Category Archives: Soundtracks

To the Future: A Talk With Halli Cauthery About the Music of ‘Future Man’ Season 3

A few weeks ago I had the opportunity to talk with composer Halli Cauthery about his work on the third and final season of Future Man. The Hulu original series Future Man  was co-created by Seth Rogen and Evan Goldberg. His credits also include the Netflix/DreamWorks animated series Turbo F.A.S.T., for which he received an Emmy nomination in 2016; the critically-acclaimed thriller The East; Bernard Rose’s 2015 film adaptation of Frankenstein; the Shrek Halloween television special Scared Shrekless; as well as the Lifetime Television film Living Proof.

He has worked extensively with composer Harry Gregson-Williams, contributing additional music to such films as Cowboys & Aliens; Unstoppable; Prince of Persia: The Sands of Time; Shrek Forever After; X-Men Origins: Wolverine; and The Chronicles of Narnia: Prince Caspian; as well as Bee Movie and Winter’s Tale alongside Hans Zimmer and Rupert Gregson-Williams. He has also worked with Henry Jackman (Jumanji: Welcome To The Jungle; Captain America: Civil War; Pixels; Turbo); Danny Elfman (Hellboy 2: The Golden Army); and Bryan Tyler (Iron Man 3).

How did you get started with composing for film and television?

I got my start working under the mentorship of the renowned composer Harry Gregson-Williams. After completing my postgraduate studies some years ago I lived in London for a while, working as a jobbing musician, playing in orchestras around the city (my initial musical training was as a classical violinist at the Yehudi Menuhin School), as well as teaching, and writing music for the concert hall. But I soon began to feel that, if I wanted to earn a living writing music, the smart move would be to go into film and TV. And so I got in touch with Harry – whom I had known years earlier when I was a young kid and he was a singing teacher at the same school where I used to go for my after-school violin lessons! – to ask for advice. We re-connected, he invited me to come to California for a few months to see the process of film-scoring for myself, and soon I was working as his assistant, and he became my mentor.

What did you think of Future Man when you started working on it?

I thought it was utterly mad in all the very best ways! I loved it: it was funny, clever, silly, jam-packed with quotable lines and memorable characters, and just delightfully weird… I knew straight away that it was going to be a blast scoring it. And I wasn’t wrong!

Did you know, going in, that season 3 would be the last for Future Man?

Yes, we were all aware of that. Which is a double-edged sword: very sad to say goodbye to it, obviously, because I’ve enjoyed myself immensely; but at the same time, knowing that you have a definite end point to build towards can be very useful creatively.

Where did you start in the scoring process for season 3? Did you build off the previous seasons or did you start in a completely new place?

It’s a little bit of both. In the first place, if I interpret the question very literally, I did technically start in a totally new place, because the first piece of music you hear in season 3 is the ‘Monday Night Football’-style music accompanying the ‘Running Man’-type TV show that the main characters are forced to take part in during episode 1. In a more general sense, though: the great advantage of coming back to a show in its third season is that much of the underlying musical architecture is already in place: I already know what the ‘sound’ of the show is, and I already have a network of existing themes because those things have been established from season 1. (For example, I already have a Josh theme, a ‘Resistance’ theme, a Tiger+Wolf theme, and so on.) Having said that, with each new season there are always new characters and new situations that require new themes and sound worlds. Most obviously in the case of season 3, there are the scenes set in Haven, the ‘realm outside of time’ that the main characters become trapped in during the second half of the season. These required completely new music and a new ‘sound’ from the previous seasons.

A related question: did anything specific inspire the sound of Future Man, be it season 3 or any previous season? How did you come up with the sound for this season and series in general?

Haven inspired a slightly more unconventional approach during season 3. When you are depicting a place that’s supposed to exist outside of time and where the usual physical laws of the universe don’t always apply, that’s a pretty big invitation to do something different and get weird, musically. So I took the opportunity to experiment a bit with sound manipulation: taking audio and time-stretching and/or compressing it, reversing it, etc. to achieve strange effects. I also took the opportunity to write some twelve-tone music; and, for added ‘off the wall-ness’, to combine this with a part for a microtonal piano. The result is very trippy!

How much time did you have to score season 3 of Future Man?

I began working on season 3 in October, and we wrapped early in March – just in time, as it happened, before we all went on lockdown! It was a slightly shorter production schedule this season, with eight episodes as opposed to the thirteen that comprised seasons 1 and 2.

What instruments were used in the scoring process? I like how several pieces of the soundtrack have a traditional “sci-fi” sound.

Throughout the show’s run the score has consisted of a mixture of synth elements and traditional orchestra, sometimes combining the two within the same music – the synth elements tending to be utilized during the more futuristic, sci-fi moments. In addition, during season 3 I’ve occasionally had to dig into certain specialized types of ensemble: an example would be the Medieval-style music in season 3 when the three lead characters find themselves in Medieval France; this required the full complement of crumhorns, shawms, recorders and so on! I also recorded myself doing a bit of fiddle playing for a scene set in 17th century North America, playing a traditional folk tune called ‘Rambler’s Hornpipe’.

 Last question: do you have a favorite part of the soundtrack?

A few examples spring to mind: in season 3, I would pick out the twelve tone music I mentioned earlier, as well as the over-the-top orchestral piece accompanying the final gag in the last episode. From season 2 I rather like the ‘Lawrence of Arabia’ parody from episode 4, as well as the Renaissance-style version of the ‘Resistance’ theme heard numerous times throughout the season. And season 1 contains one of my favourite episodes of all: the one set in James Cameron’s ‘Smart’ house, which gave me the opportunity to write an episode of score full of music in the style of music from Cameron movies!

It was a great pleasure to learn more about Halli Cauthery’s work on season 3 of Future Man and I’m very thankful for the opportunity.

See also:

Composer Interviews

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Looking at El Camino: An Interview with Dave Porter

I recently had the opportunity to speak with composer Dave Porter about his work on El Camino: A Breaking Bad Movie. The movie, a direct continuation of Breaking Bad, was released on Netflix on October 11, 2019. The story follows Jesse Pinkman (Aaron Paul) in the wake of Breaking Bad’s series finale.

Dave Porter studied classical and electronic music composition at Sarah Lawrence College in New York. He received an ASCAP Award for his work on Breaking Bad. Other composing credits include the Breaking Bad prequel Better Call Saul, The Blacklist, and Preacher.

How did you get started in composing for film and television?

I grew up playing piano from when I was very young; my parents both are musicians though not professionally. I was always into music and when I got into high school I started to get into the technology of the time, digital synthesizers and computers. I found all of that very inspiring. I went to a liberal arts college called Sarah Lawrence College which was near New York City and there I learned to combine the two worlds: my interest in electronic music and my interest in classical music. In addition to that I learned to love the collaboration between music and film, TV, dance, theatre, lots of other things. That’s what really sparked my interest.

What was it like to return to the world of Breaking Bad after its been off the air for seven years? Or was it not that difficult since you’ve been working on Better Call Saul since then?

When Breaking Bad ended in 2013 we had a big event at the airing of the final episode, with the cast and crew and a bunch of the fans at the Hollywood Forever Cemetery. They projected [the episode] on a huge wall and it really felt at that moment like I was saying goodbye to this world. Then Better Call Saul came along, which is a prequel to Breaking Bad. At the beginning I thought “Oh, I can get right back into the same world of characters” but actually because Better Call Saul happens so far before Breaking Bad it was entirely different. It hasn’t been until recent years, when the Better Call Saul timeline has started to encroach on the Breaking Bad timeline, that the music and those worlds started to meld. So when [El Camino] came up, totally unexpected to me, I was very surprised and excited because I didn’t think I’d get to see a character like Jesse Pinkman again. I was also excited because, in the process of working on Better Call Saul, and working back up to Breaking Bad, I had gotten excited about that idea, so it was in my mind already. In some ways it was not a huge transition, because I haven’t entirely left that universe.

How connected is the sound world of El Camino to that of Breaking Bad? Are the musical themes related?

Right at the beginning of El Camino, the score could have been ripped right out of the finale of Breaking Bad. That was very much intentional to try and connect our audience back to that moment in time. From there it actually does diverge into its own thing. That’s because it is a different story and is told in a different way. It’s also a film, which allows for a different kind of score than on a television show. There’s much more of an opening expanse of time to develop cues and the score. Since we’re focusing on one character, we really get to delve into him in a way I really didn’t get to during the series. The only exception to all that is in a few flashback moments within El Camino where we are once again placing ourselves back into the original Breaking Bad timeline. In those situations I’m going back and bringing back the score I used originally in various forms. That is to say, a newly tailored version of something I had already written for Breaking Bad.

On a related note, how did you decide on THIS type of sound world for El Camino? Given the plot, I was expecting something with more action in the score, but much of this feels very laid back.

There’s two aspects to that. One, part of it is grounding the sound of the musical score in a way that is relatable to all of the other aspects of the Breaking Bad universe. That way, when an audience hears [the music] they’ll feel that connection. There’s a certain world of sounds that I use on the shows that I definitely adhere to as well in the film. I don’t use a traditional, classical, Western orchestra. There’s no oboes or solo violins in this world, which was very much by design because, in Breaking Bad, I wanted Walter White to feel very much like a fish out of water.

The other aspect of figuring out what we wanted El Camino to sound like involved talking with Vince Gilligan about what the story really was. The story of El Camino, while it has a lot of tension and fast-moving elements about it, it’s actually a very cerebral movie. It’s a movie where we spend a lot of time in one character’s head, that of Jesse Pinkman. It’s his struggle to survive and also making right the wrongs he has made the best way he can. The score really takes a macro look at the storytelling as a whole. It certainly plays into the action. For the most part, though, the role of the score is to help us be with Jesse and be deep inside where Jesse is.

What was the scoring process like for this film? What was your starting point in putting the musical themes together?

That’s a good question. I don’t always do this, but in the case of El Camino I did it very much in sequence. I started at the beginning and worked my way through it. I did that because that’s how the film was constructed. First of all I knew we were starting right as Breaking Bad ends. I knew how I wanted the beginning of the movie to feel. Then I wanted to feel my way through Jesse’s journey. I thought the best way musically to approach that and have the music remain on a trajectory across the whole film was to do it in sequence. I was afraid if I jumped around that I would lose the overhead vision of the film. I was trying to keep an eye on the larger story of the film.

About how much time did you have to put the score together?

I was fortunate to have a good block of time. Music and sound are typically one of the last things to get done on a TV or film project. That was certainly the case here. I’ve been blessed to almost always get to work with a “locked picture” on Vince Gilligan projects which means that almost every aspect of the show is complete by the time I see it. I spent around six to eight weeks on the score for El Camino. By comparison, I generally have three or four days to do the score for an episode of Better Call Saul or Breaking Bad.

Do any of the tracks correspond to specific characters?

Actually they all relate to one person, which is very different from the TV shows. Everything about the music in El Camino is focused solely on Jesse Pinkman. It is really telling his story, his physical journey. It’s also his intellectual and psychological journey from where he is at the beginning of the movie to the end of the movie where he has a glimmer of hope for the future.

What kind of instruments are used in this soundtrack? Some of the tracks sound very non-traditional. 

Good, I’m glad to hear that because that was definitely the goal. With Breaking Bad and El Camino, maybe not so much with Better Call Saul, I’m definitely spending a lot of time trying to create sounds that are new, sounds that are interesting to the ear. I create sounds that are evocative and familiar that you can’t quite place. I take a lot of interest and joy in working with sounds that are electronically created or “found sounds.” There’s also taking a recording of something else and manipulating it into something that feels organic, like something you’d hear with your own ears in the real world. That’s part of the goal and what I’ve always wished for on these Vince Gilligan projects.

There were a lot of live performances [for this music]. One of the beauties of working on the film as opposed to the TV show is that I had the luxury of a lot more time. In that time I was able to record a lot of musicians and spend a lot more time recording myself playing instruments that found their way into the score of the film. There’s a lot of interesting instruments in use, including some non-traditional stuff in terms of the percussion and world instruments. Almost everything I do I’m later processing with various computer and synthesizer elements to blur the lines between real, organic instruments and what is synthetically created.

Do you have a favorite part of the soundtrack?

Yes, there are a few moments that I love and I’ll give you a Top 3. There’s some music right after Jesse learns the fate of Walter White over the radio and he’s thinking about his next move. A second moment would be a piece where Jesse sneaks back into his childhood home. These are all things where Jesse is being forced to deal emotionally with things he would rather not. And the third moment was one of the hardest pieces to write by far, which is the very end of the film. I love how we worked to tie together all the emotion from Jesse’s journey in as few notes as possible and then leave the audience with silence at the end of the film-as we have so often in the Breaking Bad universe-leaving it open for the viewer.

When you started Breaking Bad, did you ever think it would come to all this?

Definitely not. When we began Breaking Bad, I knew I was blessed to be a part of something very special when I saw the pilot episode. It was unlike anything else that was on TV at the time. Twelve years later…to imagine that I still get to work not only with Vince Gilligan but so many of the wonderful people who have been part of that world for this long. This is something I’m so grateful for and I never could have imagined it.

My thanks to Dave Porter for taking the time to talk about his work on El Camino. You can find Breaking Bad and Better Call Saul readily available on DVD while El Camino remains available on Netflix.

See also:

Composer Interviews

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Soundtrack News: ‘White Lines’ Soundtrack from Tom Holkenborg Available May 15th

Milan Records has announced that the official soundtrack for White Lines, the Netflix original series, will be released on May 15, 2020. The album features music written by Tom Holkenborg (aka Junkie XL). White Lines follows a young woman navigating the island of Ibiza in the wake of her brother’s mysterious death.

Tom Holkenborg, aka Junkie XL, is a Grammy® nominated multi-platinum producer, musician, composer and educator whose versatility puts him on the cutting edge of contemporary music, as well at the vanguard of exciting new film composers. Tom’s film scoring credits have grossed over $2 billion at the box office and include Mad Max: Fury Road, Deadpool, Black Mass, Alita Battle Angel, Divergent, Brimstone, The Dark Tower, Tomb Raider, Terminator: Dark Fate and most recently the record setting Sonic the Hedgehog. He has worked with directors including Peter Jackson, Robert Rodriguez, James Cameron, George Miller, Christopher Nolan, Zack Snyder and Tim Miller among many others.

Of the soundtrack, Tom Holkenborg says:

“It was a delight to dive back into my electronic roots and revisit some amazing Ibiza memories when creating the score for White Lines. Though much of the music I made is not club focused, as they licensed a lot of original tracks from the late ‘90s and early 2000s, I think my work was able to capture some of the magic that makes club culture and the island so special. It was a really fun personal project to work on and I hope people love the series.”

The synopsis for White Lines is below:

When the body of a legendary Manchester DJ is discovered twenty years after his mysterious disappearance from Ibiza, his sister returns to the beautiful Spanish island to find out what happened. Her investigation will lead her through a thrilling world of dance music, super yachts, lies and cover-ups, forcing her to confront the darker sides of her own character in a place where people live life on the edge.

WHITE LINES (MUSIC FROM THE NETFLIX ORIGINAL SERIES)

TRACKLISTING –

  1. Zoe’s Arrival
  2. Times Gone By
  3. Darker Night
  4. Missing You
  5. On The Road
  6. Ibiza Bar
  7. I’m Happy for You
  8. Live Life
  9. Manchester Life
  10. In The Club
  11. Boxer
  12. It Was Ours
  13. Infinity
  14. The Past
  15. Repercussions
  16. Romance
  17. Retrace The Path
  18. My Goddess
  19. New Day
  20. Discoveries
  21. Accident
  22. Closure
  23. Diving for Prizes
  24. Family Troubles
  25. Memories
  26. Zoe

The soundtrack for White Lines will be available the same day the series premieres, on May 15, 2020.

See also:

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Soundtrack Review: Le Bureau des Legendes (Season 5)

The soundtrack for season 5 of Le Bureau des Legendes (also billed simply as ‘The Bureau’) is now available from Crossover Media. The Bureau (original title: Le Bureau des Légendes) is a French political thriller television series created by Éric Rochant and produced by TOP – The Oligarchs Productions and Canal+, which revolves around the lives of agents of the DGSE (General Directorate of External Security), France’s principal external security service.

The music for this series was composed by Robin Coudert (whose stage name is Rob), a French pop/rock musician, singer-songwriter, producer and film score composer. His work on Populaire was nominated for a César Award for Best Original Music.

Originally aired in France from 27 April 2015, The Bureau was launched in the United States and Canada on iTunes on 1 June 2016 as part of a new international “Episodic Cinema” label, quickly reaching the Top Five. In the United Kingdom, the series was released exclusively by Amazon Prime on 17 June 2016. The NYTimes ranked The Bureau third on their The 30 Best International TV Shows of the Decade list.

The soundtrack for season 5 of The Bureau is nothing like what I expected. There’s a lot of synthesizer in the mix, along with a touch of techno in places. It all feels…well, different, not what you’d expect to hear in a series that covers this type of material. However, that’s not a bad thing. A big part of the reason why I listen to so many soundtracks is because it opens my ears to new sounds and different ways to score film and television. Listening to the soundtrack for The Bureau Season 5 reminds me that it’s important to check out international television whenever possible, because it helps to broaden your musical horizons.

Track Listing:
1. Inform 570
2. Ultima 591
3. Light 30
4. Frost
5. Trone 10
6. Light 540
7. Ultima 597
8. Inform 5221
9. Guts 13
10. Light 44
11. Guts Wave 22
12. Strate 530
13. Fronde 10
14. Guts Wave 21
15. Research 518
16. Research 54.2
17. Light 542

18. Finale

 

Be sure to check out the soundtrack for season 5 of The Bureau, available now!

See also:

TV Soundtracks

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Soundtrack News: “Betty” HBO Original Series Soundtrack to be Released on May 15th

Milan Records, together with HBO, has announced that the original soundtrack for Betty, composed by Aska Matsumiya, will be released on May 15, 2020. Available for preorder now, the album features score music written by Matsumiya as well as additional tracks featured in HBO’s newest original series following a group of female skateboarders in New York City. Aska Matsumiya is a LA based Japanese composer and producer who has excelled across Film, Television, Advertising and music production. Aska provided the score for the Amazon feature film, “I’m Your Woman” for director Julia Hart. In addition, she partnered with A24 and acclaimed director Kogonada on his film “After Yang”, collaborating with composer Ryuichi Sakamoto starring Colin Farrell.

Making its debut today alongside album preorder is the lead offering from the soundtrack – listen to “Why Not Bambihere.  Based on Crystal Moselle’s original film Skate Kitchen and starring much of the film’s original cast, Betty premiered on HBO May 1 and airs every Friday at 11:00 PM ET/PT.

Of the soundtrack, composer ASKA MATSUMIYA says:

“Writing the music for Betty allowed me to be in touch with a side of myself that remains youthful and raw and spontaneous.  It was really so much fun and I tried to let that momentum carry the music.” 

Starring Dede Lovelace, Moonbear, Nina Moran, Ajani Russell, and Rachelle Vinberg, Betty follows a diverse group of young women navigating their lives through the predominantly male-oriented world of skateboarding, set against the backdrop of New York City.

BETTY (HBO ORIGINAL SERIES SOUNDTRACK)
TRACKLISTING –
1. Betty
2. Vibez
3. Space Ride
4. Why Not Bambi
5. Anxiety Attack
6. Chinatown Quest
7. Strawberry Field
8. The Sound
9. Feeling Blues Cloud
10. No Jordan
11. No Chill
12. Hypnotism – Bebel Matsumiya
13. AMNSA – Rosehardt
14. Strangers – Ruby Haunt
15. One of the Girls – Otha
16. Apocalypse – Cigarettes After Sex
17. Djougou Toro – Volta Jazz

The soundtrack for Betty will be available starting May 15, 2020 and can be pre-ordered now.

See also:

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

Star Wars: The Last Jedi “A New Alliance” (2017)

Three years after it came out, Star Wars: The Last Jedi continues to polarize fans of the galaxy far, far away. While this will likely remain true for many years to come, there’s no denying that The Last Jedi has its fair share of awesome musical moments. One of my favorites comes late in the film when Kylo Ren brings Rey before Supreme Leader Snoke in his throne room on the Supremacy. This piece is called “A New Alliance” and covers a critical part of the story, when Kylo Ren seemingly turns to the light and kills Snoke.

There are some interesting moments in “A New Alliance” and I’ll highlight a few of them. First of all, the piece starts with what sounds like a brief reprise of “Snoke.” This continues as the tension builds in the music until suddenly at 1:07 the music “explodes”, corresponding with the shocking moment when Rey’s lightsaber ignites, cutting Snoke in half.

Another significant moments comes seconds later at 1:17 when we hear a reprise of “the Force” theme, heard when Rey calls the lightsaber to her and she shares a moment with Kylo Ren before they team up to take out Snoke’s Praetorian guards. This is the big moment that gives me goosebumps, since the tone of the piece flips from tension to shock and surprise almost instantly.

The remaining music focuses on Rey and Kylo’s fight with the Praetorian guards. If you listen carefully, around 2:25 you’ll hear a reprise of “Rey’s Theme” fittingly played as the scene focuses on her own fight.

I chose this piece because I wanted to show that good film music can be found in many places. It’s true, you don’t hear a lot of this because there’s a massive lightsaber battle raging at the same time. But despite that, John Williams took the time to craft this theme together, and it is one of my favorite musical moments in all of Star Wars: The Last Jedi.

Let me know what you think about “A New Alliance” in the comments below and have a great day!

See also:

Star Wars: The Force Awakens “Kylo Ren’s Theme” (2015)

Star Wars: The Force Awakens “Rey’s Theme” (2015)

Star Wars: The Force Awakens “Snoke” (2015)

Star Wars: The Force Awakens “March of the Resistance” (2015)

Star Wars: The Last Jedi “The Spark” (2017)

Star Wars: The Rise of Skywalker “Kylo Ren’s Theme (Redeemed Version)” (2019)

Film Soundtracks A-W

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂

 

Soundtrack News: ‘Succession’ Season 1 Soundtrack is Out on Vinyl now

Milan Records, an imprint of Sony Music Masterworks, has released the soundtrack for season 1 of Succession with music by Academy Award-nominated composer Nicholas Britell (If Beale Street Could Talk, Moonlight, The Big Short and Vice) in vinyl format. Created by Oscar and WGA nominee Jesse Armstrong (In the Loop), with the pilot written by Armstrong and directed by Oscar-winner Adam McKay (The Big Short), Succession tracks the lives of the Roy family as they contemplate their future once their aging father begins to step back from the media and entertainment conglomerate they control.

Academy Award-nominated composer and pianist Nicholas Britell is known for his critically acclaimed scores on feature films with close collaborators, Academy-Award winners Barry Jenkins and Adam McKay. His most recent work includes the score for JenkinsIf Beale Street Could Talk (2018) for which he received his second Academy Award nomination as well as a BAFTA and Critics Choice nomination, and was awarded Best Original Score by numerous criticsgroups, including LA, Boston, Chicago and Washington DC Film Critics Association, New York Film Critics Online and the Online Film Critics Association. In 2018, he also wrote the score for McKay’s Vice, starring Christian Bale, which went on to receive eight Academy Award nominations

image004

Of the soundtrack, composer Nicholas Britell says:

“I am so excited to be releasing this music from Season 1 of Succession. The score features a juxtaposition of strings, winds, brass, pianos, odd electronic textures, 808 bass, and hip-hop beats. From the earliest stages of working on the show, I hoped for the music to have a sense of old-world gravitas, while also feeling strange and – at times – absurd. I’ve loved collaborating with Jesse Armstrong and Adam McKay to craft this musical landscape for Succession.”

Set in New York, Succession explores themes of power, politics, money, and family. Logan Roy (Brian Cox), the tough, powerful, aging patriarch, is head of Waystar Royco, a family-controlled international media conglomerate. He is married to his third wife, Marcia (Hiam Abbass), a loving, formidable partner. The Roy family, which includes troubled former heir-apparent Kendall (Jeremy Strong), his outspoken, fun-loving brother Roman (Kieran Culkin), and his savvy but conflicted sister, Shiv (Sarah Snook), jousting for power as they struggle to retain control of their father’s empire. Connor Roy (Alan Ruck), Logan’s eldest son, and only child from his first marriage, has pursued an independent life in New Mexico.

You can get the soundtrack to season 1 of Succession on vinyl now.

See also:

Become a Patron of the blog at patreon.com/musicgamer460

Check out the YouTube channel (and consider hitting the subscribe button)

Don’t forget to like Film Music Central on Facebook 🙂