Tag Archives: music

Soundtrack Review: Teen Wolf (2011-present)


Teen Wolf is an American television series that airs on MTV (the final season is currently airing). It is loosely based on the 1985 Teen Wolf film and tells the story of Scott McCall (Tyler Posey), a teenager who is bitten by a werewolf and must learn to live with the consequences. The soundtrack is composed by Dino Meneghin, who has worked on the series since its premiere in 2011 (which has really allowed for the musical themes to develop). The soundtrack for Teen Wolf was released on September 15th, so be sure to check it out!

In listening to any television soundtrack, I like to start with the main title. This sets the tone for any series and is usually a good indicator of what you’re going to get (that’s why McCreary’s theme for Constantine is one of my favorites). The main title for Teen Wolf is largely what I expected for a series of this kind: fast-paced, frenetic, a blend of symphonic instruments and electronic sounds, with a firm drum beat as well. I say this is what I expected, but that does not make it a bad thing. This is a show aimed at young adults after all, so the sound is right for that audience.

The next piece I listened to was “Hellhound” and for a few seconds I wondered if the track had been mislabeled. It starts out very soft and quiet, not what you’d expect. And then, out of nowhere, there’s a HUGE crash of drumbeats and you finally have the feeling of something menacing going on. It was still more melodic than I expected for the track title, but I enjoyed listening to it.

Of all the tracks I heard, “Fear Defeated” might be my favorite (with the main title running a close second). The track begins with an eerie sort of sound, followed by a strange clanking noise. I think this might be a mallet dragged over xylophones, or better yet, it may be the xylophone bars themselves clanked together to make a really creepy sound. The music then shifts into a dark and at times triumphant symphonic quality that I really enjoyed listening to. It really felt like the music you might hear in a movie, not a television show.

One thing I’ve taken away from listening to these recent television soundtracks is that the nature of television scoring has really changed from the early years. In some high-quality productions (most notably Game of Thrones), the music is so complex and thematic that it really stands on the same level as film music. But even in smaller (compared to GoT) productions, the music is now more symphonic, more nuanced and I couldn’t be happier. Whether it be television or film, music is often the make or break ingredient in any production.

I hope you enjoyed this short look into the music of Teen Wolf, the soundtrack is available now if you’d like to hear it in full. My thanks to The Krakower Group for making the soundtrack available for review.


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“Behold the King…” Sampling Triple H’s memorable Wrestlemania entrances

Earlier this year I talked about how wrestling can be considered a musical event due to how much music it employs in its production. Nowhere is this more true than in Wrestlemania, the “Superbowl” of the wrestling world (or one of them anyway, but that’s a discussion for another day). Having aired 33 editions since 1985, “the showcase of the Immortals” has seen some truly epic entrances (with thrilling musical performances to boot). But I want to focus on one wrestler in particular today: Hunter Hearst Helmsley, better known to all as Triple H. Given his dominant position in the industry, Triple H has taken part in some of the most elaborate entrances EVER. While I can’t list ALL of them, I do want to go through some of the more memorable entrances (note: this is not ranked in any particular order at the moment, though I may change that in the future).

  1. Wrestlemania 22 (2006): Triple H enters as “King Conan” (“King of Kings” entrance theme combined with classic “The Game” entrance)


Triple H Wrestlemania 22 entrance (2006)

This entrance is a particular favorite of mine, and one of the better examples of how wrestling can resemble musical theater. The music begins with smoke hovering over the stage (as a weird video occasionally flashes on the screen). Seated on a throne, Triple H slowly rises through the smoke as Motorhead’s “King of Kings” plays out. Triple H is dressed for the occasion as King Conan (as in Conan the Barbarian), with a crown and fur lined cloak. While he looks inimidating, the effect is somewhat ruined by the fact that he’s also carrying a plastic water bottle in one hand (another trademark of his). Once the throne fully raises up, the music fades out and as “The Game” roars to life, Triple H stands up from his throne and dramatically makes his march to the ring, shaking off his cloak and roaring that HE will be the winner (spoiler alert: he loses).

2. Wrestlemania X-Seven (2001): Motorhead plays Triple H’s entrance music live (“The Game”)

Motorhead performs “The Game” live (2001)

This is actually the first time Motorhead performed Triple H’s theme music live at Wrestlemania; they would repeat this at Wrestlemania 21 (although Wrestlemania X-Seven is considered the superior performance). It starts out pretty much like a mini-rock concert: the band plays the song (to the delight of the crowd) and goes through a large portion before Triple H’s entrance even starts. And it’s at THAT point that the crowd remembers that this is all for a villain and they promptly begin to boo. Triple H noted later that while he had to keep his “mean face” on for his character, inside he was practically screaming with joy because Motorhead was a favorite band of his.

3. Wrestlemania 27 (2011): “The Gladiator Entrance”: Triple H emerges behind a ring of gladiators (Metallica’s “For Whom the Bell Tolls”+ “The Game”)

Triple H’s Gladiator Entrance for Wrestlemania 27 (2011)

For the last five to six years, it has practically been a guarantee that Triple H’s entrance will be one of the most elaborate and Wrestlemania 27 showed this in spades. This would mark the second time that Triple H would meet The Undertaker at Wrestlemania and the stakes for this match were through the roof. The entrance begins with Metallica’s “For Whom the Bell Tolls.” As the music grows louder, images of flames begin pouring up the ramp and the stage, making it look like it is all on fire. A ring of “gladiators” (in reality independent wrestlers looking to make some extra money) emerges from a lowered ramp in the stage floor to form a ring with their shields. Suddenly the lights drop to a single spotlight and the gladiators move forward to reveal Triple H in a creepy-as-hell skull and crown mask (this is a look he’s repeated several times, I guess he likes it). He stands motionless for a good thirty seconds when the music abruptly stops and the lights go out. And then…out of nowhere, the stage blares to life and there stands “The Game” in all his glory (he did a quick change in the dark) as Motorhead’s music takes over.

These are the three entrances that stand out the most in my mind, the honorable mentions included:

Triple H’s EPIC entrance at Wrestlemania 30 (2014)

“The Terminator Entrance” at Wrestlemania 31 (2015)

If anyone tries to tell you that wrestling is not connected to musical theater, show them these examples, they really do speak for themselves. Hopefully in the future I can expand more on this idea. I hope you enjoyed reading and watching 🙂

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Brief thoughts on the evolution of video game music

Here’s a little known fact about me: I LOVE video games. Even though I couldn’t really play them growing up, I was always fascinated by the graphics, the storytelling, and yes, the music (I can hum the Super Mario theme to this day). Now, with amazing games like The Elder Scrolls V: Skyrim, Destiny, Dragon Age: Inquisition, Mass Effect Andromeda and more, we have fully realized environments that look like something straight out of a live action movie. And the scores for these games put some film scores to absolute shame.

To get an idea of just how much video game music has evolved, let’s see some examples of early game soundtracks.


These first three themes come from the 1980s and have a distinctly electronic sound to them. That’s because they’re what is known as “8-bit music” or “chiptunes” and are produced by the sound chips found within early gaming systems. There are many more examples than these three, but I thought I would start with some of the bigger names: the start-up music for Pac-Man; the immortal main theme from Super Mario Bros. and the main theme of the original Legend of Zelda.

Pac-Man Start Up Theme (1980)

Super Mario Bros. Main Theme & Overworld (1985)

The Legend of Zelda Main Theme (1986)


Fast forward a decade and video game music has already made huge strides forward. By the end of the decade, video game music is decidely less electronic, with many scores being almost purely orchestral. For the 1990s I decided to choose examples from Final Fantasy IV, Diablo and The Legend of Zelda: Ocarina of Time

Final Fantasy IV Main Theme (1991)

Diablo Main Theme (1996)

The Legend of Zelda: Ocarina of Time Main Theme (1998)


Now in the 2000s and into the 2010s, video game music has become fully realized as in-depth orchestral scores, often requiring full orchestras and choirs to record. Some amazing examples can be found in the main theme of Dragon Age: Origins, Destiny and “The Trials” from Halo 5: Guardians.

Dragon Age: Origins Main Theme (2009)

Destiny Main Theme (2014)

Halo 5: Guardians “The Trials” (2015)

Of course there’s a lot more to the evolution of video game music than this, I just wanted to provide some examples that give a broad idea of how the music has changed over the decades. Hopefully as the summer goes on I can get more in depth with different video game series. But for now, I hope you enjoy these selections.

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The King and I “The March of the Siamese Children” (1956)


The King and I “The March of the Siamese Children” (1956)

Rodgers and Hammerstein’s classic musical The King and I is one of my favorite Broadway musicals. The story is based in part on the memoirs of Anna Leonowens, a widow who served as a governess to the children of King Mongkut of Siam (now Thailand) in the early 1860s. The 1951 musical was adapted into a film in 1956, both starring Yul Brynner as the titular King (he’s one of my favorite characters).

The King and I has many wonderful musical moments; one of my favorites is “The March of the Siamese Children” which takes place relatively early in the story. Anna (Deborah Kerr) is upset that she must stay in the royal palace next to the harem (instead of in a little house as she’d been promised) and is on the verge of returning to England straight away. However, before she goes, the King insists that Anna meet his children first. If she still wants to leave after meeting them, he won’t stop her.

The march then begins with children being led in one by one by their nurses. Each child comes forward, bows to their father, greets Anna by touching their forehead to her hands and then backs away to sit with the royal wives (their respective mothers).

The music is a beautiful theme and variations that repeats over and over, altering slightly for certain children. The most notable change is when Crown Prince Chulalongkorn, the King’s heir marches in; the music here changes to a stirring brass fanfare as befits the heir to the throne. Unlike the other children, Chulalongkorn and the King bow to each other and Anna is told to curtsy to the Crown Prince.

There are some other humorous moments, some of my favorites being:

  • The twins: The two boys (not surprisingly) are dressed identically and the King seems quite pleased with them.
  • The forgetful princess: one of the younger daughters accidentally turns her back on her father and when he reminds her with a mock gasp of shock/horror, she quickly turns around with a look of surprise (the King isn’t all that angry with her, as she is still young)
  • The curious prince: one prince comes out looking very curiously at Anna the entire time and it quickly becomes clear why: he’s never seen someone with Anna’s huge skirts before. He’s curious to see exactly what’s under there…but the King quickly stops that idea.
  • “I want a hug!”: One daughter forgets where she is and runs to the King for a hug, only to be stopped with a stern look. When the dejected princess begins to back away, she is reassured by the King with a warm smile (which she returns).
  • The littlest princess: Possibly the most adorable moment comes at the very end when the youngest daughter comes out. She is so small that the King doesn’t see her until she tugs on his pant leg for attention. He then guides her through what she needs to do (it’s adorable!)

Once all the children are assembled, Anna realizes she can’t possibly leave them to return to England (which is what the King thought would happen) and she agrees to stay after all, to the delight of the royal children.

“The March of the Siamese Children” is a delightful moment from a wonderful film and I hope you enjoy it.

For more live action film soundtracks, see here: Live Action Soundtracks F-Z

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The Music of the Olympics: Lighting the Athens Cauldron (2004)

The opening and closing ceremonies of each Olympic games are always full of music, but the most important musical moment of all comes at the very end, when the Olympic cauldron is lit. Every Olympics it feels like a contest to see who can use the most elaborate way to light the cauldron , and the 2004 Summer Games in Athens were no exception.


For whatever reason, back in 2004 when this played on TV, I didn’t stay through to the end of the ceremony. When I went back several years later and finally watched it, I regretted not tuning in, because it was beautiful!

The final torch relay is full of suspense and excitement, because all this time the Olympic Cauldron has not been visible, so no one has any idea how the ceremony is going to end. And the music in this segment, oh wow, would you believe it was written by Dmitri Shostakovich? You usually hear his name in reference to operas or symphonies, you wouldn’t think of it for the Olympics, but it’s true! The music here is the final movement of the Pirogov Suite that Shostakovich created for a 1947 Soviet film named (no surprise) Pirogov.

Shostakovich- Pirogov finale (1947)

As the torch circles the stadium and changes hands, the tension audibly builds with each exchange, until finally the final torchbearer is reached. And as the camera circles around, everyone gets excited because the cauldron is finally visible! And when the torchbearer turns and runs through the athletes to reach the cauldron, I get goosebumps every time because the music almost explodes at this point. It’s a beautiful fanfare that makes the moment feel extremely special. And then there’s the fact that the cauldron is literally bending down to the ground so it can be lit!!! 

Athens Cauldron Lighting (2004)

You can’t really grasp how HUGE this thing is until the runner is coming up the last set of steps and the camera pans up to the cauldron and you’re like WHOA!! It’s so thrilling to watch, especially when the cauldron is lit and begins its slow rise back upward (the roar of the crowd as the flames rise up is just spine-tingling).

I love the spectacle that comes with the Olympics, and I can’t wait to share more examples as the Rio Games get closer 🙂 -Bex

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For more Olympic Music, see:

The Music of the Olympics: Lighting the Cauldron at Sydney (2000)

The Music of the Olympics: “Summon the Heroes” Atlanta 1996

The Music of the Olympics: “Summon the Heroes” Atlanta 1996

With 2016 being an Olympic year (the Summer Games are due to begin in Rio in August), I thought I would start a series looking at various musical pieces that were created (or simply performed) for the Olympic Games over the years. Some great pieces have been brought to light because of the Games, and it will be fun to look at them.

The first piece I will look at is “Summon the Heroes”, composed by John Williams for the Opening Ceremony of the 1996 Summer Games in Atlanta. The 1996 games were especially important because it was the centennial of the modern Olympic Games (which began in 1896 in Athens). John Williams has actually composed four pieces for the Olympics. Besides “Summon the Heroes”, there is also: “Olympic Fanfare and Theme” for the 1984 games; “Olympic Spirit” in 1988 and finally “Call of the Champions” in 2002.

“Summon the Heroes” 1996 Olympic Games

“Summon the Heroes” is a one-movement piece written for full orchestra, with a heavy emphasis on the brass. It has been reused many times since its Olympic debut (mostly as transition music going to and from commercial breaks during broadcasts of the Games) and is incredibly popular even today. During the piece, performers in the stadium recreate the Olympic Rings and the dove (a symbol of peace). I hope you enjoy this great piece of music and a look back at Olympic history. There will definitely be more to come! -Bex

Star Wars: Rebels “It’s Over Now”

Right, so I know this blog is about films and film music, but I simply had to make an exception when I heard THIS:

Star Wars: Rebels “It’s Over Now” (2016)


If you’re not familiar with Star Wars: Rebels, let me explain (and I’ll try to be brief). In a nutshell, Rebels takes place in the years between Episodes III and IV when the Rebel Alliance is just beginning to form and Darth Vader is still on the prowl for remaining Jedi. At the conclusion of season 1 (or maybe the beginning of season 2, I forget), it is revealed that the contact for our particular group of heroes is none other than Ashoka Tano, Anakin Skywalker’s one-time Padawan, last seen in the final episode of Star Wars: The Clone Wars (which ends not long before the events of Episode III). Having for years believed her master died in the Jedi purge, Ashoka has come to learn the terrible truth: That Anakin Skywalker and Darth Vader are one and the same. And once Vader becomes aware that his former apprentice is still alive, a conflict between them is inevitable.

Fast forward now to the end of season 2: Ashoka, Ezra (a young Padawan in training)and  Kanan (a surviving Jedi training Ezra) travel to a dark planet to retrieve a Sith Holocron before Imperial agents can seize it for the Emperor. While on the planet, our heroes come across a number of surprises (including a still-alive Darth Maul, there’s a long story in and of itself), but ultimately they reach the holding place for the holocron. But now they’ve got company: Darth Vader himself has arrived (James Earl Jones returned to reprise his role as the Dark Lord of the Sith).

Star Wars Rebels: Ashoka vs Darth Vader

Vader is confronted by a furious Ashoka, who vows to avenge Anakin’s “death” at Vader’s hands. The two engage in a lightsaber battle for the ages, and the fight (along with the music) really has the feel of a Star Wars film, not an episode from a television series. As the two fight on a ledge, Vader succeeds in Force-pushing Ashoka off and she disappears, but she isn’t dead! As Vader attempts to pull the holocron out of Ezra’s hands, Ashoka comes running out of nowhere and lands a direct blow on Vader’s helmet. With the holocron removed, the Sith temple everyone is standing in is getting ready to explode (the holocron was keeping it stable), and Ezra is screaming for Ashoka to hurry and join them, but then…

“Ashoka…Ashoka…” Gasps all around because that isn’t Darth Vader’s voice…that’s Anakin’s voice (both in-universe and in real life, the voice actor who portrayed Anakin in The Clone Wars returned specifically for this episode). Ashoka has always felt guilty about leaving Anakin (and the Jedi Order) and vows that this time, she will not leave him. Vader considers this for a moment, but the one visible eye hardens and Vader growls “Then you will die!” The last we see of them before the temple explodes, Ashoka and Vader are furiously dueling.

(apologies for the long description, but it’s the only way to set up this musical moment properly).

“It’s Over Now” begins as Kanan and Ezra are returning to the planet Lothal and Kanan comforts Ezra by telling him “It’s over now.”

Star Wars Rebels: End of the Episode

As the ship descends to land, the music becomes so very powerful. There’s a full chorus and a strong brass melody that screams the style of John Williams (even though it isn’t). Even if you never saw an episode of either The Clone Wars or Rebels, you know that this is a profound moment of sadness for all of the characters. The main brass theme sounds like a cross between the main “Force theme” and “Yoda’s theme” both from the original Star Wars films. This music though was not composed by John Williams but by composer Kevin Kiner (who has scored both The Clone Wars and Rebels)

The most powerful moment of all comes immediately after this reunion, when we return to the surface of the planet to see Vader staggering away from the temple, badly injured. Given the ferocity of the fight, since Vader is the one walking away, one could presume that Ashoka is dead…but is she? There is a brief glimpse of Ashoka disappearing back into the temple, but is she alive or is that her Force ghost? Either is possible, but we won’t find out until season 3.

After I listened to this piece, and then watched the scene in context, I could not stop listening to this music over and over again. The one word that keeps coming into my mind is powerful, you can feel the emotion surging through the soundwaves.

I had not watched any of Star Wars: Rebels until I heard about the Ashoka-Vader fight, but if this gorgeous music is typical of the series, then I will be making plans to go back and watch the entire series. I hope you enjoy “It’s Over Now”; like I said, I don’t normally do television music, but I think you’ll agree after listening that this piece of music is special.

Enjoy the rest of Monday!! -Bex

*poster image is the property of Walt Disney Studios


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