25 years ago, when the internet was in its infancy, a handful of film music review websites were established, pioneering online film music criticism with a new generation of writers and broadcasters who were taking advantage of this new medium for the first time.
Now, a quarter of a century later, the International Film Music Critics Association is delighted to announce a special event celebrating the dedication and longevity of five of these critics, with an anniversary round table looking back at the history of online film music criticism.
Moderated by IFMCA member Tim Burden, the event will feature a live and interactive conversation between five of these forerunners: Jonathan Broxton of Movie Music UK, Christian Clemmensen of Filmtracks, Christopher Coleman of Tracksounds, James Southall of Movie Wave, and Erik Woods of Cinematic Sound Radio.
Join us on Sunday October 3rd 2021 at 1:00pm EST (10:00am PST, 6:00pm BST) via the live stream on the IFMCA Youtube Channel at https://www.youtube.com/c/InternationalFilmMusicCriticsAssociation, where you can watch the celebration, post questions to the panel, and more!
The Soundcast and Tracksounds team come together to talk about composer James Horner. The team has a bit of a group therapy session as they share their own stories of the first time they each took note of the name, "James Horner," their thoughts on his lasting legacy in the film music genre, the score that epitomizes James Horner's work. The main points of discussion are divided by clips from some of James Horner's lesser known, yet no less compelling, works.
Christopher, Marius, Richard and Edmund reconvene to countdown their top ten scores from the very ripe, 2014 Summer movie line up! It's been a few months, but we're back with almost two-hours of episodic vengeance!
The Soundcast crew reconvenes with guest, Kristen Romanelli (Film Score Monthly), to get caught up on the first half of the Summer of 2014 big movies and big move scores: The Amazing Spider-Man 2, Godzilla, X-Men: Days of Future Past and Edge of Tomorrow.
Cap is Back! And he's got a little help with his friends and frienemies: Black Widow, Falcon, Nick Fury and The Winter Soldier. Justin Craig (Foxnews.com) and Kristen Romanelli (Film Score Monthly) join Christopher Coleman to not only discuss the the film, CAPTAIN AMERICA: THE WINTER SOLDIER, but it's original score by Henry Jackman.
This Blog by Christopher is all the songs that are in the new movie Captain America: The Winter Soldier. When people watch a new movie most of the time the question them have is " I wish I knew the that one sound from the movie" and half the time we don't. So it helps to have blogs like this.
Tracksounds is proud to bring you this special, behind-the-score-feature which, in addition to our original review of LORDS OF SHADOW, offers three, brand new reviews and an interview with composer OSCAR ARAUJO in both English and Spanish:
Yet another compelling entry from the DC Comic's animated world, brought to us by Warner Brothers Animation, is Justice League: The Flashpoint Paradox. While...
Episode 65 - 2013 Summer Movie Score RecapErik Woods (Cinematic Sound Radio) and Kristen Romanelli (Film Score Monthly) join the crew to take a look back at the 2013 Summer of movie scores. Episode Highlights 00:00 - Summer mix 2013 00:58 - Intro and Welcome: Erik Woods and Kristen Romanelli 02:34 - WHYBLT? The Great Gatsby, The Ultimate Life, Superfish: Endless Journey 09:48 - WHYBLT? Snowpiercer, Wyatt Earp (3 Disc) 19:37 - Summer Movie Score Recap 2013: General thoughts 30:40 - Summer Movie Score Recap 2013: The Disappointments 54:30 - Summer Movie Score Recap 2013: Our Favorites 84:29 - The Wrap Up http://blog.tracksounds.com/2013/09/soundcast-episode-65-2013-summer-movie.html
Based on actual events from 1964 through to 1986 in New Jersey, THE ICEMAN follows the life story of notorious Mafia hitman Richard Kuklinski (played by Michael Shannon). The film focuses on how Kuklinski tries to balance the life as a loving husband and a devoted father whilst keeping his profession as a mobster a secret from his family. As the story progresses we watch how the consequences of his actions finally catch up with him.
Scoring duties for the picture fell to a new face in Hollywood, Israeli composer HAIM MAZAR. Born in the US but raised in Israel, THE ICEMAN is Mazar’s first major assignment in film composition. That isn’t to say he hasn’t had any experience; he was classically trained from the age of 5 and has worked extensively with John Frizzell with whom he co-produced and orchestrated the sci-fi horror film lLEGION (2010). He has also worked as an orchestrator, music programmer and pianist on several other projects...
Even for a near-immortal, adamantium-endowed mutant killing-machine, Wolverine has lead quite the chaotic cinematic life. Having fought two world wars, escaped mutant extinction, and slept through his own Origins story, Wolverine now finds himself in Japan and he’s as furious as ever. It’s just as well then that MARCO BELTRAMI has produced a score that is an exercise in near perpetual anger, intensity, and intimidation.
THE WOLVERINE is a divisive score, there can be no doubt of that. Aside from a brief respite towards the score’s conclusion, this score is a long, dark labyrinth of rage. It’s certainly not a score for everyone, but those who find themselves comforted by such imposing orchestral outbursts will certainly be able to find something worth enduring....
Emotional Depth...Charges Review by Richard Buxton
Despite ticking all of the modern day TV drama boxes and applying them to an unfamiliar, intense, and thrilling high-concept premise and setting, ABC’s LAST RESORT only lasted a single season in today’s cutthroat television industry. The singular single season follows the crew of the USS Colorado - declared enemies of their own nation after defying orders to launch a nuclear attack on Pakistan - as they struggle to uncover a government conspiracy while fighting for their lives and justice on an island in the middle of the Indian Ocean.
Scored by prolific television composer ROBERT DUNCAN (CASTLE, THE UNIT, BUFFY), LAST RESORT meets all of the requirements one could set for a military conspiracy drama. The score could quite easily be mistaken for a major Hollywood film production...
“(GUSTAVO) SANTAOLALLA’S score never crosses the line set by the game’s narrative, rather it acknowledges it and delivers an understated musical experience that seamlessly fits into a story of humanity’s most potent instinct - survival.”
Revelation Online Composed by Neal Acree Review by Richard Buxton
If there were any doubts that ACREE, going into his first solo game project, could replicate the wondrous nature of the WoW scores, they have most certainly been vanquished. REVELATION is vibrant, seductive, and bursting with color, making it an absolute must-have, and one of 2015’s greatest scores yet.
For part 2 of of this Marvel Phase 3 discussion, Kristen Romanelli (Film Score Monthly), David Kociemba, Wendell Jones (Sideshow Sound Radio) finish out with Christopher Coleman and Richard Buxton on Captain Marvel, Inhumans and Avengers: Infinity War Parts 1 and 2.
"HENRY JACKMAN’s score, on the surface, might be mistaken to be just another faithful member of the modern-action-score-society, but is actually much more. Subverting cursory investigations and expectations, Jackman’s score stealthily contributes to shaping our view of the ever-patriotic Captain, now wrapped in the paranoia of the modern political landscape, while at the same time blatantly calls our attention to the unnatural, forceful lengths some will go to apply their ideologies to the masses."
The 1990s was a great decade for film music. Just mentioning names such as Batman Returns, Braveheart, Jurassic Park, Last of the Mohicans, The Lion King, The Matrix, The Piano, Star Wars Episode I, Terminator 2 and Titanic will stir great memories for many of us.
However, this top 10 is designed to help you discover just a small fraction of ‘hidden gems’ from the 1990s. These scores aren’t necessarily the best from that decade – but they’re still great scores that have often been overlooked. They’ve been picked to help you find something that you might not have thought of tracking down before.The 1990s was a great decade for film music. Just mentioning names such as Batman Returns, Braveheart, Jurassic Park, Last of the Mohicans, The Lion King, The Matrix, The Piano, Star Wars Episode I, Terminator 2 and Titanic will stir great memories for many of us.
Hideo Kojima’s ‘Metal Gear Solid’ franchise is undoubtedly one of the most influential to ever hit gaming consoles. The legendary Solid Snake was infiltrating the lairs of supervillains long before the stealth action game was even recognised as a genre by the mainstream, and with the 1998 release of Metal Gear Solid on the Playstation, Kojima had changed the landscape of the action game forever. Combining state-of-the-art visuals and cutscenes, larger than life characters with the voice acting to match, intensely rewarding gameplay, and outstanding cinematic music, each Metal Gear Solid release has pushed the boundaries of what was thought possible.
With the recent release of ‘Metal Gear Solid V: Ground Zeroes’ and the launch of ‘The Phantom Pain’ slowly creeping ever closer, I’ve compiled a list of my top 10 tracks from my favourite series in gaming: Metal Gear Solid.
Here it is! Our 2013 Cue Award nominees! Check out all nominees in all 12 award categories and then cast your own vote in the Genius Choice Awards! http://cueawards.com
"Unwrapping the Truth" The X-Files was one of The Nineties most popular television series; running an impressive 9 seasons and 202 episodes. Underscoring all...
Erik Woods (Cinematic Sound Radio) and Kristen Romanelli (Film Score Monthly) continue their guest-visit to take a peek into the upcoming film scores of 2013. Find out who's tired of Howard Shore's Lord of the Rings-style music, who's not all that excited about the potential in John Williams score for The Book Theif (or Star Wars 7) and find out who thinks Gravity could be this year's Social Network.
Despite what the most virtuous amongst us might claim, vengeance is deep-rooted into the human psyche. Revenge is a theme that courses through the veins of film and television worldwide, from OLDBOY and I SAW THE DEVIL, to STRAW DOGS and GLADIATOR, there’s nothing quite like witnessing the exacting of long-sought cinematic vengeance. ABC’s REVENGE doesn’t quite explore the same degree of ruthless retribution as these films, foregoing the relentless brutality and instead acting as perhaps a more relatable tale of payback, as protagonist Emily Thorne seeks to avenge the framing, imprisonment and eventual murder of her father. Her quest for vengeance is scored by Czech-born, English-raised composer IZLER whose previous credits include the series SHAMELESS, and chilling thriller ON THE ICE.
The majority of the REVENGE score circulates around the show’s creeping main theme that appears with great frequency throughout. Pilot director Phillip Noyce’s modest request of IZLER to compose “the mother of all theme melodies” hasn't quite been met, but the simplistic theme does enough to set the nerves on edge. It’s a theme that could potentially have been used more effectively if it were utilized as a sub-theme, with a motif expressing greater catharsis taking the role as the show’s primary theme. As it is, the main theme - first heard in “Mortal Vindication - Revenge Main Theme” (1) - sets the tone well enough, but doesn’t quite deliver on the intrigue and suspense that it creates....
Polythemeous Special Extended Review by Edmund Meinerts
The first adaptation of a PERCY JACKSON novel was inauspiciously released in January, performed decently but unspectacularly at the box office and was met with critical indifference; a typical sort of second-tier blockbuster that you wouldn’t really expect to generate sequels. Well, somewhat surprisingly, it has (in fairness, it deserves it more than the awful and decidedly sequelless ERAGON or THE GOLDEN COMPASS films) in the form of SEA OF MONSTERS, and it’s even been upgraded to a summer release (the modest box office and indifferent reviews seem to have stuck, though). Out with the first film’s director Chris Columbus went the first film’s composer, comedy veteran CHRISTOPHE BECK, whose robust fantasy score still towers above anything else in his career in terms of orchestral scope and ambition. Ordinarily, the “composer rotating door” effect is a lamentable phenomenon considering how it prevents a franchise’s music from retaining any form of continuity, and has recently plagued the X-MEN and HARRY POTTER series, not to mention the Marvel superhero films.
In this case, however, new director Thor Freudenthal (with a name like that, it seems he’s making a movie about the wrong set of myths) had a pleasant surprise in store to replace BECK: up-and-coming Canadian composer ANDREW LOCKINGTON, whose highly impressive track record in the children’s adventure-fantasy arena made him an ideal choice for this assignment. And once again, he provides everything you would expect to hear in the score to a film like this: a large-scale orchestral and choral foundation, a solid thematic base and plenty of dynamic action cues to drive the pace along....
Director Ron Maxwell seems to have a thing for making a Civil War movie every decade; after 1993’s GETTYSBURG and 2003’s GODS AND GENERALS we have 2013’s COPPERHEAD (though no direct sequel this time). Musically, Maxwell has relied on broad thematic scores from RANDY EDELMAN and JOHN FRIZZELL, the latter in particular the surprising highlight of a career otherwise dominated by mundane horror efforts. For COPPERHEAD, Maxwell turned to little-known, classically-trained French composer LAURENT EYQUEM, who has followed suit with an impressive score with an emphasis on melody, emotion and beauty....
If there’s any category of media about which it could be said that they practically guarantee outstanding musical accompaniment, then it would be the nature documentary – especially those saddled with the esteemed name of David Attenborough. For film music fans, the other name that will immediately come to mind is that of GEORGE FENTON, who has produced a wealth of excellent music for such titles as DEEP BLUE and PLANET EARTH. The composer for 2013’s AFRICA, however, is SARAH CLASS, herself no stranger to Attenborough productions, and though her music doesn’t quite achieve the same sweeping memorability as FENTON’S, it is still a highly varied, impressive and very listenable album.
To get content containing either thought or leadership enter:
To get content containing both thought and leadership enter:
To get content containing the expression thought leadership enter:
You can enter several keywords and you can refine them whenever you want. Our suggestion engine uses more signals but entering a few keywords here will rapidly give you great content to curate.
Your new post is loading...
![[Review] The Last of Us (Soundtrack) by Gustavo Santaolalla | Tracksounds | Soundtrack | Scoop.it](https://img.scoop.it/e_6yBsor9zjsrmu0W9Miujl72eJkfbmt4t8yenImKBVvK0kTmF0xjctABnaLJIm9)
