firmly believe that is by design (again, given the film’s subject matter). You are not meant to feel comfortable listening to this music, I know it left me on edge for the most part.

One final detail that grabbed my attention: I like how the later tracks seem to be leading toward a church-like motif with what sounds like an organ (or at least a synthesized version of one). If the first half of Titane‘s soundtrack is set in a metallic temple, the second half ends up in a cathedral, albeit one equally as twisted as where the music starts in the beginning.

Titane Soundtrack Track Listing

1.Gym to Car
2.Fan in Car Kill
3.Car Fuck [Explicit]
4.Beach Puke
5.Justine Kill
6.House Burning
7.Airport
8.Simulator
9.Bathroom Pieta
10.Belly Oil
11.Forest Fire
12.Sarabande
13.Ending from Bedroom
14.Ending from Kiss
15.End Credits
16.Wayfaring Stranger
17.Apocalypse
18.God and Drug

I highly recommend checking out the soundtrack for Titane at the earliest opportunity. This is one of the most interesting soundtracks I’ve listened to this year and it’s made me more eager than ever to watch the actual film the first chance I get.

See also:

My Thoughts on: Titane (2021)

Film Soundtracks A-W

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Around and Around We Go: Talking with Composer Tom Salta about Deathloop (2021)

Just recently I had the chance to speak with composer Tom Salta about his work on the hit video game Deathloop. Salta is an award-winning composer, who writes music for film and television as well as video games. Aside from Deathloop, his past work in video games includes work on Wolfenstein: Youngblood, the HALO games, and Prince of Persia: The Forgotten Sands, just to name a few.

For Deathloop, Tom Salta had to create music for a world where the player controls Colt, an assassin tasked with killing a series of targets before a time loop activates at midnight, undoing any progress made. With that premise in mind, I was very excited to speak with Tom Salta about his work on this game.

I hope you enjoy our conversation about Deathloop!

How did you get started as a composer?

Now that’s a loaded question! [laughs] Back in 1990 when I started on my professional path, I never imagined getting into composing, no less composing for video games. I started in the music industry fully intent on becoming a famous record producer. My first shot in the big leagues was going on tour with Bobby Brown as keyboard tech and sound designer. After touring for several years, I spent the ‘90s working in the studio on almost every kind of music you could imagine for a variety of both up and coming and major artists. In 2001, there was a paradigm shift in the music industry and in the world. High speed internet became widely available and music piracy took over. No one was buying music anymore. Mainstream artists were becoming “manufactured” by huge labels and I felt creatively restricted in the area of pop music. All my dreams and aspirations of becoming a record producer started to crumble.

At the same time, the original Xbox was released and a game called ‘Halo’ redefined the first-person shooter. I was also an avid gamer since the ‘70s but it wasn’t until 2001 that the music in games started to resonate with me. And then one day, a day that I still vividly remember, I had an epiphany… “That’s it! Video game music! It combines the two things I love the most… music and games! But where do I start?”

It was a difficult transition… Imagine throwing away fifteen years of experience in music and starting over in a new industry entirely with absolutely no connections. Scary to say the least. After a lot of dead ends, I got the crazy idea that my best chance of being noticed was to go through music licensing channels, rather than trying to start as a composer. So, I created a new moniker for my artist persona, “Atlas Plug” (Atlas is Salta backwards) and created an entire album on my own of big beat electronica that would be perfectly suited for licensing in games, television and film. I connected with a publisher who represented the album and before I even finished, Microsoft heard it and wanted to license four songs in a new game called Rallisport Challenge 2. And that is where it really all started. That year, my debut album “2 Days or Die” took the industry by storm with every track being licensed in games, television, and film.

At the same time, I signed with an agent and began getting opportunities to pitch myself as a composer in games. My first original score was a PC adventure game called “Still Life”. Shortly after that, I established myself as a composer when I was hired to score major titles like Ghost Recon Advanced Warfighter and Need For Speed Underground 2.


How did you get involved with Deathloop and what did you think about the game’s time loop premise?

I was approached to work on Deathloop by the audio director that I had just finished working with on Wolfenstein Cyberpilot. When I heard about the unusual time loop mechanism and even more unusual music style, I was definitely intrigued.

How involved were the game’s directors/producers in collaborating with you on the game’s soundtrack? Were you given a lot of direction or was a lot of it left up to you?

I would say it was a healthy combination of both. Initially I was provided with a very comprehensive 50-page brief that described everything about the game. The audio director was also very specific about the late ‘60s aesthetic he was going for, although he knew that we were entering into uncharted territory with some of it.

I’m a big fan of collaborations so we had many emails back and forth and I did lots of my own research and explorations into potential musical approaches. After several weeks of experimentation, the signature sound of the score began to emerge.

I’ve read that this game was inspired by the Swinging Sixties, how did that inspiration play into the game’s soundtrack? 

Deathloop has a wide array of inspirations, including, but not limited to, the swinging sixties. The music of one of the fictional targets (visionaries), Charlie Montague, was definitely inspired by the swinging sixties and in particular, the superhero cartoon music back then, especially the original Batman series that I used to watch after school as a kid. That was a lot of fun to create.


On a related note, with the 60’s pop art style engulfing the game world, how much of the music was Inspired by films like James Bond.

The late ‘60s James Bond music was definitely an ingredient in the overall recipe of the score’s style, especially in key areas where I had to bring out the ‘secret military base’ vibe. The sixties were a very colorful time and so I had a lot of fun channeling that period in a myriad of ways.


What type of instruments are used in this score, I wasn’t expecting a game called Deathloop to sound like this but I absolutely love it. Also, do I hear a theremin in the mix?

[laughs] Yes, you certainly do. You can’t do ‘60s sci-fi and not use a theremin, right? [laughs] The approach I took for creating the palette for this score was imagining that I found a room of musical instruments that was locked up for fifty years. Then I would take those instruments and create a ‘60s inspired score through my own modern lens.

You’ll hear instruments such as Rhodes, Wurlitzer, Hammond B3, Farfisa, Clavinet, Mellotron, Electric Harpsichord, Marimba, Vibes, Orchestra, Guitars, Bass, Drums and lots of other sixties inspired ear candy.

I noticed that there is a separate track/theme for each of Colt’s targets and those themes sounded strikingly similar to me. What went into creating the music for each of the targets and did their themes have anything to do with how each needs to be approached in a specific order to ultimately beat the game?

Yes, they should sound similar as they are all based on the same composition. In fact, they were supposed to be even more similar than they are now.

The original idea was to have a single suite of music (Exploration, Fight and Escape) for all targets and then just introduce one or two different elements to identify the character. Eventually, some of the target tracks evolved to be more unique arrangements of the same music. But they are all structurally identical.

The differences between the arrangements for each visionary are based around the instruments used that would come to represent each of them. So, for example, Aleksis (the arrogant eccentric) featured some sophisticated jazz styles, Harriet (the ruthless, yet pious mystic) features a dark church bell and eerie gothic choirs, and your theremin makes an appearance for Wenjie Evans, the program founder who studied supernatural phenomena.


How much of a role does the time loop play in the music? For instance, Andrew Prahlow, the composer of Outer Wilds, another video game that features a time loop, mentioned that he crafted music that begins to speed up and become more insistent the closer the player got to the loop restarting. Does anything of that nature occur in the music of Deathloop?

Yes, but instead of the tempo changing, the music gets livelier. This parallels the activity of the island’s inhabitants since all the partying really gets going in the evening. Each of the four main areas of the island of Blackreef have their own musical suite. The Exploration phase of each of those suites has four different arrangements based on the four different time periods… midnight, morning, afternoon and evening.


How much time did you have to work on Deathloop? Were you brought in early in the process of game development or late?

I worked on the score for six months, starting in January 2020 and ending in June. I suppose it was somewhere in between but there was still over a year of development after I finished.


Do you have a favorite piece in the score?

I’d probably have to pick the main theme, “Welcome to Blackreef.” It was an interesting journey getting there though. The original theme idea proposed to me was to create a very mysterious theme, more in the spirit of the 1961 classic “Mysterious Island” and the “Lost” series. The audio director really liked the theme but about a month into the score, I began to feel that it didn’t quite match the vivacious personality of the game. So I secretly began working on a new theme. I wanted something catchier and, well… loopable. [laughs] Eventually I found the four chords and three notes I was looking for and spent a week putting the final touches on it. Once I had a finished version, I sent it over. Naturally, the audio director wasn’t quick to just replace what we had, but several weeks later he agreed that it worked better for the game and so, that became the new theme that most of the score is based on.

I hope you enjoyed reading this interview and I’d like to say thank you to Tom Salta for taking the time to speak with me about Deathloop.

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Soundtrack News: My Hero Academia Season 5 Soundtrack Available Now

Milan Records has announced the release of MY HERO ACADEMIA: SEASON 5 (ORIGINAL SERIES SOUNDTRACK) with music by composer and arranger YUKI HAYASHI (My Hero Academia: Heroes RisingPretty CureStrawberry Night).

 Available everywhere now, the album features music written by Hayashi for the fifth season of the critically acclaimed, hugely popular anime series. In addition to the season five soundtrack, Hayashi has scored all four previous seasons of the hit anime television series as well as three corresponding film installments, My Hero Academia: Two Heroes, My Hero Academia: Heroes Rising and My Hero Academia: World Heroes’ Mission.

Yuki Hayashi was born in Kyoto in 1980. Being an active member in a men’s rhythmic gymnastics team in his early years spawned his interest in BGM while selecting songs to complement performances. This led him to begin teaching himself music composition while at university, despite not having a background in music itself. After graduating, Yuki acquired the basics of track making under house techno DJ and sound-maker Hideo Kobayashi and started producing his first range of music accompaniments for dance sports. His experience as a rhythmic gymnast has enabled Yuki to intuitively incorporate an eclectic range of music and produce a unique sound, empowering scenes from TV drama, animation and film.

MY HERO ACADEMIA: SEASON 5 (ORIGINAL SERIES SOUNDTRACK)

TRACKLISTING –

  1. Go, Plus Ultra
  2. So Classmate Were Born Of Worthy Competition
  3. Successor
  4. A VS B
  5. “Quirk”DON-PACHI Great exchange
  6. What To Inherit
  7. The Mission Of The Stealth Hawk
  8. Different Ability Liberation Army
  9. My Villain Academia
  10. Second Coming
  11. Gigantomachia
  12. Mine Woman
  13. TOGA’s nature
  14. Symbol Of Fear
  15. I Don’t Kill My Friends
  16. RE DESTRO
  17. Paranormal Liberation Front
  18. Sound of the Holidays
  19. Sound of the Holidays inst Ver

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Soundtrack News: Venom: Let There Be Carnage Soundtrack Releasing October 1

Sony Music Masterworks has announced the October 1 release of VENOM: LET THERE BE CARNAGE (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by award-winning composer Marco Beltrami (ScreamResident EvilA Quiet Place). Available to preorder now, the album features score music written by Beltrami for the highly anticipated sequel to the 2018 worldwide box office hit film Venom.

Of the soundtrack, composer Marco Beltrami had the following to say:

“Because of COVID restrictions, we had to change the way we worked on processing acoustical sounds. Where we’d normally work with live musicians to create source material, here we had musicians record at home and then re-amp them at Sony. In addition, we worked with feedback looping to create some of the aggressive tones for Carnage. The film presented a lot of fun musical challenges, from a unique enhanced brass theme for Venom, to the altered woodwind theme for Carnage and Shriek, to a slightly bluesy feel for Eddie. Overall, in spite of those COVID restrictions, I feel very lucky we were able to still record many of the orchestral sessions at Sony and have it come out sounding so good!”

ABOUT VENOM: LET THERE BE CARNAGE

Tom Hardy returns to the big screen as the lethal protector Venom, one of MARVEL’s greatest and most complex characters. Directed by Andy Serkis, the film also stars Michelle Williams, Naomie Harris and Woody Harrelson, in the role of the villain Cletus Kasady/Carnage.

VENOM: LET THERE BE CARNAGE (ORIGINAL MOTION PICTURE SOUNDTRACK) TRACKLISTING –

1. St. Estes Reform School (Extended)
2.Cletus’ Cell
3.Eddie Draws
4.Brock’s Revival
5.Lucky Slaughterhouse
6.Ann’s News
7.Take the Hit
8.Postcard From the Edge
9.No Touching!
10.Eddie Hangs on the Line
11.Lethal Rejection
12.Carnage Unleashed
13.Mulligan Visits Eddie
14.There is Only Carnage
15.Get Shriek
16.The Great Escape
17.Venom Needs Food
18.People Seeing Monsters
19.Find Venom
20.Turn on the Charm
21.Eddie Escapes
22.Shriek Comes Home
23.You Can Eat Them All
24.Unholy Matrimony Pt. 1
25.Unholy Matrimony Pt. 2
26.He Did Not Taste Good
27.Panza and Quixote,
28.Venom and Blues
29.Venom’s Suite Tooth
30.Brock and Roll

Will you be checking out the soundtrack for Venom: Let There be Carnage?

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Soundtrack News: ‘Sable’ Video Game Soundtrack by Japanese Breakfast Available Now

Sony Music Masterworks today releases Japanese Breakfasts Original Soundtrack to SABLE, an album of instrumental and vocal music featured in the open-world video game.

Drawing from her years of songwriting experience, the 32-track collection finds musician, director and author Michelle Zauner making new explorations into ambient and experimental music, the resulting soundtrack as breathtaking and otherworldly as the game itself. The album was initially introduced with lead single “Glider” in August, garnering critical acclaim from the New York Times, Rolling Stone, Consequence of Sound, NME, American Songwriter, UPROXX and more, with both Pitchfork and Entertainment Weekly naming the soundtrack one of their most anticipated albums of Fall 2021. From indie game developer Shedworks and publisher Raw Fury, Sable is now available to play with Xbox Game Pass on Xbox Series X/S, Xbox One and PC.

Also available for preorder today is the vinyl edition of the soundtrack, which will arrive as a 2-LP disc set in gatefold packaging. In addition to the standard edition, an artist exclusive edition is also now available to preorder on Japanese Breakfast’s official merch store and various color variants will be exclusive to retailers including Newbury Comics, Light in the Attic and Vinyl Me Please.

Of the soundtrack, Japanese Breakfast had the following to say:

“I was so lucky Daniel Fineberg and Gregorios Kythreotis from Shedworks invited me onto this game so early on. I was immediately captivated by the world they’d built, a desert planet filled with mysterious natural and architectural wonders, and the story they’d imagined, one of a young girl coming of age through exploration. It was important to me that each biome in this world felt unique. I used woodwinds and vocal layering to make monumental ruins feel ancient and unknown, industrial samples and soft synths to make atomic ships feel cold and metallic, classical guitar and bright piano to make encampments feel cozy and familiar. I wanted the main themes to recall iconic works of Joe Hisaishi and Alan Menken, to fill the listener with the childlike wonder of someone on the precipice of a grand discovery.”

ABOUT SABLE
Embark on a unique and unforgettable journey and guide Sable through her Gliding; a rite of passage that will take her across vast deserts and mesmerizing landscapes, capped by the remains of spaceships and ancient wonders.

SABLE (ORIGINAL VIDEO GAME SOUNDTRACK)
TRACKLISTING

  1. Main Menu
  2. Glider [from “Sable” Original Video Game Soundtrack]
  3. Better the Mask
  4. The Ewer (Day)
  5. The Ewer (Night)
  6. Eccria (Day)
  7. Eccria (Night)
  8. Campfires
  9. Exploration (Ships)
  10. Exploration (Ruins)
  11. Exploration (Nature)
  12. Beetle’s Nest
  13. Glow Worm Cave
  14. Pyraustas Ruin
  15. Badlands (Night)
  16. Hakoa (Day)
  17. Hakoa (Night)
  18. Sansee (Day)
  19. Sansee (Night)
  20. Redsee (Day)
  21. The Wash (Day)
  22. Chum Lair
  23. Beetle Detour
  24. Machinist’s Theme
  25. Cartographer’s Theme
  26. Mask Caster’s Theme
  27. Mischievous Children
  28. Ibexxi Camp (Day)
  29. Ibexxi Camp (Night)
  30. Burnt Oak Station (Day)
  31. Burnt Oak Station (Night)
  32. Abandoned Grounds

Feel free to check out the soundtrack for Sable!

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Varèse Sarabande Announces Titles for Record Store Day Black Friday 2021

Varèse Sarabande has announced the following titles will be released on Record Store Day Black Friday 2021: Blue Velvet: Deluxe Edition by Angelo Badalamenti, How to Train Your Dragon by John Powell, Ghosts of Mars by John Carpenter, and The Iron Giant by Michael Kamen.

These special limited-run LP releases will be available on Black Friday, November 26, at participating Record Store Day retailers.

BLUE VELVET (Deluxe Edition 2-LP) – Angelo Badalamenti David Lynch’s dark 1986 masterpiece has a deep and passionate relationship to music, starting with the Bobby Vinton title song that plays a central role in the story (which has been integrated into the original soundtrack for the first time). Angelo Badalamenti was hired by producer Fred Caruso to develop Isabella Rossellini’s version of the song for the film and deliver the tape to David—meeting for the first time. Picture the very moment that Alfred Hitchcock met Bernard Herrmann, or Steven Spielberg met John Williams. The story has now evolved into that kind of legend, often repeated, with the uniquely coiffed director listening to the tape through a pair of headphones and delivering one of his uniquely retro phrases: “That’s peachy keen!”  As part of the Blue Velvet scoring process, Badalamenti recorded lengthy orchestral tracks the pair called “firewood,” which Lynch could use in his distinct sound design. Numerous cues were also created—alternate versions, improvisations, and experimentations that may or may not have been written with a scene in mind, which Lynch could then apply to his film (or not) however he chose. The second LP is full of these cues, mastered from tape and heard for the first time under the title of “Lumberton Firewood.” Generally considered one of the Top 50 soundtracks of all time, the Blue Velvet deluxe edition is pressed on marbleized blue vinyl featuring Enzo Sciotti’s 1986 Italian poster art on the cover and new notes and interviews with David Lynch and Angelo Badalamenti.   

HOW TO TRAIN YOUR DRAGON (2-LP) – John Powell How to Train Your Dragon was composer John Powell’s first solo score for a DreamWorks animated feature and earned him his first Academy Award® nomination. Powell took the Viking milieu literally and started researching Scandinavian folk tunes and musical traditions, which he says are “wonderfully cold and warm at the same time.” Icelandic singer/songwriter Jónsi, of the celebrated band Sigur Rós, is featured on “Sticks and Stones.”  A truncated 11-track LP was part of Record Store Day in 2016, but this is the first-ever pressing of the complete original soundtrack release.  The 25-track album is expanded to two multicolored green splatter LPs and housed in a gatefold jacket. 

GHOSTS OF MARS – John Carpenter In celebration of Ghosts of Mars’ 20th anniversary, the epic soundtrack will be released on “Red Planet” vinyl.  John Carpenter recruited an unbelievable cast of musicians to record the soundtrack to this sci-fi horror film, starring Ice Cube and Natasha Henstridge. Among the featured players are GRAMMY®-winning musician Steve Vai, most of the heavy metal band Anthrax (including Scott Ian), Elliot Easton of The Cars, Buckethead, and Robin Finck of Nine Inch Nails and Guns N’ Roses. This soundtrack is apocalyptic and an important mark in John Carpenter’s unparalleled career as a director and composer.  

THE IRON GIANT (Picture Disc) – Michael Kamen This first-ever picture disc of this heartwarming 1999 animated film celebrates The Robot, his best friend, Hogarth, and a cast of characters. The music is by Academy Award®-nominated composer Michael Kamen (Lethal Weapon, Die Hard), who was well known for his work with Eric Clapton, Metallica and Pink Floyd, in addition to his brilliant theatrical scores.  

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Soundtrack Review: Brin d’amour (2019)

Earlier this summer I was invited to check out the documentary Brin d’amour, about the life and work of Alain Vigneau, with music composed by Andre Barros. The documentary is fascinating in and of itself, as it follows not only Vigneau’s life, but also how he uses being a clown as a form of therapy. But what really pulled me in was Barros’ music for the documentary, which reminded me more than once why I fell in love with film music in the first place.

More than once, as I sat listening to the music of Brin d’amour, I thought I was merely out of practice because I kept losing the thread of the music because I was paying attention to the documentary at the same time. But it finally dawned on me that I wasn’t getting distracted, it was simply that the music is interwoven so well with the story that you don’t realize it’s there, and that’s how it’s supposed to be. I’ve said before and I’ll say it again, the best film music is the kind you don’t notice. It should blend in with the visuals and that’s exactly what happens here.

The score for this documentary is based on a small ensemble: piano, a string trio, and several electronic instruments and synthesizers. A small group of instruments, to be sure, but they are used to great effect. I really love how Barros’ music draws you into the story, and not just the funny moments when you see Alain doing clownish things, but also the more deeply serious moments when some truly dark topics are touched upon. My favorite part is the music during the time when Alain and other members of his family talk about his late mother. You really get the feeling that this was a wonderful woman who was lost. Equally compelling is Barros’ ability to know when not to use any music, like during a therapy session when Alain is having one woman work out her feelings over the death of her grandmother. Moments like that, the music would distract from the experience, so using silence is those moments makes them resonate even more.

I’m happy I finally had the time to sit down and listen to Andre Barros’ music for Brin d’amour. It’s really good and I had a lot of fun listening to it.

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Soundtrack News: Hildur Guðnadóttir & Sam Slater Announced as Composers for EA’s Battlefield 2042

Electronic Arts and DICE has announced that two-time Grammy Award, Academy Award, Golden Globe, Emmy, and BAFTA Award-winning composer Hildur Guðnadóttir (JokerChernobyl) alongside composer Sam Slater (score producer JokerChernobyl) will score the latest entry in the Battlefield™ franchise, Battlefield 2042. Worldwide digital release of the album will be via Lakeshore Records. Lakeshore Records and Invada Records will co-release the vinyl edition.

Hildur Gudnadóttir is an Academy Award-, Golden Globe-, Emmy-, two-time Grammy-, and BAFTA-winning Icelandic artist, who has been manifesting herself at the forefront of experimental pop and contemporary music. In her solo works, she draws out a broad spectrum of sounds from her instrumentation, ranging from intimate simplicity to huge soundscapes.

Two-time Grammy Award-winning composer, sound designer and music producer Sam Slater is known for his roles as both score producer and musical sound designer for Joker and Chernobyl. In addition to his two Grammy Award wins for Joker and Chernobyl, he has also won an Icelandic Music Award as “Producer of the Year” and a MASA Award for “Best Sound Design in Television Program”.

President of Music for Electronic Arts, Steve Schnur, is no stranger to securing A-list Hollywood composers to create epic original scores for landmark EA games, having previously worked with the likes of Hans Zimmer (The Dark Knight), Mark Mothersbaugh (Nick & Nora’s Infinite Playlist), Paul Oakenfold (The Bourne Identity), Bill Conti (Rocky), Chris Lennertz (Hop), Sean Callery (24), Christopher Young (Spider-Man 3), Tyler Bates (300, Watchmen), Steve Jablonsky (Transformers), John Debney (Iron Man 2) and Oscar winner Mike Giacchino (Star Trek, Up, Lost).

“From the very beginning, Hildur and Sam set out to craft a score like no other, in which music and sound design meld to create an extraordinary soundscape experience,” says Schnur. “I can say unequivocally that the original score for Battlefield 2042 is the most significant cinematic achievement in the franchise and an absolute game changer for the medium.”

Battlefield 2042 is a groundbreaking first-person shooter set to revolutionize the modern multiplayer sandbox. Powered by cutting-edge technology that pushes the capabilities of next generation hardware, the game drops players into a near-future, all-out-war experience. Featuring matches filled with up to 128 players on the latest consoles* and PCs, this unprecedented scale adds a new dimension to multiplayer battles. Battlefield 2042 also ups the action with the inclusion of real-time events that reshape the battlefield and tactical combat. All-new weapons, vehicles, and gadgets give players the freedom to be strategic and create jaw-dropping, only-in-Battlefield moments.

The biggest, most ambitious title in the franchise, Battlefield 2042 offers a depth of multiplayer across three distinct experiences:

  • All-Out Warfare – The next generation of fan-favorite modes Conquest and Breakthrough. Experience the intensity of All-Out Warfare in large-scale battles like never before on maps filled with dynamic weather, dangerous environmental hazards, and spectacular world events that see tornadoes rip across the map and sandstorms block out the sun.
  • Battlefield Portal – An all-new community-driven experience that gives players the power to discover, create and share unexpected battles from Battlefield 2042, and reimagined classics from Battlefield 1942, Battlefield Bad Company 2 and Battlefield 3
  • Battlefield Hazard Zone – An all-new, high-stakes, squad-based game-type for the Battlefield franchise that is a modern take on the multiplayer experience that is distinctly DICE but very different from All-Out Warfare’s Conquest or Breakthrough modes.

Battlefield 2042 is set to release on October 22, 2021.

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