Tag Archives: Netflix

Soundtrack News: Pacific Rim: The Black Soundtrack Releasing March 5th

Milan Records and Sony Music Masterworks today announced that the official soundtrack for Pacific Rim: The Black by composer Brandon Campbell will release on Friday, March 5.  Available for preorder now, the album features score music written by Campbell for Netflix’s newest anime series from Legendary Television and based on Legendary and Guillermo del Toro’s blockbuster film franchise Pacific Rim. Continuing the tale of epic battles between monsters and robots in an exciting new style, Pacific Rim: The Black will be released worldwide on Thursday, March 4 exclusively on Netflix.  

Of the soundtrack for Pacific Rim: The Black, composer Brandon Campbell had the following to say:

“Our showrunner, Greg Johnson, wanted a score that encompassed bits of DNA from the original Pacific Rim film while still being unique enough to support the struggles and triumphs of Taylor and Hailey.  We created a hybrid orchestral score with the heavy themes and melodic material that will hopefully resonate with Pacific Rim fans, while including more intimate and emotional musical moments that accompany our characters as they make their way across The Black.  I hope my music brings you back into the world of the awesome power of the Kaiju and Jaeger, but also into the hearts of Taylor and Hailey.”

The album marks the first release under a new, multi-year agreement between Milan Records/Sony Music Masterworks and Legendary Television to collaborate on future soundtrack releases.  Under the new agreement, Milan Records will have the exclusive right to distribute all soundtrack albums released by Legendary Television for its television shows and series, supporting the studio with the global distribution, marketing and promotion of these soundtrack titles.

ABOUT PACIFIC RIM: THE BLACK
There was a time when Kaiju rose from the Pacific Rim only to encounter gigantic robots, Jaegers, built to fight them back. That time has passed. Now, Australia has been overrun by Kaiju, forcing the evacuation of an entire continent. Left behind, teenage siblings Taylor and Hayley embark on a desperate search for their missing parents, teaching themselves to pilot a battered, long-abandoned Jaeger to help in their quest and give them even the slightest hope of surviving.

PACIFIC RIM: THE BLACK (MUSIC FROM THE NETFLIX ORIGINAL ANIME SERIES)
TRACKLISTING –

  1. The Black
  2. They Always Come Back
  3. Jaeger Breaker
  4. The Drift
  5. b0y
  6. Shane
  7. Boneyard
  8. I’ve Had Worse Benders
  9. Mind Heist
  10. Dismei
  11. Ghost Pilot
  12. Shadow Basin
  13. Bogan Boogie
  14. Memories
  15. Never Coming Back
  16. The Most Powerful Man in The Black
  17. Hunter Vertigo
  18. Just Calm Down
  19. Kajiu Messiah
  20. Copperhead
  21. Atlas Destroyer

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Soundtrack Review: Kid Cosmic and the Sonic Courage (2021)

Yesterday (February 26th) Netflix released the official soundtrack album for Kid Cosmic titled: Kid Cosmic and the Sonic Courage-Music by Andy Bean from the Netflix Original Series. Andy Bean is an Emmy-nominated songwriter, composer, and multi-instrumentalist specializing in music for animation. Through his work with The Two Gentlemen Band, Andy landed his first composing gig scoring Disney’s Emmy-nominated animated series, Wander Over Yonder. His frantic banjo-driven sci-fi scores and heartfelt songwriting for the show earned him two Annie award nominations. For his latest project, Netflix’s Kid Cosmic, Andy created much of the soundtrack under the guise of a fictional 70s psychedelic garage punk band, Dr. Fang & The Gang. The propulsive rock and roll score combines with the show’s distinctive art style to create exhilarating musical-action sequences unique in children’s television. 

The soundtrack album includes 20 songs by fictional bands conceptualized by show creator Craig McCracken (The Powerpuff GirlsFoster’s Home for Imaginary Friends) and Andy Bean (Muppet BabiesWander Over Yonder), playing with the idea that the show was scored as if they pulled existing music from the Kid Cosmic world.

Speaking about how the series’ unconventional score was dreamed up, Bean said:

“Craig [McCracken] described his vision for Dr. Fang and The Gang (the fictional band that provides much of the score) to me more than five years ago, and I started writing songs in character as the group immediately – even before I knew any other details about the show. We wanted the music in Kid Cosmic to sound like it was being pulled from an old record in The Kid’s collection. This is that record!”

I don’t know if I’ve ever heard a soundtrack quite like this one. The music for Kid Cosmic and the Sonic Courage really does sound like a collection of records that comes straight from the insane world of Kid Cosmic. I’ll be honest, I usually prefer soundtracks that are purely instrumental (it’s nothing personal, just the way I am), but for this collection I’m willing to make an exception because it just sounds so good! Each song puts me right back into the story of Kid Cosmic and his friends. It wasn’t until listening to the songs apart from the animation that I realized just how much these songs by this faux-band dominate the story in the best way possible.

It’s really no wonder I enjoyed watching Kid Cosmic so much. Aside from being a great story, the music in this soundtrack is just so upbeat and happy that after a few tracks you can’t help but smile and bop your head to the beat.

My favorite track out of all of these is ‘The Kid’ (aka The Kid Cosmic Theme). Not only is this the perfect theme for the show, with its off the wall energy, but it’s also the perfect theme for the Kid himself. This music is just like the Kid, it’s non-stop go go go and it just pumps you up, just like the Kid pumps himself up with his boundless enthusiasm for all things superhero. I also really like ‘Rosa Y Rolla’, because it reminds me of Rosa, my second favorite character in the show. The way ‘Rosa Y Rolla’ is put together I can just imagine Rosa in her giant form stopping around the desert and wreaking havoc as only a giant 4 year old can.

If I have one gripe about this soundtrack, it’s that it doesn’t appear to include all of the instrumental music used in the show. Specifically, I would have loved to hear the dark sci-fi music (from the episode where the spaceship is discovered) in its own separate track, and maybe those will be released some day in the future. For now, Kid Cosmic and the Sonic Courage is a great collection of the music of Kid Cosmic and the perfect way to experience Andy Bean’s wonderful songs.

Hopefully season 2 of Kid Cosmic is on the way and will give us even more of Dr. Fang and the Gang.

Kid Cosmic and the Sonic Courage Track List

  1. The Kid (Kid Cosmic Theme) (2:01)
  2. Vacation Boogie (2:55)
  3. Airborne Shuffle (2:11)
  4. The Gravity Ball (2:38)
  5. Galactic Interference (2:44)
  6. Somebody Call the Doctor (1:59)
  7. Talkin Tuna (2:50)
  8. Groundspeed Hustle (2:33)
  9. Desert Jungle (2:24)
  10. Here Comes the Gang (1:50)
  11. I’ll Do the Best That I Can Do (1:56)
  12. Fetch Me My Bicycle (1:46)
  13. The Kid (Live) (2:09)
  14. Tuna on the Road (2:05)
  15. Rosa Y Rolla (2:03)
  16. The Papa G Stomp (2:54)
  17. Papa G’s Jam (1:44)
  18. Greasy Spoon Space Gal (2:02)
  19. Superkid Surf Party (2:01)
  20. Party Back at My House (2:13)

Kid Cosmic follows the adventures of an imaginative and enthusiastic boy who lives with his free-spirited Grandpa in a sparsely populated desert town. The Kid’s dreams of being a hero seem to come true when he discovers 5 Cosmic Stones of Power in a wrecked spaceship. He forms a team of local heroes to stop an onslaught of alien attacks to steal back the stones. Though the Kid and his team are the good guys, they’re really bad at it,and the Kid learns that his fantasy of being a hero is very different from the reality of what it actually means to become one.

Let me know what you think about Kid Cosmic and Kid Cosmic and the Sonic Courage in the comments below and have a great day!

See also:

My Thoughts on: Kid Cosmic: Season One (2021)

A New Music for Superheroes: Talking with Composer Andy Bean about Kid Cosmic (2021)

TV Soundtracks

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A New Music for Superheroes: Talking with Composer Andy Bean about Kid Cosmic (2021)

Recently I had the opportunity to talk with composer Andy Bean about his work on the Netflix animated series Kid Cosmic, which premiered on Netflix on February 2nd, 2021.

Andy Bean is an Emmy-nominated composer, songwriter, and multi-instrumentalist. He began his career barnstorming across the U.S. and Europe for nearly a decade with The Two Man Gentlemen Band before landing a gig writing music for the Disney animated series, Wander Over Yonder. He is currently songwriter and composer for Netlix’s Kid Cosmic, Disney’s Puppy Dog Pals, and Disney’s Muppet Babies re-boot. Between the latter two, he’s written over three-hundred songs across dozens of genres and scored over one-hundred episodes.

Enjoy this interview about his work on Kid Cosmic!

How did you get started with being a composer?

I was writing songs and performing with The Two Man Gentlemen Band back in 2012 when I was asked to submit a theme song demo for Craig McCracken’s last show, Wander Over Yonder. Craig and the team liked the theme song and asked me if I wanted to try composing for the show and I said… sure! Half the show was frantic banjo music, which I was comfortable with. The other half was synth-driven space orchestral stuff, which I’d never done before. I was a total novice writing and producing music for TV, so I basically locked myself in a room for 6 months and figured it out the best I could.

So I just finished watching season 1 of Kid Cosmic and I loved it! I have to ask, were you really not told anything about the premise aside from “imagine a 70s garage band”? How do you start composing for a show from that kind of starting area?

That’s definitely how it started. As Wander Over Yonder was finishing, I met with Craig and he basically said, “I’ve got this new idea for a show, but I’m not going to tell you that much about it. Just that the main character in the show has a favorite band called Dr. Fang and The Gang, and I’d like you to start writing music for them.” He showed me a drawing of the band and gave me some references – some older stuff and some contemporary fuzzed out garage bands – and I started writing music that night. I was a songwriter first before ever writing music for TV, so a “write songs like this” assignment was in my wheelhouse.

Of course, as I learned more about the show I started tailoring ideas to particular characters and refining the sound. But a handful of the tunes that I wrote early on are part of the score and soundtrack.

What was it like working with Craig McCracken again after Wander Over Yonder?

It’s great! On both shows we’ve worked on together, he’s given me really specific guidance on the concept he has in mind for the show’s sound. Then he gives me an incredible amount of creative license to figure out the nuts and bolts of it. For me, that balance of clear guidance and creative freedom is my favorite way to work. And just as importantly, we seem to be on the same wavelength musically. We like the same kinds of stuff.

It sounds like the story was written to accommodate your music, which doesn’t happen all that often. How did the process of making the story and music work together happen? Were there any unexpected difficulties?

Not so much the story, but I know Craig and the team built specific scenes around certain songs. Before writing and storyboarding started on season 1, I gave the team all the stuff I’d been working on while we were in development – songs and score sketches. I had some ideas about how they’d use some of them – fast rock songs for action scenes for example – but they also incorporated some of the ambient desert score stuff I did in really cool and surprising ways. So for me, it was great. I wrote a bunch of music then sat back and watched the incredible artists working on the show build super cool scenes around it.

Of course, the stuff I wrote ahead of time only covered a portion of the score. So one of the challenges was trying to match the energy and spontaneity of the early tracks when I was writing new music to picture. Most of the songs on the soundtrack were written before production started . But a handful are extensions of shorter pieces I wrote to picture.

How much time did you spend working on the music for Kid Cosmic? Where did the musical ideas start and how did it branch out as you kept writing the music?

Years. I started contributing musical ideas in late 2015 and actual scoring to picture didn’t start until late 2019. During that whole period, I was kicking around musical ideas and submitting demos whenever I had time in my schedule. The abnormally long development period allowed for a lot more experimentation than if I’d come on closer to post production. A lot of time was spent trying to incorporate synth and spacey sci-fi elements into the garage rock sound we started with. The songs ‘Galactic Interference’ and ‘Groundspeed Hustle’ are examples of that.

Also, If I write a bunch of songs in a short period of time, they tend to sound way too similar. So, getting to space out the writing over a long period helped with that.

What instruments are used in the musical score?

Traditional rock band instruments – guitars, drums, bass, organ – make up a lot of it. I leaned pretty heavy on some fuzz effects for guitar and vocal sounds. Distorted vocals with a slap-back echo are a big part of the Dr. Fang and the Gang sound.

I also got to work some pedal steel guitar into the desert country stuff. That’s always been a favorite instrument of mine, and I learned how to play just for the show. The rest of the score is a mix of traditional orchestral score, and synth-heavy stuff for the more sci-fi-y parts.

Did you create specific musical themes for each of the Local Heroes? As I watched the show I thought I heard musical ideas that recurred for different characters, particularly Rosa and Kid Cosmic.


Absolutely. The Kid has his theme. Papa G’s got a few hippy country cues I use for him. And Rosa’s got a recurring cue, too. We worked up most of those early on.

What inspired the “serious sci-fi” part of the score? For example, the awesome music when Kid Cosmic and the group are exploring the wrecked ship, it sounds like regular science-fiction music. It’s all dark and ominous and really fun for me to listen to, and I’d love to know how that came about.

Thanks, that episode was fun to work on. That was some great guidance from Craig and the team, to score an episode featuring a cat who can see the future with something John Carpenter-y.

Do you have a favorite part of the soundtrack?

“Greasy Spoon Space Gal” is one of the jukebox source tunes I wrote for the show. That kind of simple country rockabilly with silly lyrics is right up my alley.

Thanks again to Andy Bean for taking the time to talk with me about his work on Kid Cosmic!

See also:

My Thoughts on: Kid Cosmic: Season One (2021)

Composer Interviews

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My Thoughts on: Kid Cosmic: Season One (2021)

2021 has absolutely not gone according to plan so far, but there’s finally been a pleasant surprise in the form of Kid Cosmic on Netflix. This show debuted on February 2nd and comes from the brilliant mind of Craig McCracken, who also brought us The Powerpuff Girls, Foster’s Home for Imaginary Friends, and Wander Over Yonder.

Kid Cosmic takes place in New Mexico and follows the titular Kid Cosmic, a 9 year-old who lives for his dream of being a superhero. His wish appears to be granted when he finds the 5 Cosmic Stones of Power, ultimately distributing them between himself and his friends to make up the team of Kid Cosmic and the Local Heroes:

-Kid Cosmic: The Green Stone of Flight (and something else which is a plot spoiler)

-Jo: The Purple Stone of Portal Creation

-Papa G (Kid’s grandfather): The Yellow Stone of Multiplication (you can clone yourself infinitely)

-Rosa: The Blue Stone of Giant Size (picture a 4 year old 40 feet tall)

-Tuna Sandwich (a cat): The Red Stone of Foresight (it lets you see the future)

Kid Cosmic, Jo, Papa G, Rosa and Tuna Sandwich are all the total opposites of what you’d expect a superhero team to look like, but that’s also what makes them so lovable, because they’re misfits and a lot of people (like me) can relate to that. Jo is my personal favorite out of the group, because I can totally relate to being young and wanting to travel to exciting places around the world.

Don’t let the animated format of the show fool you, the ten episodes that make up season one of Kid Cosmic are among the best superhero content that I’ve seen in almost 12 months of pandemic-enforced boredom (I miss movie theaters). It starts out with a typically cute format, but it quickly gets super serious, especially once you realize that Kid Cosmic, for all his bravado, has no idea what to DO with his superpowers now that he has them. The entire series could be described as an object lesson in how actually being a superhero usually bears little to no resemblance to how it’s described in comic books.

That’s not to say that the series completely subverts all superhero cliches. Without getting too specific, there’s at least one predictable plot twist halfway through the season (predictable but enjoyable), and one plot twist that I guarantee you will not see coming until it actually happens.

Another thing I love about Kid Cosmic? All of the Easter Eggs referencing different comic book or superhero moments. Aside from the obvious reference to the Infinity Stones, my personal favorite? An honest to goodness parody of the Power Rangers, right down to the witty banter and moveset. I won’t say where this Power Rangers shoutout happens, but if you’ve seen any seasons of Power Rangers, ever, then you’ll know it when it happens and it is hysterically funny.

I am somewhat frustrated by how the first season ends, if only because it leaves me dying to see what happens next and there’s no telling when season 2 will be coming out. The good news however is that season 2 of Kid Cosmic will be coming eventually, so until then I think I’m going to have to watch this season several more times because it is just that good. I laughed, I wanted to cry, I apologize for ever doubting that I would enjoy this series.

I know 2021 is still really young, but Kid Cosmic is easily one of the best things to happen on Netflix this year. Go check it out if you can, you won’t regret it!

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

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TV Reviews

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

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

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

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

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

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

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

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

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

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

You can enjoy the soundtrack for Blood of Zeus now!

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

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TV Soundtracks

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My Thoughts on: Fate: The Winx Saga (2021)

When I received the opportunity to check out Fate: The Winx Saga on Netflix I was really excited about it. I love stories about magic and fairies and the fact that this show centers around five female leads was a big plus going in. For those not familiar, Fate: The Winx Saga follows a school full of fairies learning about magic while strange and deadly mysteries unfold later forcing them to save the world (predictable but usually satisfying fantasy fare). I plugged in the first episode, ready for whatever adventures lay ahead.

And almost instantly got bored.

Fate: The Winx Saga has committed the almost unpardonable sin of making magic mundane. Sure, we hear that the show’s central location is located in the “Otherworld” but the Otherworld sure looks a heck of a lot like our world. Add in a regular looking school building (with the exception of a cool Stonehenge like circle), regular looking dorm suites, even regular looking cars! Except for the instances of magic (which are admittedly cool when they happen), the school setting of the show feels like any other teen drama set at an elite boarding school. I missed the fantasy clothing, magic animals, heck, even some pointed ears would’ve helped. Everyone looked normal and in a story set in a fantasy world, that’s not a good thing.

And speaking of drama, my God this entire show is one giant cliche. There’s the predictable love triangle, the entitled “mean girl” student who manipulates everyone around her to get whatever she wants, the adorkable one with one moment of awesomeness, and of course the completely out-of-her-depth new to this world student who we’re supposed to be rooting for. I can’t watch regular teen dramas for a reason, and let me tell you adding magic to the mix does NOT make it better. In fact, the scenes with the “mean girl” were so on the nose that I almost got triggered with my own memories of being bullied as a child and a teen (I really hate shows that trigger me like that).

I also have a major problem with whoever wrote the dialogue for this show. The exposition dumps are….okay, and they do a fairly good job with explaining how the elemental magic works in the show, but the teen to teen dialogue is…oh boy, it’s bad, it’s really bad. A lot of it feels so clumsily written, like they had a great idea and very little idea of how to execute it. For instance, the show blurts out a huge twist in the FIRST episode. And when I say huge, I mean this is the kind of twist that should have come halfway through the season or later, not something you find out in the first 30 minutes. And even before you find out, the dialogue leading up to the reveal is so bad that it’s obvious what’s coming.

I admit, I couldn’t finish the first season, if the first few episodes couldn’t win me over, there’s not much the last few episodes could do to change my mind. Fate: The Winx Saga takes a great premise and utterly ruins it with the execution. I wish it had been otherwise, but I am not a fan of this show.

Let me know what you think about Fate: The Winx Saga in the comments below and have a great day!

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TV Reviews

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Soundtrack News: Netflix’s ‘Sneakerheads’ Original Soundtrack Available Now

Today Maya Records released Sneakerheads Original Music from the Netflix Series. The music for this series was composed by Haim Mazar with contributions by Paul Ottinger (aka knownwolf). Mazar’s film score credits include the biopic thriller ‘The Iceman’ – starring Michael Shannon, Winona Ryder, Chris Evans, Ray Liota and James Franco, Adam Robitel’s critically acclaimed indie horror ‘The Taking of Deborah Logan,’ and action thriller ‘I Am Wrath’ – starring John Travolta and Christopher Meloni.

Haim Mazar used traditional film-scoring techniques along with Trap and Hip-Hop sensibilities and had the following to say about his work on Sneakerheads:

Hip-Hop influences have become increasingly popular in today’s film-music genre…this is definitely the first time I’ve ever done something like this, and hopefully not the last.

Allen Maldonado (Black-ish) stars in Sneakerheads, the new Complex Networks original production created by Jay Longino, who also serves as showrunner, and directed by famed music video director Dave Meyers:

 The series focuses on ex-sneakerhead Devin, played by Maldonado, a stay-at-home father who’s lured back into the game and is almost immediately placed $5,000 in the hole after an old friend—Bobby (played by Andrew Bachelor a.k.a. King Bach)—pulls a get-rich-quick scheme.

TRACK LISTING

01 Chip and a Chair
02 Bang This Left
03 Fire
04 Storage Wars
05 Auction
06 Jason Hoodak
07 Nori
08 The Zeroes
09 Flight Club
10 Red Octobers
11 Cubicle
12 Car Talk
13 Mark Wahlberg
14 The Convincer
15 GOAT
16 Towel Taunt
17 Tennis Camp
18 You About To See Nice
19 Black Panther
20 CSI Sandwich
21 Uncle Paulies
22 Cat Fight
23 Bad Girl
24 Tic Tac
25 Hong Kong Chase
26 Lil Rel
27 I Knew You Were Real
28 I’m Sorry
29 Fuck You Bobby BONUS TRACK
30 The Perfect Pair UNUSED BONUS TRACK
31 Bang Bang BONUS TRACK

You can purchase and download the official soundtrack for Sneakerheads now!

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Soundtrack Review: Enola Holmes (2020)

Milan Records today releases ENOLA HOLMES (MUSIC FROM THE NETFLIX FILM) with music by award-winning composer Daniel Pemberton (Birds of PreySpider-Man: Into the SpiderVerse).  Available everywhere now, the album features music from Netflix’s newest mystery film starring Millie Bobby Brown, Sam Claflin, Fiona Shaw and Louis Partridge with Henry Cavill and Helena Bonham Carter.   Based on the series of young adult novels written by Nancy Springer, Enola Holmes will premiere on Netflix Wednesday, September 23

Daniel Pemberton is a multi-Golden Globe, Emmy and BAFTA Award-nominated composer who has been regularly cited as one of the most exciting and original new voices working in modern film scoring today. Constantly working with some of the most renowned names in the industry Pemberton has already scored projects for the likes of Danny Boyle (Steve Jobs, Yesterday), Ridley Scott (All The Money In The World, The Counsellor), Aaron Sorkin (Molly’s Game, The Trial Of The Chicago 7), Darren Aronofsky (One Strange Rock), Edward Norton (Motherless Brooklyn) and Guy Ritchie (The Man From UNCLE, King Arthur: Legend Of The Sword).

Of the soundtrack, composer Daniel Pemberton has this to say:

“It’s been a real joy to write music for Enola Holmes and to go back to writing some unashamedly melodic and emotional orchestral music – coupled with a nice level of messy quirky oddness thrown in as well. From my first meeting with Harry Bradbeer the director, we talked about trying to create a score full of themes, mystery and surprise that both encapsulated her character but also took you on her journey. I hope this soundtrack allows anyone listening to it to re-live the first amazing adventures of one Enola Holmes…”

This soundtrack is, without a doubt, an incredible adventure to listen to, hardly surprising given that Daniel Pemberton is one of my favorite film composers. A lot of the music is bright and bouncy, and I’m fairly certain I’ve identified Enola’s specific theme within the score. It recurs frequently throughout, which is why I’m so certain it belongs to Enola. Also, it’s a short motif that skips and jumps around, much like the titular character who is free spirited and doesn’t act in a traditional “ladylike” manner.

I was actually surprised to hear how dark the soundtrack gets in places, there are a few places (I won’t name any track titles because I don’t want to accidentally spoil anything) where the music gets quite ominous. Though in hindsight, maybe I shouldn’t be that surprised, this IS the younger sister of Sherlock Holmes after all, no doubt trouble finds Enola all the time.

And, true to form with Daniel Pemberton’s work, I’m delighted to report that the soundtrack for Enola Holmes is filled with all kinds of non-traditional sounds. My personal favorite has to be “Tick Tock”, so named because the music is framed around, that’s right, the ticking of clocks. I like the entire soundtrack, but this piece immediately stuck in my mind the moment it began, and I love how the composer is interweaving the tick-tock of a clock and the “clip-clop” of shoes walking across a floor with more traditional instruments (the most hair-raising strings I’ve heard in months) to create something so mind-bending I’m dying to know its full context in the film. I should note, you can hear unusual sounds in other portions of the soundtrack, but “Tick Tock” really does stick out from the rest.

I sadly won’t be able to watch Enola Holmes until this weekend, but listening to this soundtrack has me more than excited to check the movie out on Netflix.

When Enola Holmes—Sherlock’s teen sister—discovers her mother missing, she sets off to find her, becoming a super-sleuth in her own right as she outwits her famous brother and unravels a dangerous conspiracy around a mysterious young Lord.

The soundtrack for Enola Holmes is available now, and you can also (as of today) check the film itself out on Netflix.

Let me know what you think about the soundtrack for Enola Holmes in the comments below and have a great day!

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Soundtrack News: Soundtrack Album for Netflix Original Series ‘Away’ Available Now

Back Lot Music has digitally released an album from the Netflix Original Series Away (produced by Universal Television) by composer Will Bates (I OriginsAnother Earth). The sci-fi drama’s score is full of electronic atmospheric soundscapes with an intense emotional undercurrent. Bates takes listeners on a beautifully diverse sonic journey with this 22-track album.

Will Bates has scored a number of television series: Golden Globe & Emmy-nominated Netflix series Unbelievable, SyFy’s hit The Magicians, Hulu’s The PathChance and The Looming Tower, the Hilary Swank-led drama Away for Netflix, as well as NBC’s Rise. Other projects include Sweetbitter on Starz, the George R.R. Martin series Nightflyers on Netflix, and the Hulu biographical documentary Hillary. Will’s recent features include Michael Tyburski’s The Sound of Silence, the HBO documentary The Inventor: Out for Blood in Silicon Valley, and the horror-thriller Depraved. Upcoming features include Michael Haussman’s Rajah set in 19th century Borneo, Mike Cahill’s Bliss and Alex Gibney’s Crazy, Not Insane.

Regarding the music for Away, Will Bates had the following to say:

“I had an amazing experience scoring Away. Having worked with the showrunners on several projects together before, including The Path and Rise, there was already a shared language and a real mutual sense of trust…Sharing that explorer’s sense of wonder and aspiration, space itself can be something of an exciting blank canvas for a composer. And the showrunners were always keen to try something a little different. I found myself experimenting with all sorts of unusual instrumentation; from dulcimers, prepared pianos and dusty old parlor organs to modular synths, timpani and manipulated live strings. Identifying the human themes whilst capturing the vast distances of space. And of course, having one of the lead actor’s play pieces I’d written for him was thrilling in its own right,”

TRACKLISTING
01 Lunar Base Alpha
02 The Atlas Crew
03 I Love You Shithead
04 Launch
05 Making My Way Back To You
06 Reaching For Mars
07 How’s The View?
08 Calligraphy
09 Cracking Up
10 Spacewalk
11 Open The Hatch
12 I Just Need My Wife
13 Going Home
14 Anything Is Possible
15 I Need You To Go
16 Etude De Main Droit
17 Ice Harvest
18 Last Words
19 Forgetting
20 Descent
21 Anyone Wanna Go Again?
22 Atlas

You can enjoy the soundtrack album for Netflix’s Away now 🙂

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Soundtrack Review: Transformers: War for Cybertron: Siege (2020)

Hasbro has digitally released Transformers: War for Cybertron – Siege Original Anime Series Soundtrack by Alexander Bornstein. The soundtrack features 17 electro-charged tracks from the hit Netflix Original Series, in partnership with Rooster Teeth. I had the opportunity to interview Alexander Bornstein about his work on this series earlier this summer and I’m thrilled that everyone will have the chance to listen to this great soundtrack apart from the series.

Bornstein had this to say about the incredible task of creating new music for the beloved franchise:

“Being brought on to compose an entirely new musical world for the ‘Transformers: War for Cybertron Trilogy’ on Netflix has been both a dream job and huge creative responsibility. The world of the Autobots and Decepticons has been part of my pop culture psyche for a long time, going all the way back to watching G1 reruns on the Sci-Fi Channel in the early 90s.  I’m very excited fans will now have a chance to delve deeper into the music of the trilogy’s first chapter ‘Siege’, and hear the show’s themes for characters like Elita-1, extensive use of analog synthesizers, and amazing solo players.”

If you haven’t gotten the chance to experience Transformers: War for Cybertron: Siege, check out the synopsis below to get an idea of what the story is about:

TRANSFORMERS: WAR FOR CYBERTRON TRILOGY – SIEGE begins in the final hours of the devastating civil war between the Autobots and Decepticons. The war that has torn apart their home planet of Cybertron is at a tipping point. Two leaders, Optimus Prime and Megatron, both want to save their world and unify their people, but only on their own terms. In an attempt to end the conflict, Megatron is forced to consider using the Allspark, the source of all life and power on Cybertron, to “reformat” the Autobots, thus “unifying” Cybertron. Outnumbered, outgunned, and under SIEGE, the battle-weary Autobots orchestrate a desperate series of counterstrikes on a mission that, if everything somehow goes right, will end with an unthinkable choice: kill their planet in order to save it.

Getting to hear the soundtrack by itself was an absolute delight. The tracks I was most interested in hearing were the first three on the list: “Autobots”, “Decepticons”, and “Cybertron.” I remembered from my conversation with Alexander Bornstein that these tracks were the starting point of the score and I was very curious to see how they played out and related to each other. Sure enough, there is a definite relation between “Autobots” and “Decepticons.” Even though they’re themes for opposite sides of the conflict, you can definitely tell they’re two halves of the same coin, which is a brilliant decision since it recasts the conflict on Cybertron in an entirely new light.

The other theme I was particularly interested in listening to was “Elita’s Theme,” since the composer related to me that it was one he really liked it. It is, indeed, a beautiful theme to listen to, and not surprisingly there’s a strong connection to the “Autobots” theme. It’s always interesting to hear how themes are connected to one another, using the same melodies but twisting them slightly to fit different characters. These similarities actually expand into most of the soundtrack, since, as the composer explained, the first three themes on the list serve as the base for pretty much every other melody in the soundtrack. It’s one thing to hear about this but it’s another to see it in action without the rest of the TV episode to distract me.

TRACK LISTING

  1. “Autobots” (3:22)
  2. “Decepticons” (3:34)
  3. “Cybertron” (2:04)
  4. “Optimus Steps In” (4:21)
  5. “The Ark” (3:15)
  6. “Optimus And Elita-1 (Elita’s Theme)” (2:14)
  7. “We Are Not Decepticons” (2:09)
  8. “Traitor” (2:37)
  9. “Metal Vortex” (2:45)
  10. “Megatron’s Speech” (3:44)
  11. “Alpha Trion Protocols” (4:11)
  12. “Sea Of Rust/Virus Attack” (4:13)
  13. “The Ark Takes Flight” (4:04)
  14. “Battle Of The Space Bridge” (3:08)
  15. “For Cybertron” (4:00)
  16. “A New Leader” (1:24)
  17. “Siege End (Autobots Theme Reprise)” (1:20)

In a year that’s been turned upside down, the soundtrack for Transformers: War for Cybertron: Siege has been a sorely needed bright spot. Fans of Transformers both old and new will love this music. I can’t reiterate enough how happy I am that the soundtrack is now available, since now everyone can take the time to listen to some gorgeous music.

Let me know what you think about the music for Transformers: War for Cybertron: Siege in the comments below and have a great day!

See also:

My Thoughts on: Transformers: War for Cybertron: Siege (2020)

For Cybertron! Talking with Alexander Bornstein about ‘Transformers: War for Cybertron: Siege’

TV Soundtracks

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