Category Archives: Soundtracks

Soundtrack News: The Promised Neverland Season 1 & 2 Soundtracks Available Now

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Milan Records today releases The Promised Neverland (Season 1 & 2 Original Soundtrack) with music by Takahiro Obata.  Available everywhere now, the album features music written by Obata for the fan-favorite anime series, which just debuted its second season earlier this year.  With a total of 61 tracks, it collects all of Obata’s original music from both seasons, including the hugely popular “Isabella’s Lullaby” introduced in season 1 as well as “The Evil-Blooded Girl (Main Theme),” which premiered earlier this week via Funimation.

Of the soundtrack, composer Takahiro Obata says:

“I’m glad that the fans of The Promised Neverland are paying attention to the music as well. We would like to thank everyone for making the release of Season 1 & 2 Original Soundtrack possible! I hope you enjoy it!”

Freedom is beautiful, but brutal. Fifteen children escape Grace Field House, a false paradise, hoping for a chance at freedom. Instead, they encounter plants and animals they have never before seen, and are chased by demons. The outside world is so beautiful, and yet is almost too cruel to face. Even so, the children refuse to give up. They are guided in their search for better lives only by a message from Minerva and a pen Norman left behind in order to fulfill their promise to return to the House to save those of their family who are still trapped within.

THE PROMISED NEVERLAND ORIGINAL SOUNDTRACK (COMPLETE EDITION)

TRACKLISTING –

DISC 1 –

  1. Introduction
  2. As a Soft Morning Sunrise
  3. Tag
  4. Studying for Exams
  5. Cold-hearted Isabella
  6. Training For Escape
  7. Tight Tension
  8. Isabella’s Lullaby
  9. Demon’s Manifestation
  10. Emma’s Sorrow
  11. Dancing Krone
  12. 63194 (Emma’s Theme)
  13. The Promised Neverland Main Theme 1
  14. GF House
  15. 81194 (Ray’s Theme)
  16. Tension
  17. Corpse Found
  18. Krone’s Scheme
  19. Existence of an Insider
  20. Emma’s Agony
  21. Isabella’s Lullaby (No Vocal Version)
  22. Krone on the GF String
  23. The Promised Neverland (Pf solo Version)
  24. Prison Break
  25. Strategy for escape
  26. Emma’s Determination
  27. Grandma and Demons
  28. Isabella’s Lullaby (Mandolin Version)
  29. Analysis for escape
  30. 22194 (Norman’s Theme)
  31. Their Own Thoughts
  32. Reasoning for escape
  33. Ray’s Retaliation

DISC 2 –

  1. The Deep Forest
  2. Guidance of Minerva’s Pen
  3. The Adventures of Ugo
  4. Threat of the Demon
  5. Ray Against Demons
  6. Mujika and Sonju (Instrumental Version)
  7. Mujika and Sonju (Vocal Version)
  8. The Promise Between Humans and Demons
  9. Training
  10. An Unlikely Friendship
  11. Nat King Cool
  12. Nat King Ballade
  13. Happy Family Circle
  14. Invasion
  15. Crisis
  16. Isabella’s Return
  17. The Temple Ruins
  18. The Evil-Blooded Girl (Main Theme)
  19. Isabella’s Lullaby (Arabic Version)
  20. Isabella’s Lullaby (Orchestra Version)
  21. Norman’s Lament
  22. The Promised Neverland Main Theme 2
  23. The Promised Neverland (Epf solo Version)
  24. Touch off (Short Version)
  25. Zettai Zetsumei (TV edit)
  26. Lamp (TV edit)
  27. Identity (short version)
  28. Mahou (Anime Size)

The soundtrack for seasons 1 & 2 of The Promised Neverland is available now!

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Soundtrack Review: Minari (2020)

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Milan Records released on February 12 the Minari (Original Motion Picture Soundtrack) with music by award-winning composer Emile Mosseri (The Last Black Man in San Francisco, Kajillionaire). Available everywhere now, the album features score music written by Mosseri for director Lee Isaac Chung’s family drama.

Minari follows a Korean-American family that moves to an Arkansas farm in search of their own American Dream. The family home changes completely with the arrival of their sly, foul-mouthed, but incredibly loving grandmother. Amidst the instability and challenges of this new life in the rugged Ozarks, Minari shows the undeniable resilience of family and what really makes a home.

Emile Mosseri is an award-winning composer, pianist, singer and producer who has quickly made a name for himself in the world of film music with his song-based approach to crafting emotionally-stirring compositions. Mosseri made his feature film score debut with Sundance standout The Last Black Man in San Francisco (2019), garnering extensive critical acclaim from LA Times, Pitchfork, Entertainment Weekly and more.  A breakout moment for the young composer, the sweepingly romantic score cemented Mosseri as a sought-after collaborator, next joining director Miranda July for her comedic crime drama Kajillionaire (2020).

Of the soundtrack, composer Emile Mosseri had the following to say:

“Working with Lee Isaac Chung on Minari was the purest collaboration. Isaac made a gorgeous film about his childhood, and it was an exciting challenge to try and musically personify something as visceral and emotionally-loaded as childhood memory. He invited me into his filmmaking process at the script stage which was a first for me and a dream. I’m grateful that my music found a home in his profoundly honest, vulnerable and deeply poetic film.”

“In July of 2019, five days before production began on Minari, Emile sent me musical sketches for the score,” adds Minari director Lee Isaac Chung. “He wrote, ‘I like the idea of the score having a warm beating heart but also some dissonance and struggle, dipping between those two worlds seamlessly.’ As I listened to the pieces, I was in awe of how he had captured this poetic intent perfectly. From the start, his music contained all the things I hoped for in the film: warmth, heart, dissonance, and struggle. I listened to the songs so often during production that the world of the film contains the songs, and the world of the songs contains the film. As you listen to his brilliant score, you will, in his words, be dipping between those two worlds seamlessly.”

I’ve heard a lot about Minari from my fellow critics on Twitter, but I wasn’t sure what to expect from the soundtrack as, to my shame, I haven’t seen The Last Black Man in San Francisco or Kajillionaire. As a result, I haven’t heard any of Mosseri’s music before, so this was my first time hearing anything he composed.

To my delight, the music for Minari is deeply touching and rich. The story is set in the Ozarks, deep in the heart of America and it shows in this beautiful music. Unlike other soundtracks I’ve heard this year, Mosseri’s music for Minari seems largely content to just “be” and serve as a backdrop for what’s happening in the story. There’s absolutely nothing wrong with this either. More than once I’ve heard a soundtrack that has too much going on and distracts me from the story (or worse, is better than the story itself). It’s a great change of pace to have music that’s so tranquil and slower-paced. It reminded me more than once of a deep river: it appears smooth and quiet, but it’s hiding a lot going on underneath (not a bad metaphor for the film itself given my understanding of the plot).

My particular favorites from this soundtrack are Big Country and Garden of Eden. Both, particularly Garden of Eden, gave me the strong impression of the wilderness and untamed nature. The music flows all around you, giving no hints as to where it takes place in the film. That’s another thing I like, unlike some soundtracks where you can pretty much follow the film through the music (The Invisible Man was one example of this), Minari gives no such hints. Instead we’re treated to an almost concert-like string of music that I took great pleasure in listening to.

MINARI (ORIGINAL MOTION PICTURE SOUNDTRACK)
TRACKLISTING –

  1. Intro
  2. Jacob and The Stone
  3. Big Country
  4. Garden of Eden
  5. Rain Song (feat. Han Ye-ri)
  6. Grandma Picked A Good Spot
  7. Halmeoni
  8. Jacobs Prayer
  9. Wind Song (feat. Han Ye-ri)
  10. Bird Slingers
  11. Oklahoma City
  12. Minari Suite
  13. You’ll Be Happy
  14. Paul’s Antiphony
  15. Find It Every Time
  16. Outro

The Minari soundtrack is available now from Milan Records, and I highly recommend purchasing it and checking it out.

Let me know what you think about Minari (and its soundtrack) in the comments below and have a great day!

See also:

Film Soundtracks A-W

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Soundtrack Review: Blood of Zeus: Season 1 (2020)

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Milan Records has released the original soundtrack for season 1 of Blood of Zeus, with music composed by Paul Edward-Francis. The album features score music written by Edward-Francis for Netflix’s hugely-popular original anime series set in the world of Greek gods and goddesses.

Paul Edward-Francis is a British composer from Manchester who today lives and works in L.A, California.  Paul started working as a composer back in 2006 when he co-compose the music for an all-star adaptation of Terry Pratchett’s classic novel Hog-father. The two part TV series was a huge hit and Paul went on to score the follow-up, this time being The Color of Magic, which once again featured an all-star cast of greats such as Jeremy Irons, Tim Curry, and Christopher Lee and Brian Cox among others. Paul has worked on numerous productions for film and television with some of Hollywood’s biggest studios including Warner Brothers and Nickelodeon. He has also worked with some of the world’s leading orchestras which include the likes of The Royal Philharmonic Orchestra and The City of Prague Philharmonic.

Of the soundtrack for Blood of Zeus, composer Paul Edward-Francis had the following to say:

“Working on Blood of Zeus was an experience I shall always treasure. The moment we sat down to watch the first episode we knew the score would play an important role. Just as we had seen on screen, we wanted to pay homage to Hollywood’s Golden Age within the score, but without losing sight of the world we were creating. The music ultimately had to ensure that Blood of Zeus had its very own unique themes and distinctive sound. As much as the music had to be big grandiose (“A Call to Arms”) or dark and threatening (“Heron Vs the Demon”), it also had to be heartfelt and provoke an emotional response (“Zeus and Hera’s Theme”). I could not be prouder to have worked on Blood of Zeus. It was simply an honor and I hope the music we created brings you as much joy to listen to as I had making it.”

The music for Blood of Zeus certainly does play an important role throughout the season, though I still struggle to describe in words how awesome it is. It feels ancient and modern all at the same time, with pompous fanfares giving way to music that comes straight out of a modern horror film. Edward-Francis. I really like this recurring fanfare motif that puts me in mind of Mt. Olympus every time I hear it. It’s everything that music about gods, goddesses and Ancient Greece should be. I wish I could get more specific, but that is the phrase that describes it best for me: the music just feels right.

One thing is for sure, Blood of Zeus would not be nearly as good as it is without this fantastic music. My favorite track has to be “The Titans.” It starts out like a piece by Ligeti and quickly grows into something bigger (no pun intended). The Titans being the insanely powerful primal forces that they are, Edward-Francis needed to create music to match them and he succeeded. Listening to this track, you get the feeling that you’re staring down something immense and ancient, with more power than you ever dreamed possible. All of that is what I feel while listening to “The Titans.”

I also really like how Edward-Francis was able to inject some humor into the music as well. For example, “Training a Demigod” includes some funny moments where you can almost see Heron’s epic fails in the early stages of his training (you know, when that robot flings him across the arena). I love when composers can replicate those little moments in their music and it’s just one of the details that make up why I love the music of Blood of Zeus so much.

BLOOD OF ZEUS (MUSIC FROM THE NETFLIX ANIME SERIES)
TRACKLISTING –

  1. One of Those Tales
  2. Heron Vs the Demon
  3. The Titans
  4. A Peasants Way of Life
  5. A Call to Arms
  6. A King’s Despair
  7. Heron’s Journey
  8. Past Is Prologue
  9. Hera’s Vengeance
  10. Convert or Die
  11. The Son of Zeus
  12. Electra’s Death
  13. Seraphim’s Theme
  14. Herme’s Run
  15. Seraphim’s Story
  16. Escape or Die
  17. Mount Pelion
  18. Alexia and Chiron
  19. Seraphim’s Quest
  20. Escape
  21. The Power of Zeus
  22. Flight to Olympus
  23. Training a Demigod
  24. Seraphim’s Rage
  25. Seraphim’s Revenge
  26. Journey to the Deep
  27. Apollo Vs Ares
  28. Talos
  29. Preparing for Battle
  30. War for Olympus
  31. Zeus and Hera’s Theme
  32. Gods and Heroes
  33. A Proud Father
  34. Blood of Zeus End Credits

You can enjoy the soundtrack for Blood of Zeus now!

Let me know what you think about Blood of Zeus (and its soundtrack) in the comments below and have a great day!

See also:

TV Soundtracks

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Soundtrack News: ‘Saint Maud’ Soundtrack Available Now

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Milan Records released the soundtrack for Saint Maud today, with music composed by Adam Janota Bzowski. The album will also be released in vinyl format this spring. From A24, Saint Maud arrives in select theaters and drive-ins January 29 and will be available to stream exclusively on EPIX beginning February 12.

Adam Janota Bzowski is a London based composer, sound designer and visual artist. As a child he was known for his fondness of intermittent static between radio stations, an interest that led him to study Sound Art at the University of Brighton. Whilst living in a disused biscuit factory on the English coast, Adam became heavily influenced by ambient music – performing under the moniker Adam Halogen, he utilized an old 4-track tape recorder and various guitar pedals to create compositions for theatre, short films and animations. Saint Maud marks his first feature-length score, which has already won him Best Original Music at the 2020 Gérardmer Fantasticarts Film Festival.

The debut film from writer-director Rose Glass, Saint Maud is a chilling and boldly original vision of faith, madness, and salvation in a fallen world. Maud, a newly devout hospice nurse, becomes obsessed with saving her dying patient’s soul — but sinister forces, and her own sinful past, threaten to put an end to her holy calling.

Of the soundtrack for Saint Maud, composer Adam Janota Bzowski had the following to say:

“Before coming on board, I initially received only a treatment for Saint Maud containing a short synopsis alongside various macabre pictures of twisted figures and haunting spectres. From this alone I created around 30 minutes of demos inspired by the images and plot outline, much of which ended up in the final film. Rose wanted the audience to feel inside the head of the main character, Maud. As a result we gave the score a very claustrophobic almost creature-like quality to it, often leaning closer to sound design than traditional music. After sending her cues, Rose would frequently feedback ‘go weirder, go stranger’ – words which I had waited my entire career to hear from a collaborator.”

SAINT MAUD (ORIGINAL MOTION PICTURE SOUNDTRACK)
TRACKLISTING –

  1. Opening Title
  2. Maud’s Theme
  3. Khöl / Nosebleed
  4. Pallative Care
  5. God On the Couch
  6. I Think It Went Well
  7. Succubus
  8. Revelation
  9. My Saviour (By the Coast)
  10. Holy Water
  11. Bedside Manor
  12. Scissors
  13. Saint Maud

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Soundtrack Review: All Evolutionz EP (2020)

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All Evolutionz aka 全進化 aka Zen Shinka is the latest project by Enso, perhaps best known as the founder of XXX Hong Kong, an underground gallery and nightclub in operation from 2011-2018. This is the fourth music release of 2020 under the new XXX Records imprint, capping off a prolific year for both Enso and the new label.

All tracks on All Evolutionz EP are produced by Enso, and feature an orchestral / film score style that is a natural extension of his Palimpsest EP released earlier this year. All Evolutionz EP comprises a six-chapter story of melancholy, loss and wonder, expertly voiced by studio piano and strings instrumentation. Japanese language vocals are supplied by Yo Zi, while the alternate English vocal versions are produced using Vocaloid, a Japanese synthesized voice software.

Despite his reputation as a bass music club DJ, Enso cites some surprising musical influences:

“I love artists such as James Blake, but I actually listen to a lot of film scores. I am most inspired by the composers Clint Mansell and Max Richter, and have actually made a ritual of listening to Górecki’s third symphony each year on my birthday, since I was a teenager.”

As for the name “All Evolutionz,” Enso explains, “it is inspired by Pokémon and relates to the idea of constant growth, transformation and development.”

I was curious to see what All Evolutionz EP was all about as it’s not every day I get a vinyl record in the mail to check out. Imagine my delight, then, when I opened the record up and found a vinyl record that was bright yellow! This makes the entire record eye-catching and really pretty (it was an added bonus also because I’ve never owned a record that wasn’t black before).

The music itself was very relaxing, it reminded me of several anime soundtracks where there are long stretches filled with vocalizations while the characters contemplate life and existence. Honestly I would happily listen to this music over and over again for relaxation purposes. That being said, I did find the English language portions of the music a little….odd? I think odd is the best word for it, it wasn’t bad but it did sound unusual to my ears.

I also really love that this album had a vinyl release at all. It’s so cool that vinyl has made a comeback. They’re really cool to collect, and it makes for a fun experience to watch the vinyl spin while you listen to it.

All Evolutionz EP turned out to be an enjoyable experience and I’m glad I got the chance to check it out.

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Soundtrack News: ‘Looney Tunes: Back in Action’ and ‘Babe’ Soundtracks Available Exclusively from Varèse Sarabande Records

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Varèse Sarabande Records is thrilled to unveil its January 2021 CD Club titles: Looney Tunes: Back in Action (The Deluxe Edition) by Jerry Goldsmith and Babe (The Deluxe Edition) by Nigel Westlake, which are now available exclusively on VareseSarabande.com.

Looney Tunes: Back in Action (The Deluxe Edition):

The final film score of Jerry Goldsmith’s legendary career gets a long-awaited CD Club treatment: Looney Tunes: Back in Action (2003) reunited Goldsmith with director Joe Dante (Gremlins, Innerspace, Matinee) for an insane musical journey befitting Warner Bros.’ classic cartoon characters, with Bugs Bunny and Daffy Duck starring in a live-action/animation hybrid alongside human characters played by Brendan Fraser, Jenna Elfman, Timothy Dalton and Steve Martin.

The globetrotting adventure demanded one of Goldsmith’s zaniest scores ever, a sort of indescribable combination of slapstick, action and whimsy that lurches from high-energy symphonic chases to pop-influenced flourishes to Carl Stalling-styled “Mickey Mousing.” All of it has Goldsmith’s effortlessly melodic touch, with the special brand of left-field inspiration that always accompanied his work for Dante.

Previously released by Varèse Sarabande at the time of the movie, this comprehensive 2-CD set features not only Goldsmith’s vastly expanded score, but rewrites and additional music by John Debney, Cameron Patrick and a handful of others—as well as alternates and outtakes by Goldsmith and the complete 2003 album program. Packaging features new liner notes by Daniel Schweiger (incorporating new interviews with Dante, Debney and Patrick) and Goldsmith’s longtime friend and recording engineer, Bruce Botnick.

TRACK LISTING

DISC 1:

  1. Looney Tunes Opening (What’s Up Doc?) / Rabbit Fire (1:09)
  2. What’s Up? (1:25)
  3. Another Take (:48)
  4. Dead Duck Walking (3:14)
  5. She Likes You (:46)
  6. The Shimmy / Out Of The Bag / Save Dad / The Car (3:53)
  7. Not A Billion (:45)
  8. Blue Monkey (:58)
  9. Extra Crispy (:36)
  10. The Shower / Psycho Parody (1:15)
  11. In Style (1:10)
  12. The Bad Guys (2:57)
  13. Hit Me (:30)
  14. Car Trouble / Flying High (3:46)
  15. Hurry Up (:25)
  16. Nice Hair / Burning Tail (:55)
  17. A Visit To Walmart / Free Drinks (:36)
  18. Wrong Turn Coyote (:54)
  19. The Launch (:27)
  20. Thin Air (1:26)
  21. Area 52 (Take 54) (1:29)
  22. You’re Next (:25)
  23. Wacky Marvin In The Jar (:49)
  24. Hot Pursuit (2:26)
  25. We’ve Got Company / Man And A Woman / I’ll Take That (3:21)
  26. The Painting / The Scream / It Is Spring / Bugs with Mandolin (3:20)
  27. The Red Balloon (:26)
  28. Paris Street (1:22)
  29. Free Fall (1:17)
  30. The Hook / Africa (:33)
  31. Tasmanian Devil (1:09)
  32. Jungle Scene (1:42)
  33. Pressed Duck (3:26)
  34. Re-Assembled (:51)
  35. Waiting For A Train (2:49)
  36. A New Puppy (3:06)
  37. To The Rescue (4:24)
  38. Heroes (2:39)
  39. Merry-Go-Round Broke Down (That’s All Folks!) (:16)
  40. End Title Suite (5:17)

DISC 2:

  1. What’s Up? (1:29)
  2. Another Take #9 (:53)
  3. Trumpet Wa-Wa (:07)
  4. The Shimmy (:12)
  5. Out Of The Bag (1:17)
  6. The Car, Part 1 (:15)
  7. The Car, Part 2 (:12)
  8. Psycho (:37)
  9. Car Trouble (3:22)
  10. Wrong Turn, Part 1 (1:14)
  11. Wrong Turn, Part 2 (:25)
  12. Wrong Turn, Part 3 (1:08)
  13. The Launch (:30)
  14. The Blue Danube / The Barber of Seville / Can Can (:36)
    15 Vivaldi Concerto (:15)
  15. The Hook (:29)
  16. Pressed Duck (3:39)
  17. Merry-Go-Round Broke Down (That’s All Folks!) (:23)

The Original 2003 Soundtrack Album:

  1. Life Story (:19)
  2. What’s Up? (1:25)
  3. Another Take (:48)
  4. Dead Duck Walking (3:14)
  5. Out Of The Bag (3:44)
  6. Blue Monkey (:54)
  7. In Style (1:09)
  8. The Bad Guys (2:56)
  9. Car Trouble (3:46)
  10. Thin Air (1:26)
  11. Area 52 (1:29)
  12. Hot Pursuit (2:26)
  13. We’ve Got Company (1:50)
  14. I’ll Take That (1:22)
  15. Paris Street (1:21)
  16. Free Fall (1:15)
  17. Tasmanian Devil (1:09)
  18. Jungle Scene (1:40)
  19. Pressed Duck (3:22)
  20. Re-Assembled (:52)
  21. Merry-Go-Round Broke Down (That’s All Folks!) (:55)

Music Composed and Conducted by Jerry Goldsmith, Additional Music by John Debney • Produced by Jerry Goldsmith • Performed by The Hollywood Studio Symphony

Babe (The Deluxe Edition):

Babe was a massive surprise hit in 1995. A children’s film starring a talking pig seemed to be the last thing anybody expected from visionary filmmaker George Miller (Mad Max). Writer-producer Miller adapted the 1983 book with director and cowriter Chris Noonan, and created a universally praised, moving film about a farm pig (a combination of animatronics and computer graphics) who longs to be a sheepdog. With a memorable lead performance by James Cromwell as Babe’s farmer-owner, Babe received glowing reviews and seven OSCAR® nominations, winning for Best Visual Effects.

A major part of Babe’s exquisite, perfectly pitched storybook tone is the charming, resonant symphonic score by Australian composer Nigel Westlake. Westlake interpolated a tapestry of classical works, most notably the maestoso section of Saint-Saëns’ third (Organ) symphony, to perfectly capture the human emotions of the film’s animal characters, while ironically treating the humans with an animal-like comedy and whimsy. (The Saint-Saëns melody had been adapted into the British reggae pop hit “If I Had Words” by Scott Fitzgerald and Yvonne Keeley; a sped-up version is used in Babe’s end credits.)

Babe was released as a music-and-dialogue album at the time of the film. This CD Club edition features the expanded score as music only, packaged with a new essay by Tim Greiving featuring insights from Miller, Noonan, Cromwell and Westlake.

TRACK LISTING

  1. Opening Titles (From The Motion Picture Babe) – Piggery (4:02)
  2. Fairground (Extended Version) (3:16)
  3. I Want My Mum / The Way Things Are (4:40)
  4. Fly Would Never / Crime And Punishment (3:50)
  5. Anorexic Duck Pizzicati (Extended Version) (3:21)
  6. Repercussions / Into The Knackery (2:23)
  7. Pig, Pig, Piggy / Mother And Son (2:28)
  8. Pork Is A Nice Sweet Meat (3:26)
  9. Christmas Morning (Extended Version) (5:08)
  10. Separate The Chickens / Round Up (2:37)
  11. Babe’s Round Up (Extended Version) (3:59)
  12. Mad Dog Rex (1:14)
  13. The Sheep Pig (Extended Version) (1:47)
  14. Dog Tragedy (1:36)
  15. Hoggett Shows Babe / Maa’s Death (2:58)
  16. Home Pig / Hoggett With Gun (2:48)
  17. Pig Of Destiny / Up To Trouble (3:29)
  18. The Cat / What Are Pigs For (2:26)
  19. Where’s Babe / Hoggett’s Song (3:23)
  20. Babe In The Kitchen / Help For Babe (4:32)
  21. Baa Ram Ewe / Rex On Truck (1:46)
  22. The Gauntlet / Moment Of Truth (Extended Version) (1:45)
  23. Finale – That’ll Do, Pig, That’ll Do (1:39)
  24. If I Had Words (2:54)
  25. Toreador Aria (Excerpt) (:22)
  26. Pork Is A Nice Sweet Meat (With Vocals) (3:51)
  27. Blue Moon (Excerpt) (:40)
  28. Cantique de Jean Racine (Excerpt) (:41)
  29. If I Had Words (Hoggett’s Song) (1:52)

Music Composed and Produced by Nigel Westlake
Performed by the Victorian Philharmonic Orchestra

Let me know if you’ll be picking either of these soundtracks up and have a great day!

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Soundtrack Review: A Perfect Planet (2021)

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Sony Music today released A Perfect Planet (SOUNDTRACK FROM THE BBC SERIES) with music by composer Ilan Eshkeri (Stardust, The Young Victoria, Ghost of Tsushima). The album features the music from Eshkeri’s fourth collaboration with Sir David Attenborough, the legendary naturalist who will narrate the BBC series.

Regarding the music for A Perfect Planet, composer Ilan Eshkeri had the following to say:

“Creating the music for A Perfect Planet has been a hugely rewarding experience. The series celebrates the extraordinary world we are a part of as well as showing the delicate balance of the systems that support life, and what we need to do to ensure its future stability. It’s a message that’s very important to me and one that I believe we have a responsibility to engage with – in a way that not only educates but inspires the next generation. This influenced my approach to the music, and set me on an unconventional path. Composing the music for A Perfect Planet has also been enormously challenging – not least because of the unprecedented logistical issues of trying to record an orchestra during the lockdown! I’m grateful to everyone at the BBC and [production company] Silverback who supported me and the ideas I threw at them and I hope my music can play a small part in helping to inspire change.”

The music for A Perfect Planet is gorgeous. As you might expect for a soundtrack accompanying a series highlighting the wide variety of life on Earth, Ilan Eshkeri has created a veritable symphony that serves as the perfect complement to the visual elements of the series. This isn’t like some documentaries where the music is meant to fade into the background as much as possible. Here, in a series like A Perfect Planet, the music and the visuals are equals to each other. In this kind of story, it’s okay if the music stands out, as many times we’re left to watch the animals move about in their environment

One thing about this music that jumped out at me was the concept of balance, a very important concept especially when you think about the climate change currently tearing our planet apart. Eshkeri starts the music off with two tracks titled “A Perfect Planet” and “A Perfect Balance” and in each of these pieces the composer creates a feeling of balance by filling the music with arpeggios, chords broken down and spelled out in upward and downward motion. Repeated uses of arpeggios can create a “seesaw” feeling in the music that gives one the sense of something being carefully balanced. What’s more, these arpeggios return throughout the soundtrack, reinforcing the idea that the music is ultimately about balance in life and nature and that’s something I love very much.

I also enjoy the wide range of instruments featured in this soundtrack. It’s all orchestral, but some sections focus more on the strings, some more on the woodwinds, it all shifts based on which animals (or environments) are being highlighted. Honestly, the music is so soothing I would happily listen to this soundtrack all day long, even without seeing the documentary that goes with it. This is the second soundtrack by Ilan Eshkeri that I’ve listened to, and I’ve loved every minute of it. I can’t wait to see what he creates next.

A PERFECT PLANET (SOUNDTRACK FROM THE BBC SERIES) TRACKLISTING –

  1. A Perfect Planet
  2. A Perfect Balance (Episode 1 – Volcanoes)
  3. Wildebeest (Episode 1 – Volcanoes)
  4. Flamingos (Episode 1 – Volcanoes)
  5. Vampire Finches (Episode 1 – Volcanoes)
  6. Bears (Episode 1 – Volcanoes)
  7. Volcanoes (Episode 1 – Volcanoes)
  8. Sunlight (Episode 2 – Sunlight)
  9. Gibbons (Episode 2 – Sunlight)
  10. Arctic Foxes (Episode 2 – The Sun)
  11. Silver Ants (Episode 2 – The Sun)
  12. Autumn (Episode 2 – The Sun)
  13. Snub-Nosed Monkeys (Episode 2 – The Sun)
  14. Sooty Shearwaters (Episode 2 – The Sun)
  15. Fire Ants (Episode 3 – Weather)
  16. Giant River Turtles (Episode 3 – Weather)
  17. Red Crabs (Episode 3 – Weather)
  18. Summer (Episode 3 – Weather)
  19. Dry Season Pt. 1 (Episode 3 – Weather)
  20. Dry Season Pt. 2 (Episode 3 – Weather)
  21. A Changing Climate (Episode 3 – Weather)
  22. Marine Iguana (Episode 4 – Oceans)
  23. Cuttlefish (Episode 4 – Oceans)
  24. Mangroves (Episode 4 – Oceans)
  25. Manta Rays (Episode 4 – Oceans)
  26. Spring (Episode 4 – Oceans)
  27. Hardyheads (Episode 4 – Oceans)
  28. Rockhopper Penguins (Episode 4 – Oceans)
  29. Eden’s Whales (Episode 4 – Oceans)
  30. Elephant Orphans (Episode 5 – Humans)
  31. Climate Refugees (Episode 5 – Humans)
  32. The Rainforest (Episode 5 – Humans)
  33. Reforestation (Episode 5 – Humans)
  34. A Changing Planet (Episode 5 – Humans)

A Perfect Planet premiered on January 3, 2021 on BBC One, and will consist of five episodes. Let me know what you think about A Perfect Planet (and its music) in the comments below and have a great day!

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TV Soundtracks

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Soundtrack Review: Cyberpunk 2077 (2020)

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Along with the long awaited release of Cyberpunk 2077, there was also the release of the game’s lengthy (and I do mean lengthy) soundtrack. Stretched out over 37 tracks on TWO CDs, the soundtrack for Cyberpunk 2077 was a collaboration between Marcin Przybyłowicz, P.T. Adamczyk, and Paul Leonard-Morgan.

The Cyberpunk 2077 video game is an open-world, action-adventure story set in Night City, a megalopolis obsessed with power, glamour and body modification. You play as V, a mercenary outlaw going after a one-of-a-kind implant that is the key to immortality. You can customize your character’s cyberware, skillset and playstyle, and explore a vast city where the choices you make shape the story and the world around you.

If music in Cyberpunk 2077 would have to be described with just one word, it would be attitude. No matter the style, sound palette, or specific genre Przybyłowicz, Adamczyk, and Leonard-Morgan worked with, attitude is the cornerstone of every cue they composed for the game. Night City shimmers with colors and so does the music – not limited to one specific genre. Instead, the composing trio drew from all sorts of styles to craft a unique mix that drives the narrative and provides additional layers of context to the story. Expect a wide range of music styles from jazz, through downtempo, hip-hop, metal, industrial, to various incarnations of techno.

You know, after listening to a number of orchestral soundtracks for video games in recent months (The Ghost of Tsushima and Godfall most definitely come to mind), it was actually refreshing to take in a soundtrack that is not based entirely on strings and traditional orchestral instruments. Oh, you can hear them in the mix of Cyberpunk 2077 if you listen closely, but the base of this soundtrack is 100% synthetic. Or, better put, synthesized and electronic. This immediately puts you in the world of the future that is Cyberpunk 2077, where anyone can get their bodies modified and technology has reached levels we can only dream of. An orchestral score like the one used for Godfall would simply not do in this situation, it wouldn’t fit. I expected something of the sort even before I listened to the soundtrack, so this fit my expectations perfectly.

And then, as I was listening through the tracks, it occurred to me that all of this sounded very familiar, but I couldn’t quite figure out why, as I haven’t gotten to play the game yet, nor have I seen any gameplay where I might have heard the music before now. Finally, it hit me. I’ve heard music in this style before, though it’s been a few years. The music for Cyberpunk 2077 reminds me very strongly of the score for Blade Runner 2049. Both have heavily synthesized scores laced throughout with deep bass BWOOMS that just reverberate through you. And, if you consider the larger picture, they’re based in eerily similar locales: the not so distant future, a dystopian setting, body modifications abound…I’d be very interested in asking the composers if they took direct inspiration from Blade Runner 2049, or perhaps even the original Blade Runner.

I also really like how the music subtly shifts for different locales (or what I assume are different locations). Which is to say, all of the tracks exist in the same musical family, but they’re altered in such a way to give the impression of being on the streets, up high, even underwater or in an abandoned building, if that makes sense. The composers are absolutely making the most out of this sound world (as they should be).

There is an element of repetition throughout the music, but I’ve long since learned that this is to be expected in video game scores. Having not played the game yet myself, I don’t quite know what controls when the music changes from one track to the next, but I know that at a certain level there needs to be some level of repetition in order for the music to seamlessly shift from one track to another without making it noticeable (especially since gameplay can differ wildly between one player and the next).

One final thought: I frequently amuse myself by glancing through the track listings of soundtracks (be it film, television, or video games) and try to see what details I can glean regarding the story strictly by looking at the listings. Sometimes, depending on how they’re worded, you can actually learn quite a lot. But, and this is a good thing, while I can work out a basic story outline from the track listing, I can’t detect any major spoilers, or at least no obvious spoilers. That’s tricky to do, as track listings need to be descriptive but not in a way that gives plot details away if it can be helped.

All in all, the music for Cyberpunk 2077 sounds like the perfect score for this type of game. It fits the story perfectly, but is not so overwhelming that it distracts you from gameplay (indeed, I’m certain there are many times the music will largely blend in to the background). I’m well aware that the game has numerous issues on PS4 and Xbox One (speaking as a PS4 player, I’m scared to see how the game plays if/when I get it for Christmas), but at least I can safely say the score isn’t one of them.

TRACK LISTING

Disc 1:

  1. V
  2. Extraction Action
  3. The Rebel Path
  4. The Streets Are Long-Ass Gutters
  5. Outsider No More
  6. Cloudy Day
  7. Wushu Dolls
  8. Scavenger Hunt
  9. Musorshchiki
  10. Close Probing
  11. There’s Gonna Be A Parade!
  12. Trouble Finds Trouble
  13. You Shall Never Have To Forgive Me Again
  14. Code Red Initiated
  15. The Heist
  16. Streetfighters
  17. Patri(di)ots
  18. Mining Minds
  19. Rite Of Passage

Disc 2:

  1. The Voice In My Head
  2. Modern Anthill
  3. The Sacred And The Profane
  4. Kang Tao Down
  5. Cyberwildlife Park
  6. Consumer Cathedral
  7. Juiced Up
  8. Bells Of Laguna Bend
  9. Urban Downunder
  10. Atlantis
  11. Cyberninja
  12. The Suits Are Scared
  13. Tower Lockdown
  14. To Hell and Back
  15. Adam Smasher
  16. Hanako & Yorinobu
  17. Been Good To Know Ya
  18. Never Fade Away (SAMURAI Cover) feat. Olga Jankowska

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Video Game Soundtracks

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Behind the Score of ‘I Am Greta’: Talking with Rebekka Karijord About the Documentary’s Music

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I recently got the opportunity to speak with composer Rebecca Karijord about her work with composer Jon Ekstrand on the recently released documentary I am Greta. Rebekka Karijord is a composer, musician, and playwright originally from Sandnessjøen in northern Norway. Over the course of her early career, she developed her unique voice by experimenting as a musician, actor, playwright and composer, working alongside directors including Joachim Trier, Margreth Olin and Nina Wester. She also began recording and releasing solo records. Her first album, Neophyte, arrived in 2003, a collaboration between Rebekka, Mattias Petterson and Malin Bång, and was followed up in 2005 by Good or Goodbye.

It was really exciting to get to talk with Rebekka about her work on I am Greta, and I hope you enjoy this interview.

How Did You Get Started With Composing for Film?

I’ve been writing for film, theatre and modern ballet for more than 15 years now. I worked as an actor from when I was 12 years old, but the music took over more and more in my life and work. When I decided to stop acting in films, the directors I had worked with started asking to use my music in their projects. So, it was a very organic, safe transition. And a career shift I have never regretted.

 How did you get connected with I am Greta?

Jon invited me in to the job with him, after the producer reached out to him. We had done one project together from before that, an HBO series. 

How did you and Jon approach scoring this documentary? Is it very different from scoring a film or are they more similar?

The most significant difference between scoring a documentary and a fiction film is usually regarding when in the process the editor and director wants the music. A lot of documentary film makers want to edit the whole film to a final score, or close to complete sketches. With a fiction film, I usually write the music after picture lock. With Greta, we actually decided to start writing once the editing was locked, since we wanted the score to have a homogenous, “big film” feel to it. 


Were you and Jon given a lot of time to work on I am Greta?


No, due to covid everything was pushed and the post production time was very slim. So, I think we had six weeks to write the whole score. There is a lot of music, so that was quite challenging. 


How did you decide on which instruments to use to symbolize the Earth, Greta herself, and other important elements? Was there some experimenting with different sounds before you and Jon settled on the final result?

Yes, for sure we tried out different things. But when Linnea Olsson (our solo cellist) came in the studio, everything fell in place. Her tone really matches the energy of the natural world in the film. As for Greta herself, I think it might be the piano. I feel the synthesizers and the voices stand for the movement. 


I’m curious, why does it say in the PR that the music “couldn’t take too much sentimentality.”?

Well, Greta is not a very sentimental person. She is super focused and clear when it comes to the climate questions. Emotional, yes, but never sentimental or self-conscious. She is also a very present person in people’s brains right now, and there are many strong opinions about her, and that made this film a bit tricky to score. Music is a really strong tool, and can be very leading. We wanted the music to be more observing and underlining, than leading. Therefore, we tried to work more with energy, tempo and repetition, than melody. There are melodic elements, but they are more in the background. 


Which part of the score do you hope audiences notice the most?

 I’m not sure, but I hope the music makes the audience feel more, think more, reflect more. I hope it can help to inspire change, I hope it lifts Greta’s message. 


Speaking of, do you or Jon have a favorite part of the score?

We have two favorite spots; One is at the cue called “Fridays for Future,” which was long called “Viral.” There is a collage of the children all over the world joining in, and especially one girl really touches me. She sits in her bedroom with a raised fist and says, “Today we stand behind you, and on Friday we will stand next to you!” It really melds well with the music right there, and actually still touches me every time. 

The other place is a music cue called “Trolls,” a part where we see a lot of the internet trolls’ comments and threats that Greta is receiving. It’s absurd with these older, white, male world leaders bullying her. Trump, Putin, Bolsonaro, and then at the end of the scene she starts dancing, carefree, liberated, as if to her very own internal melody. We had a long, drony sequence written to that scene and felt something was missing, and I sat down and improvised by the piano without seeing the images. When I stopped, Jon, who had been in the control room, came out with tears in his eyes. The piano totally married her movements. It was art by accident for sure, and is still our favorite musical spot in the film. 

I’d like to say thank you to Rebekka Karijord for taking the time to speak with me about her work on I am Greta.

Let me know what you think about I am Greta (and its music) in the comments below and have a great day!

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Composer Interviews

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Soundtrack News: ‘The Crown’ Season 4 Original Soundtrack Available November 20

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Sony Music has announced that the original soundtrack for The Crown Season 4 will be available on November 20, 2020. The music for this soundtrack was composed by Martin Phipps (Black Mirror). Phipps reprises his role as the show’s composer following a successful third season in 2019, for which he notably garnered his sixth career Emmy® Award nomination in the category of “Music Composition for a Series.”

Of the soundtrack, composer MARTIN PHIPPS has the following to say:

“In Season 4, the world of our middle aged characters is blown apart by the arrival of Princess Diana. I wanted to represent this bombshell in the music, culminating in Episode 5 when Australia goes nuts for Diana and the score switches to a brash, technicolor electronic palette. We are also in the ‘80s throughout the season, so the score is sprinkled with retro synth elements. Peter Morgan (showrunner/general maestro) was clear that he also wanted a strong sense of musical continuity with Season 3, so I updated many of our familiar, more orchestral themes from previous episodes. One of my favorite scenes is the reuse of the Simple Harp theme, as Diana returns triumphant from shooting a stag during her ‘Balmoral tests.’  I hope you enjoy the new series, and its score, as much as I enjoyed writing it.”

Available everywhere now, Martin Phipps’ Season 3 Soundtrack received widespread critical acclaim, with The Los Angeles Times noting, “He accompanied Queen Elizabeth’s middle-age years, and the national tragedies and personal tribulations she encountered, with pulsing electronics, men’s choir and opulent orchestration that was simultaneously grave and groovy.” Phipps has continued to expand his influence and sound with each subsequent score.

ABOUT THE CROWN – SEASON 4

As the 1970s are drawing to a close, Queen Elizabeth (Olivia Colman) and her family find themselves preoccupied with safeguarding the line of succession by securing an appropriate bride for Prince Charles (Josh O’Connor), who is still unmarried at 30. As the nation begins to feel the impact of divisive policies introduced by Britain’s first female Prime Minister Margaret Thatcher (Gillian Anderson), tensions arise between her and the Queen which only grow worse as Thatcher leads the country into the Falklands War, generating conflict within the Commonwealth. While Charles’ romance with a young Lady Diana Spencer (Emma Corrin) provides a much-needed fairytale to unite the British people, behind closed doors, the Royal family is becoming increasingly divided.

Be sure to check out the season 4 soundtrack of The Crown when it releases on November 20!

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