Soundtrack Review: Horizon Forbidden West- The Isle of Spires EP (2021)

Sony Music Masterworks has released Horizon Forbidden West (The Isle Of Spires EP), an EP of music featured in the forthcoming PlayStation® game. 

 Available everywhere now, the EP includes music from the highly-anticipated sequel to 2017’s PS4™ release Horizon Zero Dawn.  With songs by Joris De Man, The Flight, Oleksa Lozowchuk and Niels van der Leest, the four-track EP reunites the original team of composers and musicians who developed the tribal soundscape of the game’s post-apocalyptic setting,

All of the music on this EP is, quite frankly, gorgeous. It feels like I’m back in the world of Horizon, only it’s bigger and more exotic than ever. If you’re going to make a sequel to one of the best video games ever made (in this case Horizon Zero Dawn) then it only makes sense to include the same team of composers and musicians who worked on that first game, which is exactly what Horizon Forbidden West has done and I’m glad for it.

Just from listening to this EP, it sounds like we’re getting a decent sample of music from different points in the upcoming game. There’s not a whole not here, it’s only four tracks after all, but it’s just enough to whet our appetites for what’s to come. I especially like the music in ‘Riddles in Ruins’ and ‘Eyes Open’, the latter in particular uses strings in a way that leaves me wanting to see and hear more. If you loved the music of Horizon Zero Dawn, then this EP is a must-listen.

ABOUT HORIZON FORBIDDEN WEST

Join Aloy as she braves the Forbidden West – a majestic but dangerous frontier that conceals mysterious new threats.  Explore distant lands, fight bigger and more awe-inspiring machines, and encounter astonishing new tribes as you return to the far-future, post-apocalyptic world of Horizon. 

The land is dying. Vicious storms and an unstoppable blight ravage the scattered remnants of humanity, while fearsome new machines prowl their borders. Life on Earth is hurtling towards another extinction, and no one knows why.  It’s up to Aloy to uncover the secrets behind these threats and restore order and balance to the world. Along the way, she must reunite with old friends, forge alliances with warring new factions and unravel the legacy of the ancient past – all the while trying to stay one step ahead of a seemingly undefeatable new enemy.

Track List

1. A Steady Breath – Joris de Man feat. Julie Elven
2. Riddles in Ruins – The Flight
3. Eyes Open – Oleksa Lozowchuk
4. To Find What Was Lost – Niels van der Leest

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Video Game Soundtracks

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Soundtrack News: ‘The Longest Road on Earth’ Original Soundtrack Available Now

Sony Music Masterworks has released The Longest Road On Earth (Original Soundtrack), an album of music from the new PC and mobile indie video game.  Available everywhere now, the album includes twenty-four original songs written and performed by game developer & artist Beícoli, marking her first-ever album release. Beícoli (Beatriz Ruiz-Castillo) is a Spanish songwriter and videogame developer based in Madrid, Spain. She has been creating music on her own and for games for the past five years, but The Longest Road on Earth is her first full album-length endeavor.

Created by Brainwash Gang and published by Raw Fury,The Longest Road on Earth is available now on PC and mobile. The Longest Road on Earth is a deeply personal and meditative narrative title. Play in the songs of four short stories featuring stripped down mechanics and no words. Each story is up for interpretation – what story lives inside you for each character and the world around them?

Of the soundtrack, Beícoli says:

­”The Longest Road on Earth has turned out to be something I needed and didn’t even know it. It was a blank slate on which I have learned to use music as a journal. To me it is a long road — One of self-discovery and self-acceptance that I hope to keep walking for the rest of my life.”

THE LONGEST ROAD ON EARTH (ORIGINAL SOUNDTRACK)

TRACKLISTING – 

  1. The Hill
  2. It is
  3. On my own
  4. I can’t see you
  5. BB
  6. Trip to the Lake
  7. The Picture
  8. The Bird
  9. The Dreamer
  10. The Human
  11. The Goodbye
  12. The train that goes Nowhere
  13. The Remedy
  14. Highway
  15. Healing
  16. 100 Miles
  17. Waves
  18. Let it go
  19. Feels like home
  20. Play Pretend
  21. The Shape of Clouds
  22. Break and Make
  23. Forever and More
  24. The Longest Road on Earth

You can check out the soundtrack for The Longest Road on Earth now!

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Soundtrack Review: Eden (2021)

Milan Records has released EDEN (Music From the Netflix Original Anime Series) by composer Kevin Penkin (Tower of GodMade in AbyssFlorence). Available for preorder now, the album features music written by Penkin for Netflix’s latest original anime series, which follows the last remaining human girl as she navigates an unfamiliar robot-inhabited world. Created by Justin Leach (Ghost in the Shell 2) and directed by legendary Fullmetal Alchemist: Brotherhood director Yasuhiro Irie, Eden debuted on Netflix on Thursday, May 27.

Kevin Penkin, based in Melbourne, is a BAFTA-nominated composer for Japanese animation and video games. He is best known for composing the award-winning score to Made in Abyss, and the music to the BAFTA award-winning game Florence. Kevin moved to London in 2013 to complete a Masters degree in Composition for Screen at the Royal College of Music. During this time, Kevin collaborated with legendary video game composer Nobuo Uematsu on a number of Japanese video game titles, which eventually led him to break into the Anime industry. After releasing his breakthrough score for Made in Abyss, Penkin continued to compose music for Japanese animation, with scores for both The Rising of the Shield Hero and Tower of God.

Thousands of years in the future, a city known as “Eden 3” is inhabited solely by robots whose former masters vanished a long time ago. On a routine assignment, two farming robots accidentally awaken a human baby girl from stasis questioning all they were taught to believe — that humans were nothing more than a forbidden ancient myth. Together, the two robots secretly raise the child in a safe haven outside Eden.

Of the soundtrack for EDEN, composer Kevin Penkin had the following to say:

“Eden is one of those projects that I will cherish forever. The love put into this project not only from the team, but also the musicians, is humbling. Being able to work with people who gave so much trust in the direction of the music is something I will forever cherish. Please enjoy the unique world of Eden, as we combine the unique worlds of a 3D-printed 6-string violin, female voices and electro-acoustic sound-sources. We have tried to put our best foot forward to honor the amazing work of this team.”

The music for Eden is intensely beautiful and not at all what I imagined it would sound like. Though that may be my fault as I saw the story’s premise of two robots caring for a human child and immediately imagined that the music would focus on all of the robots and be more mechanical in nature. However, judging by what I’ve heard, Kevin Penkin went in the opposite direction entirely. The music for Eden is highly reminiscent of the countryside and nature, which makes sense since a) the name of the series references the Garden of Eden and b) the robots in question are programmed to do farm work so they would be out among nature anyway.

Another detail I noticed, and I really need to start asking composers about this is, a lot of these tracks are really short, like 30-45 seconds. I’ve said it before and I’ll say it again, a track that is less than a minute long doesn’t give you a whole lot of time to get into it. By the time the music really gets going…it’s over. I really need to start asking why some tracks are so short, as these can contain some of my favorite musical ideas, but they stop short when it feels like they could go on much longer.

I also love how the strings come together in this soundtrack. The strings I’m hearing sound so beautiful and unique, this has to be the 3-D printed six-string violin that the composer references. The music this instrument creates is unbelievable: it sounds like a perfect fusion of East and West in that the strings sound like a traditional Western instrument but the music itself is in an Eastern mode. The blending of musical styles creates such a treat for the ears that I literally can’t stop listening to this music.

I highly recommend checking out the music for Eden and I hope you enjoy it.

EDEN (MUSIC FROM THE NETFLIX ORIGINAL ANIME SERIES)

TRACKLISTING –

  1. The Garden of EDEN
  2. Genesis
  3. The Capsule Under the Tree
  4. Recharge
  5. Ocean Way
  6. Reprogram
  7. Sunrise Over the Cube
  8. Uncle John
  9. Sara
  10. VR
  11. Valhalla
  12. EDEN 3
  13. Dreams
  14. Chasey
  15. Return to Base
  16. EDEN.Waltz
  17. Sunset
  18. Liz Projections
  19. ZERO
  20. Appledrop
  21. Penrose Steps, A.I. Bloom
  22. Password:
  23. Truth Is
  24. EDEN ZERO
  25. Archive
  26. Mama & Papa
  27. Detonation
  28. Removal
  29. 4
  30. Dr. Fields
  31. Memory Fields
  32. The Place Where Everyone Laughs
  33. SARA GRACE
  34. Rain
  35. Demolition
  36. Red vs Blue
  37. Strawberry Blonde
  38. The Girl in the Field
  39. The Robotic Code of Ethics

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

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TV Soundtracks

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Soundtrack Review: Army of the Dead (2021)

Milan Records has released Army of the Dead (Music From the Netflix Film) by multi-platinum producer, musician, composer and educator Tom Holkenborg aka JUNKIE XL.  

Available everywhere now, the album features music written by Holkenborg for director Zack Snyder’s zombie heist film.  The project is the latest in a longstanding creative partnership between Snyder and Holkenborg, who most recently collaborated on Zack Snyder’s Justice League, but started their relationship in 2014 with the Snyder-written and produced 300: Rise Of An Empire. The duo have also worked together on Man of Steel and Batman v Superman: Dawn of Justice.  2021 has already been a major year for Holkenborg, whose epic score for Zack Snyder’s Justice League was one of the longest ever recorded, and was swiftly followed by him scoring the record-breaking Godzilla vs Kong blockbuster.  Army of the Dead is now available to watch in select theaters and to stream on Netflix. 

Of the soundtrack, composer Tom Holkenborg says:

“A zombie heist movie in Vegas with Zack and Netflix, how could I say no? Army of the Dead was a chance to start something very new and fresh, which is certainly ironic for a movie about the undead! It was such a fun project as we got to rip up the rule book, and really re-examine what a zombie movie could sound like. It’s a LOT of fun!”

From filmmaker Zack Snyder (300, Watchmen, Zack Snyder’s Justice League), Army of the Dead takes place following a zombie outbreak that has left Las Vegas in ruins and walled off from the rest of the world. When Scott Ward (Dave Bautista), a former zombie war hero who’s now flipping burgers on the outskirts of the town he now calls home, is approached by casino boss Bly Tanaka (Hiroyuki Sanada), it’s with the ultimate proposition: break into the zombie-infested quarantine zone to retrieve $200 million sitting in a vault beneath the strip before the city is nuked by the government in 32 hours. With little left to lose, Ward takes on the challenge, assembling a ragtag team of experts for the heist. With a ticking clock, a notoriously impenetrable vault, and a smarter, faster horde of Alpha zombies closing in, only one thing’s for certain in the greatest heist ever attempted: survivors take all.

Now while I found the film itself to be quite underwhelming, I was still willing to give the soundtrack on its own a chance. However I really should have known better because the soundtrack for Army of the Dead did absolutely nothing for me. Except for one moment in ‘Not Here’ where I like how the music comes together, the soundtrack for Army of the Dead is dull, dead, downright boring, and so on. The biggest crime of them all is how boring most of this music is. I’ve said many times that it’s hard to screw film music up, and in a zombie heist film, the process should be fairly simple: all you need is an action-y score to back up what’s happening on the screen.

Um, clearly someone missed that idea because most of this soundtrack does the complete opposite. Most of this music is ploddingly slow and thoughtful which is not what you need for a zombie heist film. I get that Holkenborg wanted to re-examine what a zombie movie sounds like but….they’re really not supposed to sound like this. Put more simply: if the music in a film soundtrack bores me, then something has gone terribly wrong.

I can now definitely chalk up Army of the Dead as one of my biggest disappointments of the year, because not only was the film bad, but the soundtrack is equally as bad. Though, as I mentioned before, there is the one bright spot of ‘Not Here.’ In THAT track at least, I like how the music crashes together in a rising crescendo that, if it takes place in the moment I think it does, is the one moment in the film where music and picture work together perfectly.

In good conscience, I can’t recommend the Army of the Dead soundtrack, but if you check it out and happen to like it, then I am happy for you. For me personally, it doesn’t work and is one of the worst soundtracks I’ve heard in a long time.

ARMY OF THE DEAD (MUSIC FROM THE NETFLIX FILM)

TRACKLISTING –

  1. Viva Las Vegas
  2. Scott and Kate Part 1
  3. Scott and Kate Part 2
  4. Scott and Kate Part 3
  5. Toten Hosen
  6. Swimming Pool
  7. Not Here
  8. 3 Flares
  9. Battle Hallway Part 1
  10. Battle Hallway Part 2
  11. Zeus and Athena Part 1
  12. Zeus and Athena Part 2

Let me know what you think about Army of the Dead and its soundtrack in the comments below and have a great day!

See also:

My Thoughts on: Army of the Dead (2021)

Film Soundtracks A-W

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Soundtrack Review: Panic (2021)

Milan Records has released Panic (Music From the Amazon Original Series) by composers Isabella Summers and Brian H. Kim.  Available everywhere now, the album features score music written by the duo for the latest Amazon Original series based on the best-selling young adult novel by Lauren Olivier.  

Best known as “the Machine” of Florence and the Machine and an Emmy®-nominated composer in her own right, Isabella Summers brings her extensive writing, producing and recording experience to the project, joining forces with classical pianist turned composer Brian H. Kim to create the show’s soundscape.  The resulting 15-track collection is an intensely visceral and emotionally evocative soundtrack that encapsulates the show’s narrative of desperate teenagers competing for a chance to escape their small town roots.  Also included within the soundtrack is a new original song performed by breakout pop singer-songwriter Tate McRae entitled “Darkest Hour.” Panic premieres all 10 episodes exclusively on Amazon Prime Video on Friday, May 28 in more than 240 countries and territories worldwide. 

Panic is a new Amazon Prime Video one-hour drama series, written and created by Lauren Oliver (based on her bestselling novel).  It takes place in a small Texas town, where every summer the graduating seniors compete in a series of challenges, winner takes all, which they believe is their one and only chance to escape their circumstances and make their lives better.  But this year, the rules have changed — the pot of money is larger than ever and the game has become even more dangerous.  The players will come face to face with their deepest, darkest fears and be forced to decide how much they are willing to risk in order to win. 

Of the score for Panic, co-composers Isabella Summers and Brian H. Kim had the following to say:

“The score for Panic needed to be visceral and modern.  The story is told through the perspective of 21st century teenagers, but the stakes are life and death, with challenges that border on tribal.  We used aggressive synths — tons of Virus, distortion and effects — combined with huge war drums and attacking strings.  Many synth arpeggiations bordered on abstract, but everything was always grounded in the emotion of the characters.  We were able to branch those sounds into more subtle cues about family strife, tension between friends, and romance, as the show explored more personal themes.  We are thrilled with how the music turned out.  We think it is like nothing else out there.  It is a gut punch.”

Wow, the music for Panic is really good. I was already intrigued by the premise of the series: an almost dystopian setting where high school seniors compete in a twisted competition for enough money to go to college; but hearing the music raises my interest to another level. This is the kind of music I can sink my teeth into: it is indeed quite visceral (as the composers said) and almost manic in places due to the intense synths that can be found throughout the score.

Appropriately, those aggressive synths give Panic the feeling of a horror story in many places, which, given the premise of the series is more than appropriate. I mean the concept is somewhat horrific isn’t it? The idea that teenagers feel compelled to compete in a twisted competition just for the opportunity to go to college and leave town, like there’s no other options, if that isn’t a horror story I don’t know what is. And with these synths, you can almost feel the raw emotions that they represent. This isn’t a clean or pretty score like you might find in Game of Thrones, this is very rough around the edges and gritty and I love every single moment.

To repeat what I’ve said before, the soundtrack for Panic is really good, one of the best I’ve heard this year for a series. I highly recommend checking this soundtrack out if you get the opportunity to do so.

Track List

1. Headed to the Farm (0:57)
2. Don’t Know What to Believe (1:39)
3. Cortez Will Joust (3:33)
4. The Spurlock House (5:18)
5. Falling (1:59)
6. We’re Both Trash (1:25)
7. Darkest Hour – Tate McRae (2:41)
8. Invitation Was From Cortez (2:29)
9. Marquee Clue (0:37)
10. It’s Starting (1:13)
11. Graybill Legend Murders (2:14)
12. Joust, Part 1 (5:18)
13. Joust, Part 2 (3:33)
14. Tiger Lilly (3:10)
15. Heather Jumps (4:12)

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

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TV Soundtracks

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My Thoughts on: Cruella (2021)

*warning minor plot spoilers for Cruella can be found below

I still have no idea how we got an origin story for Cruella DeVil, and I maintain that nobody actually asked for this film to be made. But since it was made and looked like a lot of fun, I decided to go ahead and see what it was all about.

And, to my delight, I actually enjoyed Cruella for the most part, though the film is far from perfect. Emma Stone absolutely KILLS it as the titular character, which isn’t something I thought I’d say at first, but by the end of the film I was completely invested in her as Cruella. And speaking of Emmas, I’m also a big fan of Emma Thompson’s work as the Baroness. She is, for plot reasons, my new favorite villainous character and I absolutely love to hate her due to her work in this film. She is the quintessential “you hate her guts but you can’t stop watching” type of character and by the end of the story you’re just itching to see her taken down.

Also have to give a shout out to John McCrea who plays Artie. Outside of Emma Stone as Cruella, he is my favorite part of this film. I love how he plays the character, and I wish there was more of Artie in this film because he is a delight to watch! And I also have to mention how much I enjoyed Joel Fry and Paul Walter Hauser as Jasper and Horace respectively. The verbal interplay between the two is so very funny at times, I loved to watch it.

All of that being said….Cruella does have its fair share of flaws. For one, this film is too long for the story it’s trying to tell. I feel like if about twenty minutes were shaved off and the plot subsequently tightened up, it would’ve done the film a huge favor. It’s not that any part of the story is bad, it just takes too long to get where it’s going. This is especially true in the opening of the film, which takes way too long to get to the point. In fact, the opening is so meandering that I almost lost interest in the film at the very beginning.

The other big flaw comes late in the film right before the last act gets going. This is where the story almost goes off the rails but thankfully it gets everything together for a good finish. Also, I’m not entirely sure if all of the narration from Cruella was necessary, it sometimes took me out of the moment.

One final flaw I have to highlight is the CGI. Maybe it was just me, but during the film it was blindingly obvious when certain canine characters were being CGI-generated. I get why it has to be done, but it’s distracting when you’re watching a scene and suddenly your brain registers that the dog (or dogs in several scenes) is not real. The point I’m trying to make is that if you’re going to CGI a dog, don’t make it obvious.

Fortunately, once the story finally gets going, it’s a good story. My favorite parts are all the scenes where Cruella appears in her trendy outfits. I swear the costumes in this film had better get recognized at the Oscars next year because I could look at Cruella’s costumes all day long and never get bored. I love the contrast between the Baroness’ idea of fashion and Cruella’s, you can tell immediately how they differ and why the latter’s is so popular. I also like the way that the main character is pulled between her competing personalities of Estella and Cruella. It’s an interesting take on the character because not only does it set up that this version of Cruella is different from the animated character, it also insinuates that she does have the capacity to become that character if she so wished. For what it’s worth, I’m happy this version of Cruella is different. Her story has layers now, and she’s a borderline sympathetic character now (though I wouldn’t go so far as to call her one of the “good guys” she’s more of an in-between character by film’s end).

The other thing I really liked about Cruella? If you read between the lines, this film is simultaneously an origin story for Cruella deVil AND a set up for an all-new live-action 101 Dalmatians with a new Roger and Anita. Seriously, I will be shocked if there is not a new 101 Dalmatians movie announced in the near future, all the pieces have been laid for it to happen. And based on how Cruella ends, I could see THIS version of 101 Dalmatians playing out with a significant twist, though I won’t say what it is lest I spoil the plot of Cruella. I will say that there is a viable opening for a sequel and I wouldn’t be surprised if Disney makes one happen in the next few years.

In the end, I’m glad I went to see Cruella, it’s flaws don’t overshadow the good and it’s a fairly interesting take on a character that honestly I didn’t think could be expanded upon, but I’m glad they did.

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

See also:

Film Reviews

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Music in Wrestling #2: Origins

Now that I’ve established an idea of what I want to talk about with music in wrestling, it’s time to go back to the beginning and look at how the tradition of having music in wrestling entrances got started.

Unfortunately, it may be impossible to know exactly who started this tradition and when it started. Given wrestlings connection to fairs and carnivals, it’s probable that music’s association with wrestling goes back several hundred years at least. But as for how the modern wrestling entrance got started, there we at least have a vague timeline in place.

While we still don’t know (and probably never will know) the name of the first wrestler to incorporate music into their entrance, we do have a few names connected with the start of the tradition. Now, usually Gorgeous George (George Wagner, 1915-1963) is credited as one of the first wrestlers to use music in his entrances, as he would famously strut to the ring to the tune of “Pomp and Circumstances” at the height of his fame in the 1940s and 50s. Equal credit should also be given to Mildred Burke (1915-1989), who also began using music in her wrestling entrances at the same time (and some have argued that she actually started doing so before Gorgeous George).

There’s no doubt that Gorgeous George’s iconic entrance to “Pomp and Circumstances” inspired a whole host of wrestlers who followed in his footsteps, from Ric Flair (who entered to “Also Sprach Zarathustra”) to the late Macho Man Randy Savage (who also entered to “Pomp and Circumstances) and more. Believe it or not, his entrance even merited a parody in a Looney Tunes cartoon, ‘Bunny Hugged’, in 1951:

As the cartoon implies, Gorgeous George’s entrances were the stuff of legend (particularly by the peak of his career). Even before George made his appearance, rose petals would be sprinkled in his path, the air would be “cleansed” with perfume and then “Pomp and Circumstances” would play as the final element as Gorgeous George would finally grace the crowd with his presence. Gorgeous George was a true showman and helped to establish what would become the modern wrestling entrance, as did Mildred Burke, who incorporated similar elements into her own entrances as I said before.

Mildred Burke

But while Gorgeous George and Mildred Burke may be the best known of the early examples, neither of them were the first. In the case of Gorgeous George, he was inspired by the work of “Lord” Patrick Lansdowne (died 1959). Lansdowne portrayed himself as a snobby British aristocrat who would strut to the ring while “God Save the King” blared out. Since Lansdowne’s gimmick inspired the work of Gorgeous George, it stands to reason that Lansdowne made use of entrance music first. Though he may not be the very first to do so, Lansdowne does remain one of the earliest known wrestlers to use entrance music. And if you think about it, what better music for a heel to use in America in the early 20th century than “God Save the King”? It instantly sets the crowd against you because you’re establishing yourself as someone “other” and, more importantly “not-American.” It’s one of the easiest ways to get a crowd to boo you.

It should be noted at this point that even with the high profile examples of Gorgeous George and Mildred Burke, using music in wrestling entrances was not common at this point. There were a few high-profile examples (probably those who could afford it) and that would be all. It would be a few more decades until music in wrestling started to become commonplace and then, oh boy, things really started to get interesting.

I hope you enjoyed this brief look into the origins of music in wrestling. Next time I’ll be leaping forward into the 1980s, when the modern wrestling entrance as we know it really began to take shape.

See also:

Music in Wrestling #1: Why Talk About It?

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Music from the Netflix Original Anime Series ‘EDEN’ Out Today!

Milan Records today released the EDEN (Music From the Netflix Original Anime Series) by composer Kevn Penkin (Tower of God, Made in Abyss, Florence). Available for preorder now, the album features music written by Penkin for Netflix’s latest original anime series, which follows the last remaining human girl as she navigates an unfamiliar robot-inhabited world. Created by Justin Leach (Ghost in the Shell 2) and directed by legendary Fullmetal Alchemist: Brotherhood director Yasuhiro Irie, Eden debuted on Netflix on Thursday, May 27.

Kevin Penkin, based in Melbourne, is a BAFTA-nominated composer for Japanese animation and video games. He is best known for composing the award-winning score to Made in Abyss, and the music to the BAFTA award-winning game Florence. Kevin moved to London in 2013 to complete a Masters degree in Composition for Screen at the Royal College of Music. During this time, Kevin collaborated with legendary video game composer Nobuo Uematsu on a number of Japanese video game titles, which eventually led him to break into the Anime industry. After releasing his breakthrough score for Made in Abyss, Penkin continued to compose music for Japanese animation, with scores for both The Rising of the Shield Hero and Tower of God.

Thousands of years in the future, a city known as “Eden 3” is inhabited solely by robots whose former masters vanished a long time ago. On a routine assignment, two farming robots accidentally awaken a human baby girl from stasis questioning all they were taught to believe — that humans were nothing more than a forbidden ancient myth. Together, the two robots secretly raise the child in a safe haven outside Eden.

Of the soundtrack for EDEN, composer Kevin Penkin had the following to say:

“Eden is one of those projects that I will cherish forever. The love put into this project not only from the team, but also the musicians, is humbling. Being able to work with people who gave so much trust in the direction of the music is something I will forever cherish. Please enjoy the unique world of Eden, as we combine the unique worlds of a 3D-printed 6-string violin, female voices and electro-acoustic sound-sources. We have tried to put our best foot forward to honor the amazing work of this team.”

EDEN (MUSIC FROM THE NETFLIX ORIGINAL ANIME SERIES)

TRACKLISTING –

  1. The Garden of EDEN
  2. Genesis
  3. The Capsule Under the Tree
  4. Recharge
  5. Ocean Way
  6. Reprogram
  7. Sunrise Over the Cube
  8. Uncle John
  9. Sara
  10. VR
  11. Valhalla
  12. EDEN 3
  13. Dreams
  14. Chasey
  15. Return to Base
  16. EDEN.Waltz
  17. Sunset
  18. Liz Projections
  19. ZERO
  20. Appledrop
  21. Penrose Steps, A.I. Bloom
  22. Password:
  23. Truth Is
  24. EDEN ZERO
  25. Archive
  26. Mama & Papa
  27. Detonation
  28. Removal
  29. 4
  30. Dr. Fields
  31. Memory Fields
  32. The Place Where Everyone Laughs
  33. SARA GRACE
  34. Rain
  35. Demolition
  36. Red vs Blue
  37. Strawberry Blonde
  38. The Girl in the Field
  39. The Robotic Code of Ethics

Enjoy the music of EDEN, which is available now.

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Soundtrack Review: Chaos Walking (2021)

Back in April, Milan Records released Chaos Walking (Original Score) with music by Marco Beltrami and Brandon Roberts. Available everywhere now, the album features score music from Lionsgate’s new film starring Daisy Ridley and Tom Holland from the director of The Bourne Identity and Edge of Tomorrow. The score continues a long tradition of collaborations between the two-time Academy Award®-nominated composers Beltrami and Roberts, who also garnered an Emmy® Award together for their work on Free Solo.

Of the soundtrack, Beltrami and Roberts had the following to say:

“The score for Chaos Walking provided a unique opportunity for us to create a musical language for a fictitious world that was simultaneously both familiar and alien, and in so doing, explore crossing genres that are rarely combined. There are otherworldly sci-fi elements, as well as classic gritty western themes. We had a lot of fun implementing new instruments that would define this cross pollination. It was an adventure to live in this new musical world.”

The music for Chaos Walking is indeed a blend of the familiar and the alien and it is so much fun to listen to. Marco Beltrami has yet to let me down in any film score he has worked on, and that remains true here. It’s somewhat mind-bending to hear sci-fi music blended with classic western music, because off the top of my head that strikes me as a musical combination that should NOT work. But you know what? It works! Somehow, it all comes together and creates a sound world that is strange and new but oh so enticing for the ears.

While I appreciate that the composers have blended together music from the sci-fi and western genres, I’m still more drawn to the sci-fi elements in the score (it is my favorite genre for a reason), particularly ‘Chaos in Space’, I really like how that one track is practically vibrating with tension. Any time strings can be made to make me feel tense or uncomfortable, it’s a good day because that’s one of my favorite ways to hear those instruments being used in a score.

I’m glad I finally sat down to listen to the music for Chaos Walking. I can’t speak for the film itself, but the music is definitely worth it!

Track List

1. Main Title (2:03)
2. Love That Knife (1:41)
3. Friendship Theme (1:58)
4. Lost in the Woods (1:25)
5. Chaos in Space (1:09)
6. Thief / Gotta Tell (2:35)
7. First Encounter (1:14)
8. Motor Horse Chase (2:11)
9. Posse on the Move / Exploring the Ship (4:41)
10. Spackle Tackle (2:05)
11. Farbranch (2:02)
12. Letter From Mom (3:01)
13. Town Attack (6:52)
14. Lonely (2:09)
15. Riverbank Chase / Rapids (3:32)
16. You’re a Good Man, Todd Hewitt (1:35)
17. Preacher Attack / Antenna Climb (3:14)
18. Showdown (3:42)
19. Women Unite (2:11)
20. I Am Todd Hewitt (2:20)

Let me know what you think about Chaos Walking and its soundtrack in the comments below and have a great day!

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Soundtrack News: Decca Records Releasing Original Soundtrack for ‘Dream Horse’ by Benjamin Woodgates

Decca Records is excited to announce the release of the Original Motion Picture Soundtrack for the Bleecker Street and Topic Studios comedy-drama ‘Dream Horse,’ composed by Benjamin Woodgates. The digital soundtrack is available on all major streaming platforms, coinciding with the U.S. theatrical release on May 21, 2021, two weeks before the U.K. release on June 4, 2021.

Benjamin Woodgates is one of the UK’s most sought-after young composers. An alumnus of Oxford University and the Royal College of Music, his strong sense of musicality, broad stylistic reach and sensitivity towards picture is evident in his scores for film, installation, video games and high-profile advertising campaigns. He has also worked extensively as an orchestrator and musical director for film and television, recent credits including Mission: Impossible – Fallout, Spider-Man: Into the Spider-Verse, Victoria and The Dark Crystal: Age of Resistance (Orchestrator); Madeleine Sims-Fewer’s Violation (Conductor); and Terence Davies’ Benediction (Musical Director & Arranger).

Directed by Euros Lyn (Doctor Who), the film tells the inspiring true story of Dream Alliance, an unlikely race horse bred by small town Welsh bartender, Jan Vokes (Academy Award® nominee Toni Collette). With very little money and no experience, Jan convinces her neighbors to chip in their meager earnings to help raise Dream in the hope he can compete with the racing elites. The group’s investment pays off as Dream rises through the ranks with grit and determination and goes on to race in the Welsh Grand National, showing the heart of a true champion.

There are two sound worlds in Benjamin’s Dream Horse score. One is that of Cefn Fforest, the village in Wales that is home to the film’s ensemble of characters. At the start of the film, these characters are trapped in a cycle of monotony and struggle to relate to one another. To represent them musically, Benjamin pieced together a rag-tag ensemble of instruments, including an old upright piano, a harmonium, a fiddle, and an accordion. The musical result is wheezy, clunky and jagged edged to begin with; however, as the characters bond together to form a syndicate, so does the sound of the ensemble, bringing out the warmth and character that underlies each of these instruments.

The second sound world is built around the horseraces in the film. In stark contrast to the homespun feel of the village ensemble, Benjamin employed a string orchestra to reflect the prestige of the racecourse and to emphasize the sense of alienation and exclusion felt by the characters as they find themselves up against the racing elites. In the run-up to each race, the orchestra plays with sophisticated reserve; however, as the action zooms in to the race itself, the shackles are off, and listeners will hear a different side of the ensemble altogether – one that aims to capture the mud-spattered, unforgiving nature of the turf.

Regarding the music for Dream Horse, Benjamin Woodgates had the following to say:

“Euros Lyn [director] and I worked closely together to create the musical blueprint for this score, meeting regularly in the cutting room in Cardiff and picking up the phone to bounce ideas back and forth. Euros is an accomplished musician himself but made a point of communicating through dramatic and emotional ideas rather than using musical terminology, so that we could build a musical language from the ground up. He had prepared a broad palette of musical references for the tone of the film as a whole – everything from Nick Cave to The Velvet Underground – but was careful to keep these as broad as possible in the hope that we could forge our own sound for Dream Horse.

Euros was keen to give each race scene its own distinct identity, so each race cue has its own musical flavour and structure, governed by what’s at stake. Dream Alliance himself is voiced as a solo violin – capricious, un-tamed, brilliant – which vies against the mass of the string orchestra, refusing to yield to its pull. This counterpoint between solo violin and ensemble underpins all the race sequences, through highs and lows, a battling duet, an unrelenting passacaglia, and a barnstorming rondo-finale.

One of the film’s key themes is that of giving voice to the unheard; both literally, in the case of Dream Alliance, and more symbolically for Jan and her community. In the early scenes the score lies near-dormant, its step-wise motion punctured only by Jan’s sheer force of will and a faint rumbling of hope. However, as Jan sets out to realize her dream and rekindle a sense of belief in her community, the rumblings intensify and the music’s melodic contours begin to soar.”

TRACK LISTING

  1. The Syndicate
  2. Just Starting On It Now
  3. Cefn Fforest
  4. The Hwyl
  5. Be Brave And Brilliant
  6. It’s Not Much, But It’s Home
  7. In For A Penny
  8. Chepstow
  9. Life Cycle
  10. I’m Jan
  11. Sixteen To One
  12. This Won’t Get Out Of Hand
  13. Procession
  14. Aintree – Prelude
  15. Aintree – Ground
  16. By A Thread
  17. Hanging In The Balance
  18. Dad
  19. The Gallops
  20. Tacking Up
  21. Let Him Run
  22. Proper Valley Boy
  23. Delilah

You can check out the soundtrack for Dream Horse on digital now!

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