Tag Archives: Transformers: War for Cybertron: Siege

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

Earlier this summer I was granted the opportunity to speak to Alexander Bornstein about his work on the Netflix series Transformers: War for Cybertron: Siege. A reimagining of the war between the Autobots and Decepticons, Siege takes you deeper into Cybertron than ever before, and turns everything you thought you knew about Optimus Prime and Megatron (and their conflict) upside down.

Alexander Bornstein is an award-winning composer currently based in Los Angeles. His music has been heard on television, independent films, feature films, web series, documentaries in the festival circuit, and concert halls around the U.S.  Alexander has also been at the forefront of new multimedia platforms, composing music for one of the first VR television series. His projects include (but are not limited to): The Twilight Zone, Lost in Space (the Netflix series), The Boys, Agent Carter, and of course, Transformers: War for Cybertron: Siege.

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

It’s actually a roundabout story. I’d been listening to film scores since first or second grade, it was really a genre of music I gravitated to. I grew up listening to Basil Poledouris, Jerry Goldsmith, John Williams and Hans Zimmer, a lot of composers that everyone’s familiar with. I then started as a filmmaker when I went to college. I wanted to be a writer/director, so I was writing feature scripts, I was directing short films, but I was always doing music on my own time. I didn’t really start to study music extensively until I was about 20 years old in my second year of college. I’d always had this passion for film music, but I didn’t really know how to write music even though I really wanted to do that. And so in college I started experimenting on my own. Then I met the right collective of professors who told me “Well if you really want to do this, this is what you need to do.” It was kind of, before I knew what was happening, I was declaring a music major and writing music, then studying with a composer. When I graduated from undergrad I decided I wanted to go to grad school and one of the programs I got into was for film scoring. I took that as a sign from the universe that I should give this a shot professionally.

How familiar were you with the Transformers series before you started working on War for Cybertron?

I was fairly familiar [with Transformers]. I was a big fan of the original cartoon when I was a kid, because the SyFy channel would air the G1 cartoons on its morning animation block. That’s how I became familiar with Optimus Prime, Megatron, Autobots, and all that. That gave me a fleeting familiarity with Transformers growing up because of my love for G1. I watched a little bit of Beast Wars, I kept up with the series over the years and got re-introduced when the first movie came out. It was really cool to see Peter Cullen come back as Optimus Prime. So there’s always been this familiarity with the franchise as I grew up.

On a related note, did the music from past Transformers series influence your work on this score at all? Any musical Easter Eggs that longtime fans might notice?

That was a discussion I had pretty extensively with F.J. DeSanto, the showrunner, when we started. The risky thing about this series is that it is a step in a new direction for what many have seen in a Transformers show before. There’s obviously a lot of callbacks, since the show was written by fans, it is definitely a faithful update. But, to your question, we never really wanted to go too far into referencing stuff from the Robert Walsh and Johnny Douglas scores or the Vince DiCola score from The Transformers: The Movie. I can’t speak for what might happen in the future, but I think for this first chapter of the trilogy we tried to focus on creating a new sound and not necessarily incorporate stuff from previous iterations of the franchise. We talked about it when I started and decided to step away from trying that out, but you never know what could happen in future chapters.

How did you approach scoring War for Cybertron? What was your starting point with putting the music together?

The first thing I wanted to do was create three main themes for the series. Those three main themes would basically be the building blocks of all the music for the show. Once I was officially onboard, I started working on a theme for the Autobots, the Decepticons, and then for Cybertron itself. From those themes, I had discussions with F.J. [DeSanto] about what kind of instrumentation was wanted, what kind of sounds should be tried. Once I did that I went off on my own for a few months. They were just getting started on the animation when I started, so there wasn’t really anything for me to work on, so I had all this time to bat ideas around. Once I had those three themes, I presented them, we signed off on them, and then from those themes I felt pretty comfortable diving into the actual series and working on the score.

The approach I tried to take is, rather than getting too motivic, because of the amount of characters on the show, I tried to keep the music more economic and lean, for example by developing the Autobots theme based on various characters and situations. So, there’s a heroic variation of the Autobot’s theme for Optimus Prime, and likewise similar variations for the Decepticon’s theme. The theme is arranged or developed in different ways specific for a character. One thing I’ve learned during projects is that it’s difficult to get themes established, especially now with content and stories moving so rapidly with so much to go through. I wanted to rely on less [music] so I could keep repeating it to get it established more efficiently. From those three themes there are some sub-motifs here and there. For example, the All-Spark has a sub-motif that gets developed in different ways. Elita-1 has a theme of her own that starts with the same chords as the Autobot theme but then goes in a different direction. The Decepticon theme its actually part of the Autobot theme, just with different chords. Basically, there’s a “B” section to the Autobot’s theme that is uplifting and hopeful and that is the basis of what became the Decepticon theme with a more minor key in the harmony. Ultimately, this [similarity] is because at one time they were all Cybertronians.

What kind of instruments did you use for the score? Considering that it’s Transformers, I’d imagine there was a lot of electronic music? Or maybe not?

There’s definitely a heavy electronic component, that was something we decided upon early on. There is a big orchestral component as well, for the emotional as well as the action-heavy moments. Inspiration was taken from synth waves and that genre of writing, but I also looked at Vangelis and Jóhann Jóhannsson for some of the other, more static textures. It was an interesting challenge to take something like Transformers, which up until now has been fairly ‘heavy’ and taking it in a slightly different direction with more static and organic textures. There’s still some very reliable old-school synth arpeggios, the analog sounds, but you’re also getting some of these organic, processed textures as well, so it’s not a complete retread of what people have heard already.

Have you finished the scoring process for Siege? How long did scoring take? 

I began in August of 2019 and then I finished writing it in January of 2020. I was given a lot of time, which is somewhat atypical for a television production, and definitely on animation. It was a really good opportunity to make sure we were always putting our best foot forward. This has also been the case for “Earthrise” (Part 2 of the War for Cybertron series). I can take a step back and be like “Is this really the best version of this cue, do i need to fix anything?” as opposed to just grinding it out as quickly as possible.

Do you have a favorite part of the soundtrack? Any favorite themes?

I was really happy with how the theme for Elita-1 turned out. She’s kind of a breakout character on the show for me and I wanted to make sure that she had a theme that could

really stand on its own. It gets some really good opportunities in the series to develop. It shows up for the first time in episode 2, and then it gets a lot of chances to develop. I was really happy with how it turned out. It was one of those instances where you write and hope that you don’t get any notes on it because you don’t want to change anything about it. Thankfully, it came through and they didn’t have any notes on it. So I was really pleased to come up with this theme for a character that I really liked and seeing it stick in the series has been really great.

I want to say thank you to Alexander Bornstein for taking the time to talk with me about his work on Transformers: War for Cybertron: Siege. You can currently view the series on Netflix. There is currently no release date for Transformers: War for Cybertorn: Earthrise, though I was given to understand that the scoring for Earthrise is ongoing at the time the interview took place.

See also:

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

Composer Interviews

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

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

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

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

*very minor spoilers for Transformers: War for Cybertron: Siege below

When I was offered the chance to view a screener of Transformers: War for Cybertron: Siege on Netflix, I immediately leapt at the chance. Few know this about me, but I was actually a pretty big Transformers fan when I was a kid (watched all the G1 cartoons growing up), enough of one that I sat through the first few Transformer movies when I was older. Thus, when I learned of a Transformers prequel series that was set entirely on Cybertron, I just had to check it out.

Divided into six episodes, War for Cybertron: Siege details the closing days of the war between the Autobots and Decepticons that traditionally ends with the Autobots crash landing on Earth in the Ark. That being said…if you go into Siege expecting a familiar story then I’ve got news for you: this is not quite the story you thought you knew. Sure, all of the recognizable figures are there: Optimus Prime, Megatron, Bumblebee, Starscream and yet…they’re not quite the same.

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It’s hard to explain, but it’s done so well that I need to try. As an example, Megatron is, as expected, the tyrannical ruler of the Decepticons and he practically rules what’s left of Cybertron. And yet, despite his tyranny, Megatron’s motives for starting the fight were pure: he wanted to liberate himself and his brethren from pre-programmed oppression. On the flip side, Optimus Prime is recast in a way that makes him seem like Megatron’s mirror image. Both are driven towards an identical goal, to the extent that the code phrase for ultimate victory “Till all are one” is used on both sides (but obviously with VERY different implications). The Autobots, for their part, are described as having lived “above it all” before the war started, something that really makes you reconsider what you think you know about the Autobot/Decepticon war.

Please don’t think that these differences take away from enjoying the story of War for Cybertron: Siege, because they don’t. In fact, the episodes flow together very seamlessly and I found myself surprised several times that I’d reached the end credits already. What I enjoyed the most about this story is how it takes the story elements that longtime fans know (the Autobots fleeing Cybertron on the Ark) and explaining in detail how they got to that point. Newcomers to the Transformers story should have no trouble following along, as plenty of backstory is dropped throughout to give context to certain developments.

Transformers-War-for-Cybertron-Plot-Cast-Trailer-Netflix-Release-Date

There are a number of Easter Eggs harkening back to Transformers over the years. The classic “transforming” sound appears throughout, the Ark is practically identical to its G1 appearance (and includes Teletraan 1), and there are even references to Alpha Trion, another character from the G1 series, just to name a few examples. Even with the differences, War for Cybertron: Siege definitely feels like part of the Transformers universe. And the best part of all of this? It’s set entirely on Cybertron!

Cybertron is a place I felt we didn’t get to see enough of in earlier incarnations of the Transformers story, so I was very excited to see the planet partially explored in this series. Having gone through a planetary war, much of the architecture is in ruins, but there’s just enough left to give you an idea of what Cybertron was like in all its glory.

I was also pleased to see Elita-1 given such a prominent role in the story. I don’t remember that much of Elita-1 in the original G1 cartoon, but I do know I absolutely love her design in this series. Considering most of the Transformers characters are male, it’s nice to see a female character be relatively prominent.

As an introduction to the origin of Transformers, War for Cybertron: Siege gets the story off to a rousing start, but it ends in a way I didn’t expect. There’s a surprise waiting for anyone who thinks they knows how Siege ends, which isn’t a bad thing. It’s good to leave the audience guessing as to what will happen next, and that’s what this ending certainly does.

I highly recommend Transformers: War for Cybertron: Siege, which premieres on Netflix on July 30th, 2020.

See also:

TV Reviews

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