• Christopher Lennertz – BACK IN ACTION
* Hannes De Maeyer – THE COUPLE NEXT DOOR
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BACK IN ACTION IS a 2025 American action-comedy film directed by Seth Gordon from a script he co-wrote with Brendan O’Brien. The film stars Jamie Foxx, Cameron Diaz, Andrew Scott, Jamie Demetriou, Kyle Chandler, Fola Evans-Akingbola, and Glenn Close. The film was released by Netflix on January 17, 2025. Composer Christopher Lennertz provides an epic action score including dueling solo cello with Ro Rowan and Cam Stone, along with performances from American Idol’s We’ Ani (mouth percussion and vocals). Plot: CIA NOC operatives Matt and his pregnant fiancée Emily are tasked by their superior and friend, Chuck, to obtain the key called the Industrial Control Systems (ICS) – a device that can control any electronic system. They must get it from the Polish KGB agent-turned terrorist Balthazzar Gor during his children's grandiose birthday party. Fifteen years after vanishing from the CIA to start a family, elite spies Matt and Emily jump back into the world of espionage when their cover is blown.
Q: You’ve scored, I believe, four films for Seth Gordon so far, including BACK IN ACTION. What can you tell me about getting into the film, and what were your initial communications with Seth about this one?
Christoper Lennertz: Yeah, I’ve done four films with Seth, and it’s been a great collaboration because I feel each one has a different identity, which has been really fun. But this was different, I think, for Seth and me because he wanted this to be an action and espionage score. While there’s definitely comedy and family elements to it, ninety-five percent of the score plays everything straight. They are in peril, they in tension, even when the kids are involved, it’s an international heist-mystery-intrigue thing, so for me, it was really fun, and I think Seth had a lot of fun with it because of that because he wanted it to go to big. Still, he also wanted it to have these elements of intrigue – especially since we were in Europe, we had dueling celli with two cello soloists, with one playing the left and one playing to the right a lot of time in the score with very, sort-of, looping classical/neo-classical Steve Reich kind of vibes within the context of a big orchestral action score.
So, I think that was part of it, and I think the other thing that was really different was that this was the first time that it’s been a movie that Seth’s written. He and Brendan O’Brien co-wrote the script, so I think this movie was probably closer to his heart and his instincts, whereas the other three films I’d directed that I scored were someone else’s story he was telling. That’s awesome two, but I think, for him, that this was more his kind of movie, which was a bit more serious and had higher stakes than all of the other ones. It was really fun to do that, and I don’t get asked to do movies often to do that – to write giant action music, whereas on videogames and on TV I do all the time, with LOST IN SPACE and THE BOYS and MASS EFFECT and things like that. But I don’t get asked to do that in movies a lot; I get a lot of comedies, so it was really fun to let loose with a big orchestra and huge percussion and some real, meaty, big muscular kind of stuff. It was a blast!
Q: This film was a massive undertaking for all departments, the music department notwithstanding. What was your starting point with the score, and where did you begin to develop your score?
Christopher Lennertz: Luckily, because it was Seth, I got a call early on, so I was on the film right before he started shooting, really. I had seen and read the script; I saw an early cue right after he returned from shooting. After the initial shoot, we went on hiatus for a while, and what it did, while Jamie was recovering from his injury, it gave Seth and I a chance to really play with the concepts of the dueling cello and using a female voice for percussion, and how much we were going to mix what kinds of synths and what kinds of non-traditional instruments, like dulcimers that were brought in to represent the some of the bad guys and things like that. We could do that and spend a couple of months going through that and delving into themes. We have a bass motive that comes back a lot, two of them working as a team, and then we have a heroic spy motive that is supposed to be in the world of what everyone loves about classic espionage; it’s sort of our own version of that, and that took a bunch of iterations to get to something that Seth wanted, something that would be recognizable and something that we could play the first five-or-six notes of, even in the shorted bits to make sure that it comes through between moments to let everyone know what ride they were still on. That was part of it, and it was nice to have that time.
Q: There are also several pop songs throughout the score courtesy of the music department. How did you place your score along with the pop tunes and keep them out of each other’s way as they raced across the storyline?
Christopher Lennertz: Julia Michaels, who is one of my favorite people in the world and is our music supervisor, and Seth very much had an idea of what he loves in terms of source music as well, and one of the things he loves is playing some of the fights with the classic, big-band jazz, crooner stuff, that was very much a counter to seriousness. One of the big things that allowed us to do, and the questions it forced us to answer, were: when do we go from this is fun, and these people love what they do, so this is dangerous, and their lives are at stake? The best example of that, I think, was this big plane sequence at the beginning, where the fight started with them just kicking ass, and they were in control, even though there was the chance that there could be a problem… they were professionals, and they were the best at their jobs. So, as they were working as a team, Seth wanted it to feel like these were the two best spies that you could possibly imagine. So that all worked, and the whole time we were trying, like, we play against type, against the fact that there was action and punches and gunshots and things, and it wasn’t until the shot that actually killed the pilot and went through the front window and depressurized the plane, it was when the plane was going to start down where he goes “that’s where we want to go serious! That’s where we want the score to come in, and so very much he did say I don’t want the fight parts of the score where there are life-and-death stakes, I don’t want that to play light. We’ll have the source music play light, and then we’ll find the right time to hand it off and go from calm to severe. And we did the same thing later in the show with James Brown. That’s different from the other sources, where the source was played more for current comedy and silliness with the kids. I thought that was effective and that I just had to stay out of the way and come back in when needed. That was when they did Salt-N-Pepa and all that kind of stuff. It was very much Seth’s brainchild, and he knows what he wants. It was also to figure out where we go from one thing to the next.
Q: You brought in the Royal Scottish National Orchestra to perform the score. The orchestra’s individual players have tremendous sounds and fantastic power and depth throughout…
Christopher Lennertz: I’ve been lucky enough in the last to do three projects with the orchestra in Scotland, and they’re just magnificent. It was getting to the point where it was so busy in London that you couldn’t get into a studio. There’s only Abbey Road and Air, and everyone knew that Abbey Road would be closed for about a year right now because they’re redoing that room. So the people in charge in Scotland, a few years ago, built a purpose-driven recording and rehearsal studio right next to their concert hall, and it’s giant. It’s as big as Abbey Road 1, and it’s a beautiful, beautiful hall, and so many of the players in the UK are so spectacularly talented on top of their game. I think that’s important, but one of the things that I especially love about recording in London and Scotland is that I will record with an actual orchestra that plays with each other all the time. That’s something I’ve noticed that makes it a little easier to balance the orchestra and get the kinds of power and things that I needed quickly, which is really helpful. Scotland has a rich musical history, and they play classical music on weekends. So the fact that Seth wanted this score to sound somewhat classically inspired, even the last big action chase when they’re on the boat, there’s actually a counterpoint fugue with the high violins while the big French horns are playing their sort of heroic melody, and that’s the kind of thing we decided on at the beginning, that because we were in a really smart, action intrigue movie that’s all over London, and taking place in the highest levels of government and MI6 and all that stuff, is we wanted to play it with that sense of intrigue and intelligence that little bits of classical would really make a lot of sense like that, so having a lot of counterpoint things going on in our ostinatos and our motives were part of that idea to make it feel like it was classically inspired. That’s something like this orchestra, the RSNO, that’s in their back pocket, that’s what they do for their full-time job. So, it was great to go back and work with them again.
Q: The next scene shows us “The Bakers” several years later, as a suburban couple scored by what I assume is music by cellists Ro Rowan and Cam Stone and singers Wé Ani. Can you tell me how their music was used in scenes like this and how you came to bring them on board the project?
Christopher Lennertz: What we wanted to do… Seth wanted to make sure that we had sounds for our lead instruments, especially in the quieter, bubbling espionage and spy stuff, that felt unique to our score and had a bit of personality and grittiness. We discussed it at the beginning, like what John Barry used to do with a twanging guitar in the ’60s. It came from that, so what are some things we can play with that could be modern-day equivalents of that but still in the classical world and give ourselves an organic quality to it? One of the things Seth had found some solo cello pieces early on that he had shown me. He said, “I love the sound of a steady pizzicato cello.” So I said, what if we take the idea of that? We have it be two cellos, and we have them doing things in a minimalist way that loop over the top of each other, subconsciously giving the idea of a plan in motion, whether it be a big heist or a deal for this hard drive. So, that was something we wanted to do with that.
And then the idea with Wé Ani, who was our singers, we wanted them to sing the melody of the show, which they do, in a couple of key moments, including that big last action scene. Still, we also wanted to use a human element for percussion in some of those smaller scenes with the family. And the two of them both did an amazing job of bringing in percussion that it takes your ear once or twice to realize, oh, that’s not a sample, that’s a person somewhat in a Bobby McFerrin way, so you’ve got like chest percussion, where they’re doing an electronic kick-drum kind of a sound. Those are the kind of things that Seth really responded to because he’s like, “Oh! I get it! It feels like a drum machine kick, but it’s not a sample because your brain realizes it’s not the same every time. It’s actually because it made my someone’s mouth and chest and even their diaphragm that it gives you a sense of humanity and a sense of warmth that I think led him to feel like we’re attaching it to the family.” We were doing something that made it feel like parents who cared about their kids, who were worried about their kids who get kidnapped eventually. So, I think the idea of bringing humanity into our percussion is in a world where usually the percussion is very economical and doesn’t have all the human factors we would love it to have sometimes. So, I think this was a way to keep the warmth of humanity and the family and make it feel like that. And I think also there’s a little bit of it that felt like the kids, it’s something they would hear in their headphones as something like little vocal qualities that feel a little more contemporary, a little more pop-inspired, and I think that was really important to us, too, because we have two teenagers as two of our main characters. I think that was important.
Q: Hell of a Call” is an ominous composition that seems to seethe with menace and is laced with danger in the baker’s home…
Christopher Lennertz: That one, there was this piece that I wrote, sometimes it’s dueling celli, and sometimes it’s dueling complete string section, where it’s a piece that in three, in triple meter, so you count one-to-three, one-to-three, almost like it’s a waltz or something like that, but then the counterpoint to it is actually in four. So, they go against each other, so the notes don’t line up. One of the things that Seth gravitated towards was the way that it felt like our team, which is Cameron and Jamie, link up with Baron [Andrew Scott] and MI6, and eventually Chuck [Kyle Chandler], and they get little glimpses of things that start making sense. Clues begin to line up in place, almost like cogs in a wheel, and then sometimes, they’re out of place and can’t quite figure it out. As the movie goes along, things get faster. More of the notes started to fall into place, which he felt was great in making us think that we were on this rollercoaster ride of the show. Still, it was great because you could put long, big, nasty bass notes in instruments like cimbasso and low-low trombones and things like that underneath it can, like you said, give this menace like – you know what? If this thing falls into the wrong hands, they could literally flood London, flood Paris, and it could be massive destruction and massive power shifts. So, Seth wanted to make sure that, even though we were very intimate with our four leads, we needed to keep reminding ourselves that even though there’s this ticking clock. These cogs are slowly revealing themselves; underneath them, we must know there’s a danger for giant cities and major centers worldwide. I think there was a way to do that on top of each other, and that cue was a really great example.
Q: “Mom Daughter Talk” is a tender cue for piano and soft orchestra, as the kids don’t understand what’s going on…
Christopher Lennertz: (grins). Yeah, it was really nice, too, also because a lot of time in Seth’s early movies, they were more comedic, so we didn’t always half the emotion and the heart; I think we had it at the end of IDENTIFY THIEF, but we weren’t there for long. But there’s something different about having a movie with a solid parent-and-kid relationship where the kids are in trouble. The parents are in trouble at times, and to know that the parents, everything they’re doing, when they’re back in action, back in this business, if not for ego, is not for that they used to do it for, it’s now for the kids. I think the big difference is that, when Seth and I first started working together, we had just been born – our first kids – and so now we have kids who are late high school. I have another one, so both of us are dads, and we have families that we love. I think some of that shows through, and to be able to write some pieces for this in between these big action moments that feel, to me, like I wrote it as if I was worried about my kid, and I was trying to let them know what was really going on and how much we loved them but how much danger we’re in. That was really where it came from. Coming from a world where I studied with Elmer Bernstein in college, I wanted to get a chance to write some heart-wrenching stuff like somebody like Elmer would write to counteract the visceral, muscular world of what action music was doing. I think that’s another excellent testament to Seth’s script that he included and made feel real and authentic, and made their love for their kids feel like anyone with a family or a loved one could relate to it. And so, that was where that piece came from, for me, and it was lovely to write that with a solo French horn and some beautiful things like that. It was a treat!
Q: “Cycle Chase” powerfully sums up heavy action and danger as the family is changed across the London Thames and the Thames Barrier…
Christopher Lennertz: That one’s probably one of my favorite cues in the movie because it’s such an unrelenting thing. I think everybody loves to score a car chase, but a motorcycle chase that leads into a boat chase feels really like James Bond! I’ve done a lot of movies where there’s, like, one thing, but where there’s one three-minute piece that goes from foot-to-cycle-with-flips-on-the-motorcycle – Cameron clips over the motorcycle and the next thing I know she’s jumping on the boat and going back to save him, so there’s this super-fast motor-boat on the Themes… being a non-English-man, it’s probably the closest I’ll ever get to scoring an actual James Bond movie! I’ve scored some James Bond video games, but I’m not sure they’ll allow me to score a big James Bond film, which would be like a dream to me, so doing that this way was great! The other thing that was really fun about this one is that I really got to lean back into what I really considered the action music techniques that I really loved when I first fell in love with film music, which was a lot of stuff in 7/8, a lot of stuff in off meters. It’s the kind of music that made me a wall in life with action scoring. It’s Basil Poledouris, Jerry at his most remarkable, and the other cool thing was that I started the main pulse. Instead of using a steady percussion instrument to do our steady pulse at the beginning of the thing, I used a struck dulcimer, and that was because our bad guys are from Eastern Europe, where they use a lot of dulcimers. Early on, I decided we wanted to incorporate that, so I just beat the living daylights out of a dulcimer with a huge mallet! It shook, and it was out of tune, and I based the rest of this action thing around that pulse. That was really fun to go; again, I think it’s something that Jerry might have done a lot in the old days, so it was really cool to do a modern take on that.
Q: This film was a massive undertaking for all departments, the music department notwithstanding. What was your starting point with the score, and where did you begin to develop your score?
Christopher Lennertz: It was nice to wrap up the family element. The daughter goes back and scores the winning goal. At the same time, the whole family watches the soccer match, and that was really great to be able to do – first of all, a big, heroic, victorious moment using our theme there and then also with piano doing a nice wrap-up where we do hear their full theme as a family, but instead of French horns like we heard it ten minutes earlier, we’re hearing it was a beautiful piano theme. I think that’s kind of nice, as a dad, to be able to wrap that up and say he, we saved our kids! And yeah, there’s a little coda at the end, which is great because, obviously, I think everyone wants a sequel, and we set that up as a little bit of a twist at the end, which hopefully may lead us to more of the story! And it’s still number one on Netflix, which is great – and we’re hoping that allows for the sequel!
Thanks to Sam DeFrank and Ray Costa of Costa Communications for facilitating this interview!
THE COUPLE NEXT DOOR, the psychological thriller series from Starz, tells the story of a young couple that develops a fast friendship with their new neighbors when they move to a quaint and quiet suburb, but the relationship soon takes some unexpected and sinister turns. This dichotomy between the idyllic and the ominous acted as the main inspiration for composer Hannes De Maeyer’s score for the series. “Something beautiful on the outside, but on the inside, there’s a lot of weirdness going on,” De Maeyer says of the music. The music starts off quietly and more straightforward, illustrating the ideal quality of the couple’s new neighborhood and morphs into something a little more dangerous, if not sexier. To achieve this, he utilized various techniques and instruments played in unconventional ways, including acoustic guitar played both the traditional way, and also played with a violin bow, to create a more unexpected rattling sound. Also incorporated were a range of sampled voices, sometimes with a professional singer, and other times with De Maeyer’s own wife, whose voice he describes kindly as “imperfect”, but the quality was intentional for the mood he wanted to capture. In this third collaboration with director Dries Vos, De Maeyer describes the score as completely different in sound from their previous projects, which included Belgian series PROFESSOR T and WOMEN OF THE NIGHT. He says that Vos had some specific ideas for what he wanted, namely the distorted weirdness and the use of abstracted voices, but he also says that Vos trusted him in a way that allowed him to feel free and unconstrained to take risks and give the compositions the right feel that worked for both of them.
Q: What brought you into film scoring?
Hannes De Maeyer: One of the first memories that I had regarding film music – I’m an ’80s kid, born in the ’80s – was THE LITTLE MERMAID, by Alan Menken, and I was obsessed with the music and how that translated into the story. From that day, I was a huge Disney fan, and I still am! That was the first spark, and that music touched me in levels I hadn’t known! I have always been interested in movie music. And then the LORD OF THE RINGS came about, significantly impacting me as a teenager. One of the first things I did was go to music school to learn music, which was my way in. Then, as many composers do, they start with beginning directors making short films. In one of the short movies, I became a producer, bringing me to the next phase; he introduced me to other colleagues and people who heard my music.
Q: Tell me about THE COUPLE NEXT DOOR, a psychological thriller. What were your original conversations with De Maeyer, the director of that project?
Hannes De Maeyer: He told me in two words – that was his main focus or his way of describing it, which was a “feverish dream.” What he meant by that was the feverish part, not only in the music but in the images; it needs to feel warm and feel the tension you have between the characters. Is it a dream, or is it real? I needed to feel the music again and the seriousness. Is it happening? Is something always a little bit off? That may be a better way to describe it. Also, regarding the music, there’s also something off with the music, meaning sometimes I do weird chords, and also, sound-wise, I always mangle and distort the sounds or make them my own, and I’d also use my own voices, but he left it to me about how I incorporated it. There’s something special about the voices; I always, and sometimes, use them as a synth, or I record something with a singer and then make an instrument of it. That was an interesting way of exploring the sounds.
Q: What were some of those initial ideas for those “abstract and weirdly distorted” sounds that he had in mind when you came on board?
Hannes De Maeyer: One of my first ideas was to use a vocal synth. It was not something I recorded, but I was trying to find a sound in my libraries that had, as a base, something acoustic, but it sounded far away, like a distant voice. You could play it, and it gave me something weird about it. That was one of the first sparks that I had on this project. And then I used a violin bow to play the guitar – it was an out-of-tune guitar, the strings were rattling and not good for normal play, but it was perfect for what I wanted to do! That gave me some exciting sounds, sometimes eerie and imperfect, which worked well for this.
Q: What were your first thoughts when writing its music, and how did you come to achieve the distinct musical moods that the director wanted?
…. Sometimes the repetitive nature of the sounds, or the music, sounded like it could get you into a mantra, which the director liked, and also created a build-up. This was the first time I worked with Dries Vos, and he enjoyed music that starts quite small and then grows. That repetitiveness helps get that repetitive nature, and then you add something new. On this show, I loved to mangle the sounds, twist them, and bang them. That was one of the first things I wanted to achieve.
Q: Have you scored horror films before?
Hannes De Maeyer: Actually, not! This was the darkest film I’d ever gotten to do! I did enjoy exploring that territory of the musical spectrum for the first time. I’ve been lucky to do many broad things, going from pure orchestral to pure electronics with beats and everything in between. That’s what I like about being a film composer! You can always be someone else in a musical world and explore that musical fabric of the movie or the series. And that was fun because it was like a side of the music or a soundtrack that I hadn’t touched on before.
Q: What were your instrumental inclinations when you began scoring this film? What instruments and techniques did you employ as the neighbors become more sinister in the story…?
Hannes De Maeyer: As well as the neighbors getting more complicated, so to speak, but something really important, which was an idea of the director, in episode three, there is a big, pivotal moment of the series – an intimate moment between the two couples, and we decided, before that point, to never use a string ensemble in the music. It’s natural to do that as a composer, but we stayed away until everything shifted in the series. With that, he also wanted a shift in the music, not to abandon the sound with it; it still continues, but from that point on, I added slightly to the texture of the series. Also, because of the strings, you could get a little more emotional, heartfelt, and complex musically. The first time I used the strings was when they had the first intimate scene together – also, the build-up to that scene was not with strings, but all of a sudden, it’s almost purely strings. The track on the album was “I Really Want You,” and the track before it was “Take A Good Look,” which has the build-up to that scene, and then you have the “I Really Want You” track, which is complete the first time you hear the strings.
Q: What – or who – were you brought in to play specific instruments and/or vocal elements that you brought into the score to create “imperfect” voicings?
Hannes De Maeyer: The strings were recorded in Budapest, Hungary, with the East Connection Budapest, a recording orchestra I have used for a long time. I know them really well, and they’re an amazing orchestra. Then we also had something particular: the voices I’ve used. I recorded with a singer from Belgium, her name is Billie Leyers. I not only asked her to sing the notes and the melodies, but I also asked her to sing some soundscapes or weird noises with her voice, which was not the usual way of singing. So she devised many things, like moaning and eerie, soft woah-woahhah-woahhah, and hah! hah! sounds. Then, I turned it into a granular synthesis, slowing it down with effects to stretch the sound out. It sounded like a stuttering breath effect. I also used that effect to end scenes or episodes with tension or yawning sounds and the strange chemistry between the characters. I almost never use a voice as a voice. I always did something with it, like putting in some plug-ins or stretching it. For example, in the opening scene of the series, the track is called “Running Into The Woods,” and it was one of the first tracks I wrote when I received the images. I didn’t have a singer here, so I initially sang it for the female choir. I thought I’d have to replace it with a woman, but then I put in a low filter so all the highs were off, and it sounded a bit darker with lots of reverb, which gave it a haunting sound. Also, on that track, we have a repetitive, low-dark mantra, getting into the percussion and the weird synth. It all adds up to those special sounds. There are also a lot of dream sequences in the series, and what I wanted to do with that – again, nothing is what it seems. Sometimes, you hear a voice singing or a guitar playing; sometimes, it’s real, but there are places where I use sample guitars or sampled vocals, which are never perfect, but that is the intention. You can trick your audience into thinking something in the music is wrong! Of course, it’s not always the sound; it’s how I interpret the melody or the force I use in the samples. It was also fun to know that my wife was also on the soundtrack, which was a little fun for me. She has a fantastic voice, but she’s not a professional singer. That was perfect for this show because I’m always looking for that imperfection or something that is off and fits really nicely into the soundtrack.
Q: How would you describe your musical textures for the first series’ climax – and how did you achieve the film’s culmination?
Hannes De Maeyer:I used a theme for the two couples when they take a weekend getaway together at a spa. The track is “Spa Arrival.” At that point, the story is nice; they’re all friends, and they’re going to the spa, so I created a tune for that scene, which is whistled. Then, I used that theme at the end; it’s a little strange, but I used it differently. The happy tune is when things are very nice, and not everything falls apart. We see the characters mostly in slow-motion, and that theme needed to be something really big, building up into broad-sounding measures, and things are not okay. It’s a theme I used before but in a completely different setting.
Q: Is there anything you can say about your music for the film’s second series – or anything else you would like to add about THE COUPLE NEXT DOOR?
Hannes De Maeyer: The only thing I can say about the second series is that I am excited about two things. Having a second series that doesn’t use the same characters is a bold move! The second series occurs in the same streets where these characters live, but you follow other characters, which is an interesting move! It’s also refreshing and interesting! On the other hand, I’m looking forward to the same atmosphere – obviously, I’ll have to make new themes. Still, I think I can use some of the musical fabric I did for the first series, so I’m looking forward to exploring that world a little more and seeing how I can use some of the themes and the musical snippets I created in the first series. I can use them in a longer and more developed way for the second series.
Q: I wanted to ask you about PROFESSOR T, a long-running crime comedy series in Belgium, which looks very interesting.
Hannes De Maeyer: Oh, yeh. Where can I start? PROFESSOR T has been so long in my life because I also scored the British PROFESSOR T series, the English remake. It was originally a series in Belgium, so I’ve been waiting a long time for that project! The British version with Ben Miller is fantastic; he plays it so interestingly and has many different layers. Music-wise, it’s a dream for a composer! The brief was that it could have a bit of that retro-feeling, a little bit of jazzy vibes, and there’s a lot of humor in the series – or scenes that can be funny that I can enhance that with the music, which is really, really fun! Also, the retro-scoring strings let me go all places, which is amazing for a composer!
Q: What is coming up next for you? Can you talk about it?
Hannes De Maeyer: I had a hectic year, so many projects and soundtracks are coming up. For example, this year’s PATIENCE, a TV series that I composed for UK Channel 4, and the feature film by the directors of the BAD BOYs action-comedy movies, Adil El Arbi and Bilall Fallah, I’ve been working for a long time. Hence, PATSERS, their new feature, opens in Belgium but will also be available on AMAZON in a few months. So, I’m also excited to share those with you and your readers!
Special thanks to Sarah Roche, Jr. Publicist, White Bear PR
THE DARK CRYSTAL/Trevor Jones/La-La Land Records - CD
La-La Land Records and The Jim Henson Company present an expanded 3-CD soundtrack set of renowned composer Trevor Jones’ (CLIFFHANGER) original motion picture score to the 1982 landmark fantasy feature film THE DARK CRYSTAL, directed by Jim Henson and Frank Oz. THE DARK CRYSTAL was a boundary-exploding feat of puppetry and cinema. It re-invented what was previously thought possible and resulted in a breathtaking achievement of immersive world-building that retains its power and wonder. A vital part of this endeavor’s success is composer Trevor Jones’ outstanding original music score – a tremendous accomplishment that has also stood the test of time. For the first time ever, this deluxe 3-CD release, conceived, assembled, and produced by Trevor Jones himself, features the bounty of music the maestro composed for the initial, longer cut of THE DARK CRYSTAL in its original intended order. Copies of the master tapes recorded at CTS Wembley were digitized along with the composer’s entire body of work, now archived at the University of Leeds. Jones personally reassembled and remastered the audio at Abbey Road for this special presentation. Produced by Trevor Jones and Tim Greiving and mastered by Andrew Walter under the composer’s sole supervision and approval, this release includes a wealth of previously unreleased music within its newly expanded score soundtrack presentation, spread across two discs. In contrast, the original 1982 soundtrack program is featured on Disc 3. Limited to 5000 units, this deluxe set includes a 32-page booklet containing exclusive, in-depth liner notes by Greiving (featuring new interviews with Trevor Jones and Frank Oz) and rare artwork and photos from the Henson Archive. The sharp art design is by Dan Goldwasser. See La-La Land Records
THE CROW GIRL/Adam Price/MovieScore Media – Spotify - digital
The original television soundtrack, THE CROW GIRL, was composed by Adam Price. It is the original score from the 2025 crime mystery television series directed by Charles Martin and Rebecca Rycroft, starring Eve Myles, Katherine Kelly, and Clara Rugaard. The series was produced by Buccaneer Media and released by Paramount+. THE STORY: DCI Jeanette Kilburn and eminent psychotherapist Dr. Sophia Craven join forces to hunt the killer of young men. The investigation takes Jeanette and Sophia into a dangerous world of historical abuse and murder. THE SCORE: “Reading Erik Axl Sund’s novel, The Crow Girl, allowed me to experiment musically before engaging with any aspect of the series itself. The theme of ‘loss of innocence’ emerged early on, and I explored it musically. We began using the voice, the most visceral, raw way we can express ourselves. The concept of using ‘frozen voice’ felt particularly symbolic, too, and transforming the voice into something less familiar quickly became a key element of our sonic palette. This led us to use the nursery rhyme ‘Hush Little Baby’, where we embraced the chilling subtext often hidden in plain sight within such seemingly innocent songs. In all its various contortions, this main theme became a useful thread throughout all six episodes. Amongst the mysteries and the unknowns, there is a clear, unwavering sense of heart and determination in many of the characters and their stories. Directors Charles and Rebecca emphasized the importance of capturing this emotional core in the music whilst remaining grounded in the brutal, uncompromising world of The Crow Girl. And, of course, there was Slash. His iconic guitar sound elevated the soundtrack to heights we could never have imagined. You hear his unmistakable, raucous sound in the very first shot – an earthy descending guitar slide that mirrors the visuals; a somewhat musical deep dive into the pits of hell.”
– Adam Price
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Three Albums From JOHN BARRY/Quartet Records – CD
In collaboration with Universal Music Enterprises, Quartet Records presents a 3-CD box set consisting of the three legendary albums that John Barry recorded for Polydor Records between 1972 and 1976, as well as some singles and curiosities. These beautifully designed albums contain some of the composer’s best-known themes, newly arranged and performed, and – in the case of AMERICANS – an original musical work for jazz soloists and orchestra. Ahead of his first public appearance conducting a symphony concert in October 1972, John Barry prepared a series of suites from some of his most successful triumphs in a lavish and new symphonic orchestration, specially arranged to be performed by the Royal Philharmonic Orchestra under his baton. An extensive James Bond suite, a delightful suite from ALICE’S ADVENTURES IN WONDERLAND, the themes from MIDNIGHT COWBOY and MARY, QUEEN OF SCOTS, the theme from the TV series THE ADVENTURER, and two suites from his two Oscar-winning scores of the 1960s: BORN FREE and THE LION IN WINTER. For unknown reasons, the suite from THE LION IN WINTER was omitted from the original LP, but since it was recorded and included on the master tape, we happily premiered it on this CD. John Barry’s next album, PLAY IT AGAIN, was recorded during several sessions over an entire year beginning in July 1973. Most of these would be recorded with a smaller orchestra, and many would be newly conceived arrangements. Barry took the chance to revisit some pieces that were initially created as songs, featuring new instrumental arrangements: THE DOVE, THE TAMARIND SEED, MONTE WALSH, as well as songs from his stage musicals LOLITA, MY LOVE, and BILLY. He also provided new arrangements of major works such as WALKABOUT, BOOM!, and previously unreleased themes from TV films such as LOVE AMONG THE RUINS and THE GLASS MENAGERIE, as well as the theme from the TV series ORSON WELLES’ GREAT MYSTERIES. During the same period, Barry recorded other similar arrangements for Polydor, which were either released as singles or included on later compilations and reissues of PLAY IT AGAIN, such as A DOLL’S HOUSE, THE WHISPERERS, FOLLOW ME, and different arrangements of his iconic themes for DIAMONDS ARE FOREVER and THE ADVENTURER.
The last album in this collection is perhaps the most special: his first concept album. AMERICANS, released in 1976, was a 36-minute compilation of impressions of the sights and sounds of America, written for orchestra and top jazz musicians. It was an ambitious work rooted in the composer’s love of jazz, American movies, and the country itself. Barry recruited seven outstanding West Coast jazz soloists: Tony Terran, trumpet; Dick Nash, trombone; Ronnie Lang, alto sax; Jerome Richardson, tenor sax; Artie Kane, keyboards; Mike Rubin, bass; and John Guerin, drums. Israel Baker was concertmaster of the 42-piece orchestra, recorded over three days at Glen Glenn Sound on the Paramount Pictures lot. With little promotion and almost no reviews, Americans disappeared quickly from record bins and became a sought-after rarity. However, for John Barry, who many years later called it “a thrilling experience,” it was an important artistic achievement—and one of the finest orchestral jazz albums of the era. He would employ alto sax player Ronnie Lang frequently thereafter, especially on jazz-based 1980s scores, and in the late 1990s, Barry would revisit the concept album idea with his albums THE BEYONDNESS OF THINGS and ETERNAL ECHOES. The collection has been painstakingly produced and mastered by Chris Malone from original master tapes. The albums come in three separate jewel cases, housed—along with a separate 24-page booklet—in a handsome hardcover slipcase. Film music journalist and writer Jon Burlingame, a major Barry connoisseur, provides exclusive, in-depth liner notes.
RESURRECTION/Maurice Jarre/Intrada – CD
Intrada announces the premiere release of one of Maurice Jarre’s most requested and delightful scores: the Universal Pictures supernatural drama RESURRECTION (1980). The score is in pure Jarre tradition, composed for a full orchestra. But Jarre’s affinity for the American South also manifests in several ways: instrumentation (banjo, steel guitar, dulcimer, and especially harmonica are all on display); source music, such as the bluegrass number for the picnic scene; and underscore, all to reconnect our main protagonist to her rural roots. Jarre develops most of his score from four distinct melodies, all of which liner note writer John Takis analyzes in the album’s program notes. Listeners will be surprised by the wealth of music they haven’t heard before. Takis writes, “For all the thematic richness and emotional heft of Resurrection’s score, even listeners who have seen the film many times will have experienced a mere portion of what Jarre wrote and recorded. Much of his music was not used in the film, and other cues were either shortened or moved from their intended position.” Chris Malone produced and mastered this release and perfectly mixed the original 24-track sessions stored at Universal. This long overdue release of Jarre’s magnificent score, some 44 years after the film’s release, could not sound better. The dramatic film, directed by Daniel Petrie, stars Ellen Burstyn as Edna McCauley, a woman who undergoes a profound spiritual transformation after a near-death experience. Following a car accident, Edna discovers she has the ability to heal others, which leads her to grapple with her newfound gift and its implications. As she helps those in need, she faces skepticism, personal struggles, and moral dilemmas, ultimately seeking to understand the true meaning of her powers and her place in the world. The film explores themes of faith, healing, and the intersection of the physical and spiritual realms.See Intrada Records.
SISTERS: REMASTERED CD REISSUE/Bernard Herrmann/Music Box Records - CD
In collaboration with Edward R. Pressman Film Corporation, Music Box Records proudly follows their IFMCA award-winning release of Bernard Herrmann’s 1976 Oscar-nominated score, OBSESSION, by now going back to his collaboration, one that relaunched his career and boldly announced a new Master of Suspense. Almost forgotten when editor Paul Hirsch was inspired to use PSYCHO as temporary music, the collaboration between him, filmmaker Brian De Palma, and Herrmann showed how much diabolically inventive energy was left to his talent with 1973's SISTERS. Weathering the storm that the legendarily combustible musician brought to this tale of an innocent model and her possession by a seemingly dead twin (both played by Margot Kidder). The result of Herrmann’s outraged inspiration was one of his great, theme-filled scores. Particularly striking as it brought a new Moog electronic sensibility to join with his symphonic swings between romance and terror, Sisters once again brought the composer into the Hollywood eye while joltingly announcing the arrival of a stylistically fresh, homage-filled auteur of modern suspense cinema. With SISTERS’ complete scoring session elements proving lost after an exhaustive search in collaboration with the Edward R. Pressman Film Corporation, Music Box Records has painstakingly remastered the original CD edition to reprise its original album program with a knife-striking, bell-ringing orchestral malice that no mad doctor can rend asunder. Extensive liner notes by Daniel Schweiger feature a new interview with Paul Hirsch on the turbulent scoring process with Bernard Herrmann that brought an iconically thrilling legend back to Hollywood life. The CD release is limited to 1000 units. See Music Box Records
THE FLINT: TREASURE OF OBLIVION/Winifred Phillips/Pirate Game/Reelcrafter
Winifred Phillips won a Grammy Award for Best Score Soundtrack for Video Games for Wizardry: Proving Grounds of the Mad Overlord’! Congratulations Winifred! The soundtrack is a splendid swashbuckling pirate game – see my review of WIZARDRY in my May-June 2024 Soundtrax Episode
In the meantime, Winifred had created her new follow-up 2025 album, set in the Golden Age of Piracy! THE FLINT: TREASURE OF OBLIVION official soundtrack album is now available wherever music is sold, including the Apple Store, iTunes, Spotify, Amazon, and Bandcamp. Experience the Golden Age of Piracy through the strong and original story of what happened before the events of Robert Louis Stevenson’s beloved tale, TREASURE ISLAND! FLINT: TREASURE OF OBLIVION is a real-time exploration and turn-based tactical combat game combining exploration, strategy, and unique visual storytelling. Explore a magnificent world, from the French city of Saint-Malo to the exotic landscapes of Central America, as you witness how the infamous Captain Flint obtained his notorious treasure. THE FLINT: TREASURE OF OBLIVION will plunge players into the heart of an adventure where pirates, mysteries, and priceless treasures await.
Film & TV Music News
The Guild of Music Supervisors (“GMS”) are pleased to reveal the nominations of their 15th Annual Guild of Music Supervisors Awards. The ceremony honors outstanding achievements in the craft of Music Supervision in film, television, documentaries, advertising, trailers, and video games. The winners will be announced during their awards gala at The Wiltern Theatre in Los Angeles on Sunday, February 23rd, 2025. Performances and celebrity presenters will be revealed at a later date. TWISTERS and THE IDEA OF YOU lead this year’s contenders, earning two nominations each, recognizing music supervision and songwriting. Netflix garnered the most nominations for a studio, totaling 13 nominations. Additional film contenders include WICKED, DEADPOOL & WOLVERINE, EMILIA PÉREZ, THE BRUTALIST, and more. Top TV contenders include Baby Reindeer, Fallout, Palm Royale, English Teacher, and more. As previously announced, songwriter Stephen Schwartz (WICKED) will accept the Icon Award, and music supervisor Bonnie Greenberg (MY BEST FRIEND’S WEDDING) will receive the Legacy Award. For more information on the ceremony, please visit GMSAwards.com.
First dates are nerve-wracking enough. Going on a first date while an unnamed, unseen troll pings you personal memes that escalate from annoying to homicidal? Blood-chilling… With DROP, director Christopher Landon returns to the thriller genre with the playful, keep-you-guessing intensity he perfected in the HAPPY DEATH DAY films with this of-the-moment whodunnit where everyone in the vicinity is a suspect . . . or victim. Musical score by Bear McCreary, known for scoring Landon’s HAPPY DEATH DAY films and much more. DROP is jointly produced by blockbuster genre houses Blumhouse and Platinum Dunes. Emmy nominee Meghann Fahy, the breakout star of WHITE LOTUS and THE PERFECT COUPLE, plays Violet, a widowed mother on her first date in years, who arrives at an upscale restaurant where she is relieved that her date, Henry (Brandon Sklenar, IT ENDS WITH US) is more charming and handsome than she expected. But their chemistry begins to curdle as Violet becomes irritated and then terrorized by a series of anonymous drops to her phone. She is instructed to tell nobody and follow instructions, or the hooded figure she sees on her home security cameras will kill Violet’s young son and babysitting sister. Violet must do just as directed, or everyone she loves will die. Her unseen tormentor’s final directive? Kill Henry. DROP – IN THEATERS APRIL 11 - Official Website | Facebook | X | Instagram | from Universal
DOG MAN, half dog, and half man is sworn to protect and serve as he doggedly pursues the feline supervillain Petey the Cat. From DreamWorks Animation – creators of the beloved blockbuster franchises KUNG FU PANDA, HOW TO TRAIN YOUR DRAGON, and THE BOSS BABY – comes the canine-crime-fighting film adaptation of Dav Pilkey’s New York Times bestselling literary phenomenon: DOG MAN. When a faithful police dog and his human police officer owner are injured together on the job, a harebrained but life-saving surgery fuses them, and Dog Man is born. As Dog Man embraces his new identity and strives to impress his Chief, he must stop the pretty evil plots of feline supervillain Petey the Cat. Petey’s latest plan is to clone himself, creating the kitten Lil Petey, to double his ability to do crime stuff. Things get complicated, though, when Lil Petey forges an unexpected bond with Dog Man. Tom Howe (KNUCKLES, SHRINKING, ED LASSO, THE DEVIL ON TRIAL) composes the score.
A WORKING MAN starring Jason Statham, Michael Peña, and David Harbour, directed by David Ayer, screenplay by Sylvester Stallone and David Ayer, based on the book “Levon’s Trade” by Chuck Dixon. Score by Jared Michael Fry (THE BEEKEEPER, SAFEHOUSE, BIG CATS doc). In Theaters March 28. Watch the trailer:
Emmy Award-winning and Grammy-nominated composer Jeff Russo recently scored Netflix’s mini-series ZERO DAY, starring Robert De Niro, Jesse Plemons, and Lizzy Caplan, which premieres February 20th. Amid crisis, how can we discover the truth when uncontrollable forces seem to be destroying the world? Also, to what extent are conspiracy theories our inventions or products of our imagination?
Watch the official trailer:
From writer Tracy Oliver (GIRLS TRIP), the final season of HARLEM finds our core four on the precipice of change like never before. Camille balances a big career shift and an even bigger change in her personal life. Tye has to learn if she’s ready to change when she makes a meaningful romantic connection. Quinn has to decide if an unconventional relationship is right for her, and Angie’s career picks up at the expense of her engagement. Whether motherhood, singlehood, sisterhood, complicated career journeys, or even more complicated families, our four stylish and ambitious best girlfriends strive to choose themselves above all else finally. Series Music by Renald Francoeur (FIRST WIVES CLUB)
Where did she come from? What does she want? When will she leave? Only THE WOMAN IN THE YARD knows. From Blumhouse, the most successful global brand in horror, comes a new original chiller starring BAFTA and SAG nominee Danielle Deadwyler as Ramona, a woman crippled by grief after she survives a car accident that takes her husband. Seriously injured, Ramona now must care for their 14-year-old son and 6-year-old daughter alone in her rural farmhouse. Then, one day, the woman takes form in their yard. Ramona assumes the woman (Okwui Okpokwasili; THE EXORCIST: BELIEVER, Julie Taymor’s A MIDSUMMER NIGHT’S DREAM) is lost or demented, but as the woman creeps nearer and nearer to the house, it becomes clear she is no ordinary figure and her intentions are anything but peaceful. Now Ramona must rally to protect herself and her children from the grasp of the woman who won’t leave them alone. THE WOMAN IN THE YARD is directed by Jaume Collet-Serra (BLACK ADAM, JUNGLE CRUISE), who recently directed Deadwyler in the upcoming action thriller CARRY ON. First-time feature screenwriter Sam Stefanak writes the film. THE WOMAN IN THE YARD is only in theaters on March 28. No composer has been assigned as of yet.
Watch the spooky trailer:
ANORA: Criterion: A young escort from Brooklyn meets and impulsively marries the son of a Russian oligarch. Once the news reaches Russia, her fairy tale is threatened as his parents set out for New York to get the marriage annulled. Contemporary cinema’s foremost chronicler of American dreamers and schemers hustling on the margins of capitalist promise, Sean Baker, reaches new heights of mastery with this audacious anti–Cinderella story – a whirlwind neorealist screwball comedy with an aching heart. In an electric, star-is-born performance, Mikey Madison soars as Anora, an enterprising, ferociously foulmouthed Brooklyn erotic dancer and sex worker whose Prince Not-So-Charming comes along in the form of a Russian oligarch’s wild-child son (Mark Eydelshteyn). This is the beginning of a fractured fairy tale that turns the cruel realities of class inside out. Winner of the Palme d’Or at the 2024 Cannes Film Festival, Anora confirms Baker as one of our preeminent auteurs. Available April 29, 2025. Music score by Joseph Capalbo.
From MYRIAD Pictures, LAS TRES SISTERS is a comedy-drama directed by Mar Novo, scored by Ryan Cross (MY SUMMER FRIEND, CROSSOVER, HOLLYWOOD MOMMY). Following their beloved grandmother's footsteps, three Mexican-American sisters take an adventure through Mexico to complete a traditional pilgrimage and repair their relationship. MARIA (Marta Méndez Cross), SOFIA (Virginia Novello), and LUCIA (Valeria Maldonado) grew up as best friends in an unstable household. Their Abuelita and the story of her famous pilgrimage were the only things they could rely on as kids. Now, as adults, a rift between Sofia and Lucia has split the three sisters apart. Maria, who has just discovered a painful secret, reunites her sisters in their Abuelita’s honor on a spiritual walk through Mexico.
This Valentine’s Day, Oscar® winner Ke Huy Quan (EVERYTHING EVERYWHERE ALL AT ONCE, LOKI) rockets into LOVE HURTS, his first significant leading man role as an unlikely hero, a seemingly mild-mannered realtor with a dark secret that he is desperate to leave behind. Spoiler alert: He won’t. A visceral, high-octane story of wrath and revenge comes from 87North—producers of the groundbreaking action films NOBODY, VIOLENT NIGHT, BULLET TRAIN, ATOMIC BLONDE, and THE FALL GUY. Quan stars as Marvin Gable, a realtor working the Milwaukee suburbs, where ‘For Sale’ signs bloom. Gable receives a crimson envelope from Rose (Oscar® winner Ariana DeBose; WEST SIDE STORY, ARGYLLE), a former partner-in-crime that he had left for dead. She’s not happy. Now, Marvin is thrust back into a world of ruthless hitmen, filled with double-crosses and open houses turned into deadly warzones. With his brother Knuckles (DANIEL WU; TOMB RAIDER, WARCRAFT), a volatile crime lord, hunting him, Marvin must confront the choices that haunt him and the history he never indeed buried. Soundtrack score by Dominic Lewis (THE KING’S MAN 2021, VIOLENT NIGHT 2022, THE FALL GUY 2024). Watch the film’s trailer: See LOVE HURTS only in theaters on February 7th.
Watch the film’s trailer:
New Soundtrack News
Via Silva Screen: After 10 years, WOLF HALL returned to our screens in 2024 bringing Hilary Mantel's epic saga to its grim conclusion in WOLF HALL: THE MIRROR AND THE LIGHT. It is now set to dominate the PBS MASTERPIECE viewing platform from March 23. Directed by Peter Kosminsky, the six episodes tell the continuing story of Thomas Cromwell (Mark Rylance) and his complex relationship with Henry VIII (Damian Lewis) after the execution of Anne Boleyn. The new soundtrack reunites original Wolf Hall composer Debbie Wiseman with The Locrian Ensemble. Debbie Wiseman comments on her return to that world – “The distinctive sound of Wolf Hall is all about immediacy and being in the present with these characters. Drawing on elements from the original Wolf Hall score, new themes have been created for our soprano, Grace Davidson, our viola player, Philip Dukes, and our mandolin player and guitarist John Parricelli. It's been the most thrilling experience composing the score for this production.” Digital Release Date: March 23, 2025, Digital: SILED1796 Physical Release Date: March 28, 2025, CD: SILCD1796 See more details, video, CD and vinyl editions:
LA-LA LAND RECORDS PRESENTS New Releases at www.lalalandrecords.com: RAIN MAN: REMASTERED & EXPANDED LIMITED EDITION, music composed by Hans Zimmer. Limited Edition of 1500 Units. La-La Land Records and MGM present a remastered and expanded CD reissue of renowned composer Hans Zimmer’s original motion picture score to the acclaimed 1988 feature film RAIN MAN, starring Dustin Hoffman and Tom Cruise and directed by Barry Levinson. Maestro Hans Zimmer’s first American studio score would prove to be a vital part of this acclaimed drama’s enduring success, earning the composer an Oscar nomination. Buoyant, dramatic, and heartfelt. Zimmer’s early entry into big-league scoring is pitch-perfect for this joyous and moving drama featuring unforgettable performances by the legendary Tom Cruise and Dustin Hoffman. The composer’s music for RAIN MAN has also stood the test of time, as undeniably demonstrated in this new score soundtrack reissue. This special limited edition CD release of 1500 units includes bonus tracks featuring a 2000 concert suite demo, source, alternate cues, and two additional tracks from the original 1988 album that were specially remixed for that presentation. The exclusive in-depth liner notes are by writer and journalist Kaya Savas, featuring a new interview with the composer and comments from director Barry Levinson. The sharp art design is by Dan Goldwasser.
Intrada announces a 25th-anniversary edition of John Williams’ Oscar-nominated score to the 2000 Columbia Pictures/Centropolis film THE PATRIOT. Throughout Williams’ long and treasured career, he had developed a fresh, Americana voice, first coming to the fore in his 1969 score to THE REIVERS, then furthered a few years later with THE COWBOYS and quite powerfully in an unexpected place – the Smallville sequences of SUPERMAN. It was a style that he would return to periodically, and THE PATRIOT provided a showcase for this style. The score involves three principal themes that correspond to protagonist Martin’s past, present, and future: the war trauma theme, the love theme, and the patriot theme. Williams’ beloved epic style and exciting action music are displayed as the themes weave throughout the score. It’s all here in this lengthy and powerful work. Williams wrote his score for The Patriot over the course of about two months, a length of time he described as “fairly generous.” He then recorded the score over eight sessions between May 6 and May 20, 2000. For this expanded 3-CD set, producer Mike Matessino took a meticulous approach to restoring the score for full presentation as well as preserving the unique and artistic presentation of the original Hollywood Records album. The 24-page booklet includes detailed notes on film and score by John Takis and features a cover design by Stéphane Coëdel. See Intrada
BRING THEM DOWN is a tense and gripping thriller about two warring families set against the harsh landscape of rural West Ireland. Starring Oscar-nominee Barry Keoghan (Saltburn) and Christopher Abbott (Possessor), the film details the ongoing rivalry between farmers Michael (Abbott) and Jack (Keoghan), which suddenly escalates and triggers a chain of events that take increasingly violent and devastating turns, leaving both families permanently altered. From award-winning first-time filmmaker Christopher Andrews and co-starring Colm Meaney, Paul Ready, and Nora-Jane Noone, this is a fierce, muscular debut that signals a bold new cinematic voice. Composer Hannah Peel creates a stark and brooding electronic landscape using percussive elements throughout the short but intense work. The composer’s approach needed to be simple but effective, as she describes the process: “The stark and isolated lives of the characters needed a bold score that could match their raw energy. It had to be simple yet move like a hunter, shifting perspectives - equally bearing a heavy dosage of sadness and vehement dry humor.” Working with Andrews changed his approach to the film for the composer: “It had always been the director’s intention not to have a score for this film. The change of direction led to a lot of open and exciting conversations about the intentions of the music, how to work with the raw and brutal inhabitants, the forlorn rural Irish landscape, the delicate balance of sound design, and to what extent the music work with the twists and turns of the script. I decided to introduce dry and high-intensity skinned percussion, striking like a knife with the pulse-pounding velocity of a thriller. The balance for me was always to react and leave space for breath for both humans and animals whilst maintaining tension.” Hannah Peel is a Northern Irish artist, composer, producer and broadcaster.
What if someone you loved became something else? From Blumhouse and visionary writer-director Leigh Whannell, the creators of the chilling modern monster tale THE INVISIBLE MAN, comes a terrifying new lupine nightmare: WOLF MAN. Golden Globe nominee Christopher Abbott stars as Blake, a San Francisco husband and father, who inherits his remote childhood home in rural Oregon after his own father vanishes and is presumed dead. With his marriage to his high-powered wife, Charlotte, fraying, Blake persuades Charlotte to take a break from the city and visit the property with their young daughter, Ginger. But as the family approaches the farmhouse in the dead of night, they’re attacked by an unseen animal and, in a desperate escape, barricade themselves inside the home as the creature prowls the perimeter. However, as the night stretches on, Blake begins to behave strangely, transforming into something unrecognizable. Charlotte will be forced to decide whether the terror within their house is more lethal than the danger without. WOLF MAN is directed by Whannell (THE INVISIBLE MAN, UPGRADE and INSIDIOUS: CHAPTER 3) and written by Whannell & Corbett Tuck. Music by Benjamin Wallfisch
Quartet Records offers Ennio Morricone’s 1971 soundtrack, VERUSCHKA, in a remastered reissue of an ultimate edition – one of the most beautiful and heartbreaking scores Ennio Morricone composed during the busiest period of his career. The film is a weird production by fashion photographer Franco Rubartelli — a visually lush and moody head vehicle about European supermodel Veruschka. Composed a year before MADDALENA, Ennio Morricone’s soundtrack has a certain connection to the later film, especially in the sacred aura evoked by using mystical organ and the timbre of the female voice. It is one of Morricone’s most elegant and best-remembered works in lounge music. Edda dell’Orso’s vaporous voice is filtered through unusual timbres, swaying over sensual rhythms devoid of thick instrumentation. The album VERUSCHKA has been released several times on LP and CD since its first appearance in the mid-nineties on the Point label (only a single with two cues was released concurrently with the film). In 2011, GDM CD Club released an expanded limited edition, supervised by the composer and produced by Dániel Winkler and Claudio Fuiano, containing all the music recorded for the film, which quickly sold out. This is a reissue of the same program, revised and mastered by Chris Malone from first-generation stereo master tapes. The booklet includes liner notes by Miguel Angel Órdóñez discussing the movie, the music, and the composer.
Frank Ilfman has scored A MISTAKE, a drama thriller from Christine Jeffs (SUNSHINE CLEANING, 2008, RAIN, 2001, and STROKE, 1993), starring Elizabeth Banks, Simon McBurney, Mickey Sumner. Adapted from Carl Shuker’s novel, it is a gripping medical drama that delves into the consequences of a critical surgical error: Amid a new scheme to publicly report surgeons’ performance, a gifted surgeon’s life is thrown into disarray as her colleagues begin to close ranks, and even her partner who is a nurse at the hospital turns her back on her. Intrada presents the soundtrack album dedicated to the late Douglass Fake. “For the score,” writes INTRADA, “composer Frank Ilfman created a poignant, understated depth for the unfolding drama, aligning musically with the film’s exploration of vulnerability, accountability, and personal resilience. It avoids grandiosity— instead emphasizing delicate, emotive themes that reflect the characters’ internal struggles. Ilfman recorded the score at the famed Abbey Road Studios. The album is available digitally wherever music is available, including Amazon, Spotify, etc.”
Lakeshore Records announces the release of UNSTOPPABLE – Original Motion Picture Soundtrack digitally, featuring music by two-time Oscar-winning composer Alexandre Desplat (THE GRAND BUDAPEST HOTEL, THE SHAPE OF WATER, THE KING’S SPEECH, ARGO, PHILOMENA, THE QUEEN), who has also won three BAFTA Awards, two Golden Globes and two Grammy Awards, Desplat utilizes propulsive percussion, atmospheric guitars, and dark electronics alongside an energized orchestra that elevates the film’s inspiring story of overcoming physical challenges in pursuit of one’s dreams. The film, based upon the book by Anthony Robles and Austin Murphy, is directed by William Goldenberg and stars Jharrel Jerome, Bobby Cannavale, and Michael Peña, with Don Cheadle and Jennifer Lopez; UNSTOPPABLE is now streaming on Prime Video. Purchase/Stream:
Lakeshore Records has released BRAVE THE DARK – Original Motion Picture Soundtrack digitally, featuring music by composers Jacob Yoffee and Roahn Hylton. The modern yet poignant score provides an emotive backdrop to the film’s inspiring themes. BRAVE THE DARK, directed by Damian Harris and starring Jared Harris and Nicolas Hamilton, is in theaters beginning today. When Mr. Deen (Jared Harris, Chernobyl, The Crown) discovers one of his students has been living out of his car and thrown into jail, he decides to bail him out. Determined to curb Nate’s self-destructive behavior, Mr. Deen quickly discovers a host of dark secrets slowly tearing Nate apart. What started as a good deed became a desperate fight to save Nate from his own demons. As Nate spirals deeper into despair, Mr. Deen must decide how far he will go to save a kid on the brink of losing everything – even himself. Notes Yoffee: “Cinematically, it’s rare to have a film that goes from such lows to the overwhelming highs that reviewers are left with in Brave the Dark. As composers, this was a beautiful canvas for music and collaborating with Damian to help bring Nate’s story to the big screen has been a career highlight.” Adds Hylton: “Brave the Dark is an incredible story about humanity and connection. It reminds you of what’s possible in storytelling: the ability to remind the audience of what’s the best in themselves.” The soundtrack is available here.
FLIGHT RISK - Directed by Mel Gibson – written by Jared Rosenberg, Cast: Mark Wahlberg, Michelle Dockery, Topher Grace; score by Antonio Pinto (BIGGEST HEIST EVER, BONHOEFFER: PASTIR,SPY,ASSASSIN, DEAD IN THE WATER, THE MOSQUITO COAST). Synopsis: In this high-stakes suspense thriller, Academy Award® nominee Mark Wahlberg (2006, Actor in a Supporting Role, The Departed) plays a pilot transporting an Air Marshal (Michelle Dockery) accompanying a fugitive (Topher Grace) to trial. As they cross the Alaskan wilderness, tensions soar, and trust is tested, as not everyone on board is who they seem. In association with Media Capital Technologies / Hammerstone Studios / Blue Rider Media, Lionsgate presents an Icon production and a Davis Entertainment Company production. A lone, spectral woman shrouded entirely in black appears on a family’s front lawn without explanation and warns them, “Today’s the day.” Watch the trailer:
Lakeshore Records has released INHERITANCE-- Original Motion Picture Soundtrack digitally, featuring music by BAFTA award-winning, Emmy and Ivor Novello-nominated Paul Leonard-Morgan (FELLOW TRAVELERS, CYBERPUNK 2077). The electronic score's atmospheric and darkly distorted dynamics add tension and an eerie calm, providing a striking backdrop to the spy thriller. The IFC film, directed by Neil Burger and starring Phoebe Dynevor and Rhys Ifans, is in theaters nationwide. When Maya learns that her father was once a spy, she suddenly finds herself at the center of an international conspiracy. In her quest for answers, she must travel the globe, mastering her father’s skills and unraveling the mysteries of his past. Notes Leonard-Morgan: “My Inheritance soundtrack leans away from traditional scoring. I wanted to create a soundtrack that leaves the audience on edge as Maya, the main character, fights for her life, escaping her followers. She takes in countries such as India and Egypt as she flees. I didn’t want to use typical instruments to signpost that we were in these countries. Instead, I used vocals, sampled them up and reversed, processed, and distorted them to make us feel uniquely close and in the head of our lead character. In the same way that the whole film was shot on iPhones, giving it a unique perspective, using vocals, sampled over processed basses, electronica, and percussion leads to an extremely unsettling soundtrack.” Purchase/Stream.
20th Television and Hollywood Records are excited to release the PARADISE Original Soundtrack. Featuring 20 evocative score tracks composed by Emmy® Award-winner Siddhartha Khosla, the album also includes two covers: a delicate instrumental interpretation of Phil Collins’ “Another Day in Paradise” and Wendy Wang’s intimate rendition of Poison’s iconic ballad “Every Rose Has Its Thorn.” The soundtrack captures the series’s tension, emotion, and intrigue. “When I first read Dan Fogelman’s incredible page-turner of a script, I immediately heard a theme that eventually became the main emotional motif of the score. Dan and directors Glen Ficarra and John Requa pushed us to experiment and find a unique sound to support their film vision. Our live orchestral players added so much weight to the sound, and I couldn’t be prouder of how the show and this score came out.” says Khosla, who won his first EMMY® this year for “Outstanding Music Composition for a Series” (Original Dramatic Score) for season three of ONLY MURDERS IN THE BUILDING. The first three episodes of the political thriller are now streaming on Hulu in the U.S. and Disney+. New episodes stream on Tuesdays. Listen: SPOTIFY | APPLE MUSIC | AMAZON
Ahead of the worldwide release of LEE—Original Motion Picture Soundtrack, listen to the title track (below) by the film’s two-time Academy Award-winning composer, Alexandre Desplat (THE GRAND BUDAPEST HOTEL, THE SHAPE OF WATER). Desplat’s use of piano and strings weaves an effortlessly beautiful backdrop that also delves into the complexity of the war correspondent character. The full album was released digitally on Lakeshore Records on Friday, February 7, 2025. Determined to document the truth of the Nazi regime, and despite the odds stacked against female correspondents, Lee captured some of the most important images of World War II, for which she paid an enormous personal price.
Listen to the central theme, “Lee,” via Lakeshore Records:
Sid De La Cruz has scored INSIGHT, initially released in 2021. Jian, a martial artist who possesses clairvoyance, investigates the death of his brother with the help of LA Detective Abby. Together, they seek justice while fighting against a high-tech criminal. The soundtrack is available from the Plaza Mayor Company via Spotify: THE GORGE will premiere on Apple TV+ on February 14, 2025. Directed by Scott Derrickson and featuring music by Trent Reznor and Atticus Ross. Two highly-trained operatives are appointed to posts in guard towers on opposite sides of a vast and highly classified gorge, protecting the world from an undisclosed, mysterious evil that lurks within. They bond from a distance while trying to stay vigilant in defending against an unseen enemy. When the cataclysmic threat to humanity is revealed to them, they must work together to test their physical and mental strength to keep the secret in the gorge before it’s too late. Miles Teller, Anya Taylor-Joy, and Sigourney Weaver star.
Watch the track “Apartment Fight:
Lakeshore Records has released XO KITTY: Season 2—Soundtrack from the digital Netflix Series, featuring an original score by Jina Hyojin An and Shirley Song. The composing partners return with more infectious synth-based, pop-inflected tracks that provide an energetic and emotive backdrop to the global hit series. Season 2 of XO Kitty, starring Anna Cathcart, is streaming now on Netflix. Teen matchmaker Kitty Song Covey is back in Seoul for a new semester at KISS. She’s single for the first time in a long time and ready for a fresh start: no more meddling or drama. Maybe just some casual dating. Emphasis on casual. But she has more to worry about than her love life, as a letter from her mother’s past sets her on a wild journey, and new faces at KISS bring change. As secrets unravel and bonds are tested, Kitty will learn that life, family, and love are more complicated than ever imagined. ABOUT JINA HYOJIN AN & SHIRLEY SONG: South Korean-born violist and composer Jina Hyojin An and Australian-born composer Shirley Song have been working closely together since 2018. They just finished scoring Season 2 of the hit Netflix Series XO Kitty, the Netflix Television Series Exploding Kittens, the Amazon film Five Blind Dates, and the upcoming Dreamworks Animation / Apple TV + Series Be@rBrick.
Lovely/Gross has released the Original Motion Picture Soundtrack for DISFLUENCY, with music by composer Nathan Alexander. The film premiered on January 10, 2025, and the album is available on digital platforms, with a vinyl release to follow on February 16. On the score, Alexander reflects, “‘I want the score to sound like water.’ Those were the first words Anna Baumgarten said to me when we met to discuss the score for DISFLUENCY. Jane is the water of the lake where she feels at home and at peace, and we had to place her there in the music. Wave-cresting chorused guitars and lake-reflected percussion are the foundation of Jane’s heartbeat; whispering intimate strings, breathing woodwinds, bowed guitars, and watery kalimbas living under the surface of Jane all weave the complication of turning disruptive trauma into hope. I am truly grateful to have contributed my authentic voice to the very personal and brave story Anna has brought into the world.” When Jane fails her final college class, she returns home to her parent’s lake house, where she comes to terms with the confusing trauma that derailed her senior year. The soundtrack is available on Bandcamp:
Moonflower Records has released a soundtrack album for the period psychological horror drama THE DAMNED. The album features the film’s original music composed by Stephen McKeon (EVIL DEAD RISE, BLACK MIRROR, THE RED KING, APOCALYPSE CLOWN). The soundtrack is now available to stream/download on Amazon and other primary digital music services. Thordur Palsson and stars Odessa Young and Joe Cole direct THE DAMNED. The 19th Century-set movie follows a young widow who faces an impossible choice when a ship sinks off the coast of her isolated fishing village and must decide whether to rescue the shipwrecked sailors or let them perish to ensure her survival. The drama premiered at this year’s Tribeca Film Festival and was in UK, US, Canada, and Ireland theatres, debuting on Jan 25th on the internet; the soundtrack is available on the usual streaming services. See Charlie Brigden’s review of THE DAMNED at Moviedrone:
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Milan Records is excited to announce the release of the PRESENCE Original Motion Picture Soundtrack, featuring a score by composer Zack Ryan. The soundtrack is now available on Spotify, Apple Music, Amazon Music, and other digital platforms. Zack Ryan, the composer behind the score for Steven Soderbergh’s Presence, brings a refreshing approach to the supernatural thriller genre. In a film where the camera represents the point of view of a ghost, Zack’s score steers away from typical genre conventions like jump-scare music. Instead, it focuses on the emotional depth of the story—grief, loss, and familial dysfunction. The film is in theaters now. Zack Ryan comments, “If you’re allowed to work with David Koepp and Steven Soderbergh, you immediately say yes. And if they ask for a traditional, melodic orchestral score for their modern haunted house story, you say yes again. It was an incredible thrill to contribute to a film that takes such a bold swing at reinventing the genre. I’m very excited for audiences to experience it.”
Watch the trailer here:
THE GORGE will premiere on Apple TV+ on February 14, 2025. Directed by Scott Derrickson and featuring music by Trent Reznor and Atticus Ross. Two highly-trained operatives are appointed to posts in guard towers on opposite sides of a vast and highly classified gorge, protecting the world from an undisclosed, mysterious evil that lurks within. They bond from a distance while trying to stay vigilant in defending against an unseen enemy. When the cataclysmic threat to humanity is revealed to them, they must work together to test their physical and mental strength to keep the secret in the gorge before it’s too late. Miles Teller, Anya Taylor-Joy, and Sigourney Weaver star.
Watch the trailer:
Kino Lorber offers the 4K edition of 1986’s APRIL FOOL’S DAY: When Muffy St. John (Deborah Foreman, Valley Girl) invited her college friends up to her parents’ secluded island home for the time of their lives, she forgot to tell them it just might be the last time of their lives. Because as soon as the kids arrive on the island, someone starts trimming the guest list…one murder at a time. And what starts out as a weekend of harmless April Fool’s Day pranks turns into a bloody battle for survival. It’s just what you’d expect from the director of WHEN A STRANGER CALLS and the producer of BODY PARTS, SPECIES, and several outings of FRIDAY THE 13TH: a twistedly clever classic of the “holiday slasher” genre that’s essential viewing every April 1st! Musical score by Charles Bernstein (DEADLY FRIEND, A NIGHTMARE ON ELM STREET, CUJO, THE ENTITY, GATOR). Lionsgate’s FLIGHT RISK is Directed by Mel Gibson, written by Jared Rosenberg, and starring Mark Wahlberg, Michelle Dockery, and Topher Grace. Synopsis: In this high-stakes suspense thriller, Mark Wahlberg plays a pilot transporting an Air Marshal (Michelle Dockery) to trial, accompanying a fugitive (Topher Grace). As they cross the Alaskan wilderness, tensions soar, and trust is tested, as not everyone on board is who they seem. Featuring music by Antonio Pinto (CITY OF GOD). The pulsing tension and dynamic crescendos of the electronic and string-laden score match the drama of the action thriller. Purchase/Stream soundtrack:
Lakeshore Records has released Heart Eyes Original Motion Picture Soundtrack today, February 14, featuring music by award-winning composer Jay Wadley. In theaters now, The Screen Gems and Spyglass Media Group’s Heart Eyes is directed by Josh Ruben, starring Olivia Holt and Mason Gooding. Heart Eyes is distributed by Screen Gems in the U.S. and Canada and is produced by Landon, Greg Gilreath and Adam Hendricks. For the past several years, the “Heart Eyes Killer” has wreaked havoc on Valentine’s Day by stalking and murdering romantic couples. This Valentine’s Day, no couple is safe… Wadley notes, “I’m beyond excited for audiences to experience the Heart Eyes score as a soundtrack. Blending horror, comedy, and romance was such a fun challenge, and I pulled inspiration from classic rom-com and horror composers like Alan Silvestri, Bernard Herrmann, and Krzysztof Penderecki. From the eerie three-note motif of the Heart Eyes Killer to the love theme that fights to break through the chaos, this film and score was a blast to collaborate on with my dear friend Josh Ruben, and I can’t wait for everyone to hear it!"
Lakeshore Records has release Star Trek: Section 31—Original Movie Soundtrack featuring original music by Emmy Award-winning composer Jeff Russo (Fargo, Ripley), and is available digitally today. At times intensely propulsive and at others atmospheric and beat-driven, Russo’s score vividly enhances the film. Produced by CBS Studios, the original movie stars Oscar Winner Michelle Yeoh and is streaming exclusively on Paramount+ in the U.S. and international markets where the service is available. In the movie, Yeoh reprises her fan-favorite role as Emperor Philippa Georgiou – a character she played inSTAR TREK: DISCOVERY – who joins a secret division of Starfleet. Tasked with protecting the United Federation of Planets, she also must face the sins of her past. Says Russo: "With a character like Georgiou, writing a Trek score that was slightly left of its center was a fantastic journey while having to thread in the sound that we know. Three words describe the experience, fun, fun and fun."
Hollywood Records is thrilled to announce the release of Marvel Studios’ Captain America: Brave New World Original Motion Picture Soundtrack with music by Oscar® and GRAMMY® nominated, five-time Emmy® award-winning composer Laura Karpman. The soundtrack is now available on Apple Music, Amazon Music, and other digital platforms. The film releases in U.S. theaters on February 14, 2025.
According to Karpman, the music mirrors every emotion that is a part of the film: heroic, thrilling, suspenseful. In “Captain America: Brave New World” percussion drives the score, as well as large orchestra and synth programming that closely weaves together the sound of the orchestra and synthesized element," Karpman states, “The orchestra and the synthesization are inextricably bound, so they feel completely like a new sound, sometimes, the orchestra is processed to make it more electronic sounding.”
Stephan Eicke of the soundtrack label Caldera Records has a new book coming out on September 4th from Bloomsbury Publishing Plc, A Dream Come True: The Collaboration of David Lynch and Angelo Badalamenti. “I wish I could announce this news under happier circumstances, Eicke said. “Alas, David Lynch passed away on January 15th. David Lynch has been an important person in my life. I met David in 2011 for an interview. He was gracious, elegant, and kind.
Austin Wintory has written a Banner Saga sheet music book for those interested in a conductor score for his book on the Banner Saga Trilogy. “This took a year of work to finish,” said Austin, “but we’re finally ready to start shipping them. As a heads up, if you don’t order it immediately, it’ll likely be gone forever because I’m not printing many of them (they’re gigantic! Almost 600 pages spanning 4 hours of music!). Sadly, the book is now out of print. However, copies may be found in collectable stores and elsewhere in the future.
Following the successes of the PLANET EARTH, BLUE PLANET, and FROZEN PLANET series of soundtrack releases, Silva Screen Records presents ASIA. Sir David Attenborough is the guide to Asia, a seven-part series dedicated to our planet’s most extraordinary continent, revealing its most remarkable landscapes and animals. Joining David Attenborough on this journey are composers Jacob Shea and Laurentia Editha from the BLEEDING FINGERS MUSIC GROUP, the composer collective created by Hans Zimmer, Russell Emanuel, and Steven Kofsky. Filmed over nearly four years, this is the first time Asia has been the focus of a significant BBC wildlife series. From the vast Gobi Desert to the jungles of Borneo and from the polar wilderness of Siberia to the coral seas of the Indian Ocean, this series will showcase the breathtaking variety of Asia’s wildest places. See the digital soundtrack and two-disc CD: Listen to the “Asia Suite:”
Sid De La Cruz has a new documentary soundtrack, Beyond Words Verses of Change Soundtrack, available from the Plaza Mayor Company and via Apple Music. “The documentary was televised on PBS / KLCS on Dec. 13, and it is about high school students competing in the most significant poetry competition. The score features the influences from marching bands. Because the topic deals with students and competition, similar to students and sports, I thought incorporating marching band influences would be a unique touch. TOTEM is also available on all platforms and is new from Sid De La Cruz and Plaza Mayor Company. The TOTEM is the meeting point between our world and that of the spirit of belief: an animal emblem that watches over the world of reality and a gateway that allows a glimpse of the spiritual world. I wanted to put this crossroads of universes to music, a journey beyond appearances and certainties. The theremin’s sounds dominate TOTEM and accompany the synthesizers, punctuated by percussion, breaths, and the didgeridoo.
Transmitted initially in December 1963 to February 1964, THE DALEKS were introduced to audiences and soon became one of the Doctor’s most formidable and enduring foes. These seven original 25-minute episodes have been colorized and weaved together into a 75-minute blockbuster. With a brand new sound and a brand-new soundtrack – created by Mark Ayres utilizing elements of Tristram Cary’s original music with a newly recorded score – THE DALEKS has been updated whilst ensuring the original classic story remains as thrilling as it was when it began in 1963. DOCTOR WHO: THE DALEKS IN COLOUR has been colorized on transparent blue & claret vinyl, features music by Tristram Cary and Mark Ayres Release Date: February 21, 2025. It is also available digitally and as a double CD set.
Austin Wintory has completed Yellow Brick Games’ debut title, ETERNAL STRANDS, and they are unleashing the game this coming week. I posted a preview teaser of the score on YouTube for those curious. The soundtrack album drops next week as well. It’s been a fantastic experience recording a vast swath of unusual instruments (prepared custom guitar? Prepared cello? Prepared tenor recorder and sub-bass recorder?? Ensembles in both Nashville and London?!) and trying to find new ways of tackling so-called “traditional” fantasy RPG. Lakeshore Records is set to release a special vinyl version of ORIGIN—Original Motion Picture Soundtrack on March 21 with music by Emmy® Award-winning, two-time Grammy ® -nominated and Academy Award ® -nominated filmmaker and composer Kris Bowers. Bowers was recently nominated for an Academy Award for his score to THE WILD ROBOT. The 1x LP on “Blue & White Splatter” colored vinyl includes a full-color insert. Written and directed by Academy Award nominee Ava DuVernay, Origin chronicles the tragedy and triumph of Pulitzer Prize-winning journalist Isabel Wilkerson as she investigates a global phenomenon of epic proportions. The Array Releasing film is streaming now on Hulu. Preorder the album here.
Materia Collective proudly presents TOURNAMENT REMATCH: UNREAL TOURNAMENT REMIXED, featuring modern remixes of Unreal Tournament’s classic soundtrack by the original composers. One of the most popular first-person shooter deathmatch games ever released, beloved for its soundtrack, consisting of high-energy electronica, contemporary orchestra, and grinding guitars, now the original composers return to score this remix album, crafting a modern spin and new interpretation on the music. The album is available for streaming with vinyl and cassette formats available to order from the Materia Store https://www.materiamusic.com/ Step back into the arena with a groundbreaking reimagining of one of the most iconic soundtracks in gaming history. Unreal Tournament, renowned for its electrifying gameplay and unforgettable music soundscape, gets a modern remix treatment by the original composer's Alexander Brandon, Michiel van den Bos, Peter Hajba, Andrew Sega, and Dan Gardopée. This new album revives the high-energy electronica, fast-paced orchestral elements, and grinding guitars that defined the game’s legendary soundscape—now with fresh interpretations and cutting-edge production. Whether you’re a seasoned tournament champion or discovering the soundtrack for the first time, this album will reignite your passion for the arena. Featuring the mastering talents of Jett Galindo along with stunning artwork from ?ukasz Sienkiewicz, this album is a must-have for fans of Unreal Tournament and gaming music alike.
Randall D. Larson was for many years publisher of CinemaScore: The Film Music Journal, senior editor for Soundtrack Magazine, and a film music columnist for Cinefantastique magazine. A specialist on horror film music, he is the author of Musique Fantastique: 100+ Years of Fantasy, Science Fiction & Horror Film Music and Music from the House of Hammer. He currently writes essays on film music and sf/horror cinema, and has written liner notes more than 300 soundtrack CD or digital releases. He can be contacted via https://musiquefantastique.com/ or follow Musique Fantastique on Facebook. Follow Randall on Twitter at https://twitter.com/randalldlarson and https://twitter.com/MusiqueFantast1
