• JEFF RUSSO: SURVIVING ZERO DAY & Traversing the Worlds of STAR TREK
• LEO BIRENBERG & ZACH ROBINSON: COBRA KAI & YOUR
FRIENDLY NEIGHBORHOOD SPIDERMAN
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ZERO DAY is a 6-episode TV mini-series released on Netflix on February 20, 2025. The film is an American political thriller television miniseries created by Eric Newman, Noah Oppenheim, and Michael Schmidt and directed by Lesli Linka Glatter. A former U.S. President (Robert De Niro) is called out of retirement to lead an investigation into a massive zero-day cyberattack that causes multiple deaths and disasters nationwide, only to discover a vast web of lies and conspiracies. At the same time, he also begins to question reality in this twist-filled thriller. 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 own inventions or products of our imagination?
Watch the official series trailer:
Q: What brought you to the assignment of scoring ZERO DAY?
Jeff Russo: My previous relationship with Lesli Linka Glatter, we had worked on LOVE AND DEATH a few years ago (2023), and we had gotten to talking; she was starting a new series, ZERO DAY, and she asked if I was interested in doing it. And I said, “I am!” She said I should meet with Eric Newman, the Producer, Writer, and Creator. I did! The script was great, and all these incredible actors and performances were terrific. That’s how I got involved.
Q: What can you tell me about your music for the horrific cyberattack?
Jeff Russo: That was one of the first pieces of music I wrote. It was exciting to write about because these kinds of things happen. It’s a typical, regular day, and then things stop working, and devastation occurs over time; it’s not immediate; it’s not like a bomb going off, so I need to figure out how to translate that to music. And that was very interesting – there are emotions, and there’s all this discord and all this chaos. You needed to follow this thread down the line, and that was very interesting to me.
Q: What were your primary instruments and/or sonic elements as you began to score the first few episodes?
Jeff Russo: I started pretty much everything writing on a piano to feel what the melody and the thematic material was going to be. But then I started looking into the sound design aspect of what was happening in Mullen’s head. I started thinking about how I take something electronic and turn it on its head and screw it up, make it sound weird and backward and stuff. I began working with this little instrument called an Omnichord, which has been around forever, and I put that to my pedalboards and did crazy things to it. That was how I came up with the sound in Mullen’s head. But the emotional stuff comes from strings and brass mainly, French horn, which is very, sort of Americana, political feeling music – and strings are always so helpful because you can do so much with strings; you can make them sound cold, you can make them sound warm, you can make them very emotional, or make them have no emotion and weird sounding, so I started writing thematic material for strings and that ended up working well.
Q: How did you treat your music for Robert DeNiro’s President Mullen as he assumed the investigation of the cyberattack?
Jeff Russo: That was also a mix of both – he has these moments of diminished mental acuity, and how would I describe that in music? There was a mix of that and the sort of emotional weight that he was feeling. Feelings about his own family and the loss of his son play into his relationship with Roger Carlson (Jesse Plemons), and that was a big turning point for me in thematic and emotional writing. And that culminates in his finally figuring out what’s going on, even though, along the way, he sort of gives in to his pressure. That was a fascinating journey, I’ll say, like how to walk that walk with him.
Q: The Sex Pistols’ “Who Killed Bambi” became a recurring and haunting motif throughout the series. Did you use any of that material to score the film or treat Mullin’s cognitive issues?
Jeff Russo: Well, the easy answer is no, I didn’t; that was something we’d put in that I would score around – and that was the only musical sound design that I wasn’t involved with, and it was how they were treating it and what they were doing with it to make it sound weird.
Q: Were some of the other significant characters given musical elements, and how did you treat them as the storyline moved into its third and fourth episodes?
Jeff Russo: I treated the entire thing like one big theme. Really, the only character who got a theme was Mullen. Of all the other characters, as important as they are to the story, Mullen is the only character who requires thematic material and is central to the stories. Everything got offshoots of that same theme.
Q: Action and cyber attacks have become rather numerous in today’s movies and streaming services. What did you find especially interesting and/or unique about scoring ZERO DAY?
Jeff Russo: The performances and the storyline were pretty unique. The way we went about telling the story was unique. You’re right; political drama, a political thriller, is ubiquitous now. I think what makes this different is the way we approach storytelling. There’s an emotional aspect to it; it’s not just about action; it’s not a significant action show. It’s more of an emotional action show, so much in the weightiness of the feelings of our characters that it feels a lot more grounded in reality. Even though some moments hover above reality, it feels more connected to reality.
Q: As the series flows into its fifth and final episodes, how did you traverse your musical elements as the storyline begins to run into its closing moments?
Jeff Russo: The idea was to end where we began. We begin… if you take our flash forward out of it, because the whole show starts on a flash-forward, and you take that out of it, we just begin with a day in the life of the former President Mullen, and I kind of wanted to end in the same way. You know, like, here’s another day in the life of a former President, and how, after saving the country, he goes back to his regular routine – running with his dog and feeling sort of the normalcy of it. I brought that in as he made his final speech to the joint Session of Congress. That was what I always envisioned: this starting point and ending point becoming full circle.
Watch the trailer for STAR TREK: SECTION 31
Star Trek: Section 31 premiered on January 24, exclusively on Paramount+. In this new original movie, Academy Award® winner Michelle Yeoh reprises her Star Trek: Discovery role as Emperor Philippa Georgiou, who joins a secret division of Starfleet. Tasked with protecting the United Federation of Planets, she also must face the sins of her past.
Q: I’d also like to ask you about scoring the short film STAR TREK: SECTION 31, a show I immensely enjoyed – and how did your music for this TREK portion and its musical place in the classic STAR TREK oeuvre?
Jeff Russo: This movie was a conundrum for me in writing the music; wanting it to feel different and yet wanting it to feel in the world simultaneously was a tall task for STAR TREK. We all know what we expect from STAR TREK music and how to make that something fresh for something outside of the storytelling as this is. So, it was interesting and fun, and frustrating at times, like how to figure out how to really keep it all in the world and simultaneously out of the world! I was fighting with myself a lot, you know, “No, that’s TOO Trek, no, that’s not enough! That sounds – what is THIS? This doesn’t feel like us!” So, it was back-and-forth with that. That’s a fine line to walk, and I hope I get there. I think I did! But maybe the jury’s out on that one, and we’ll see how it holds up ten years from now!
Q: How would you describe what your music was for that show?
Jeff Russo: I describe it as walking the line between something more modern, a heist storytelling, and STAR TREK musical lore. We have these big themes, these kinds of emotional feeling music in places. Also, I added this electronic and almost rock feeling for these characters, which made it seem like they were newly introduced into the STAR TREK Universe.
Q: And finally, how would you describe your multiple works on various STAR TREK series from DISCOVERY to PICARD and STRANGE NEW WORLDS – and how have you utilized specific elements from those series to create recurring and/or newly hatched motifs from the other series?
Jeff Russo: Yeah – I think what I said applies to this next question! I’ve spent a lot of time writing thematic material, themes, and motifs for STAR TREK across many shows with different feels. It’s a fine line to walk, staying in the world and trying to have an identifying voice for each of these things, but it can be a fine line. I would say I expect an inordinate amount of time being very particular about how to make a theme melodically work inside of a framework that might be slightly outside of the expectation of TREK while not straying too far off of the brief – the STAR TREK Brief. Not the brief for each one of these things, but the brief we all know about STAR TREK as a musical body. The body of STAR TREK music is vast; there are many, many composers and many fantastic composers; some of the best composers of all time have been composers of STAR TREK. Trying to manage to stay afloat amongst a sea of brilliance like that is a task in and amongst itself. And then, also, staying with the idea of TREK music is, again, an enjoyable task!
Q: If it’s not too soon, can you briefly discuss FX’s ALIEN EARTH?
Jeff Russo: Well, I can tell you that I’m almost finished with ALIEN EARTH, and we come out sometime in the summer. That’s about all I know. It’s everything you’re going to expect and more! From all aspects – what you’ll see and hear, music, visuals, storyline, It’s all there! I have been very aware of that musical lineage and have been keen to create our own identity, yet I still pay a certain amount of homage to what it was. The first movie may be one of the greatest horror films of all time, and the second movie may be one of the greatest action movies of all time! I think what we have tried to do, in these first eight episodes, these first eight hours that we’ve put together, is to pay significant and important homage to those two things. So we are a little bit of all of that. There’s the horror film part of it and the action movie part of it, and we’re right there!
Special thanks to Alix Becq-Weinstein of Rhapsody PR for facilitating this interview
Leo and Zach have been the driving creative force behind COBRA KAI’S distinctive score, seamlessly blending pulse-pounding action with heartfelt melodies and ‘80s-inspired soundscapes. Their work has been pivotal in shaping the emotional arc of the series, and the music for this final installment is no exception – it’s their most ambitious and dynamic score to date, capturing the culmination of years of storytelling.
The sixth and final season of COBRA KAI, also known as COBRA KAI VI, consists of 15 episodes and was released on Netflix. Unlike previous seasons, the sixth season was released in three parts of five episodes each. The series is a direct sequel to the original four films in THE KARATE KID franchise, focusing on the characters of Daniel LaRusso and Johnny Lawrence over 30 years after the titular movie. Season 6 is the show’s final season.
The composers are also beyond stoked to participate in the new standout entry in the MCU, YOUR FRIENDLY NEIGHBORHOOD SPIDERMAN. Jeff Trammell, Mel Zwyer, and the rest of the team at Marvel could not have been better collaborators, and they are grateful to them for letting the duo go wild on the score. Heavily influenced by everything from anime to lo-fi hip hop, the score features the composing duo’s signature blend of fun and mayhem, wrapped in an epic orchestral sound worthy of Marvel’s most iconic hero. The soundtrack is now available on digital platforms.
Cobra Kai: Season 6 Part 3 Sneak Peek | Netflix
Q: Zach and Leo, you’ve both been scoring the COBRA KAI series since its inception in 2018. What can you briefly tell me about the beginning of that show and how the two of you kept the film’s distinctive scoring across the episodes?
Leo Birenberg: COBRA KAI has been a journey, and we’re sad to see it end. The journey of that show has grown and continued. Still, initially, we wanted to give it a fresh sound that was influenced by THE KARATE KID movies, especially the needle-drop aspect of those movies and the first one, especially, which a lot of people when they think about the music of the KARATE KID they’re talking about the songs that they remember. So we wanted to bring in that 80’s pop vibe into the score, meld it with the for sound for Jonny, which is a very hair metal, bad-ass ’80s vibe, and then sprinkle it in with influences of the Bill Conti score, which is much more orchestral and influenced with Japanese traditional music. But they all were just pallet influences, and all the ideas and themes were original, and as the years have gone on, all of those ideas have just welled together into one big tapestry of score as the show has gotten larger and more prominent in scope.
Q: How has the music changed and developed over the show’s first five seasons as you have worked together?
Zach Robinson: I would say that the beautiful thing in our collaboration is that we’re constantly learning from each other, and we come from different musical backgrounds; I come from more of a rock background; Leo was a choir boy and a jazz boy growing up; we both studied composition in college and then worked as assistants or apprentices to Christophe Beck, and we cut our teeth there. But, when we started COBRA KAI, it was kind of this fantastic blend of both of our strengths, and as we continued, the most beautiful thing is that I learned a lot from Leo, just from being in the room with him and seeing how he writes, and I think the same, vice-versa, maybe not…
Leo Birenberg: Oh yeah, big time!
Zach Robinson: You know, I look back on some of the stuff… in season six of COBRA KAI, we’re writing major, significant action set pieces that are twenty minutes long! I mean, an episode of COBRA KAI in season 1 was twenty minutes long! So the evolution of just the style of writing, the amount of writing, and the sheer quality of the writing itself, I think, has grown as we have just gotten better as composers. I think we just learned a lot from each other, and it’s really like a beautiful thing, honestly.
Q: Leo, how would you describe your creative process for scoring the final season? Did you incorporate motifs or elements from earlier episodes as well?
Leo Birenberg: The big thing for us in the final season was that we needed to make sure that there was nothing left in our tank that we wanted to do that we didn’t get to do! So, we were trying to push our creative journey there at the end. I think one thing we did to give ourselves some fresh sounds was we found some fun musician collaborators: our guitar player Charlie Robbins, bass player Jacob Umansky, drummer Ritchie Martinez, some other guest guitar players, some who we’ve had before, like Myrone, Tim Henson from the band Polithia, who is kind of an idol of both of ours! We found fun spots in the score to write material idiomatic to their styles and let them run with it even further, like writing something that feels totally unique to the scene and just musically in general. So we did a lot of that, and then, of course, there’s the final season, which is a significant element of landing the plane, so to speak, emotionally and thematically. We just put a lot of thought into writing all fifteen of the final episodes, but especially in those last five, making sure it felt like the journey was a satisfying conclusion - which I think the show does well, so that tied us up to nail it with the music. Every time you sit down and write something, it’s like, “Is this going to leave this band satisfied? Is this going to leave me satisfied?” Those questions are very powerful, and I think I can get you 99% of the way there.
Q: What instruments, electronic elements, and various musical designs were utilized throughout the series?
Zach Robinson: The more straightforward answer to that question is what was not used in that series! We had the most maximalist score that you could imagine! We used everything from full orchestra, guitar, bass, and drums to the choir, Japanese instruments like koto, Japanese flutes, shakuhachi’s, shamisen…
Leo Birenberg: Korean instruments!
Zach Robinson: Korean instruments, right? There’s a whole Korean subplot to COBRA KAI!
Leo Birenberg: Both Japan and Korea, we did!
Zach Robinson: We worked with an incredible musician named Luna Lee, who plays a traditional Korean instrument called the Gayageum. She runs it through many distortion pedals, which sound like a guitar. It fits well with COBRA KAI [https://www.lunaleemusic.com/about]. And, of course, we have our ’80s synth collection, and it ran the gamut; as Leo said, we were trying to get it all out! There was a lot on this show where we would do it, and we would say, “Are we going to get away with this?”
Zach & Leo, together: And we always got away with it!
Zach Robinson: Maybe that’s kind of our brand, now, “Would We Get Away With This?” And hopefully, the people we work with let us do that!
Q: Looking back on the series as a whole, how do you feel about the series as a whole, and what elements were most significant or unique in scoring COBRA KAI?
Leo Birenberg: Well, you know, it’s COBRA KAI, so there’s a lot of karate fighting, but I think that kind of our north star the whole time was making sure that fights felt like individual set pieces with their personality, and that started very early, whether you hear something from the Season One soundtrack, or Season Three or Season Four, or up to the end of Season 5, we always wanted the fans to be able to immediately identify, like “Oh My God, that’s the All Valley Final from Season Four!” because it’s like, so unique! I think that’s served us well as a philosophy because, just like when you go… when I scan through the COBRA KAI albums, I’m just impressed at the diversity of intensity that exists across all of those fight scenes. They feel like authentic set pieces, not just for the show, but like a listening perspective.
Watch the FRIENDLY NEIGHBORHOOD SPIDERMAN Trailer:
Q: That brings us to our Friendly Neighborhood Spiderman. What can you tell me about your music as the series takes off and Peter takes on his first pair of villains?
Zach Robinson: What more is there to say about scoring Spiderman? When you get to score Spiderman! It’s cool when you say that out loud and do it while working with partners like Marvel. They were excellent collaborators, and Jeff Trammell, the showrunner, and Mel Zwyer, the supervising director, all came in with a vision but were open to what we could bring musically, and I think our mission as composers; we were trying to keep the Marvel DNA in this soundtrack, like a big, orchestra theme that’s heroic, but we are young guys and we may be closer to Peter Parker’s age than most of the people working on the show [laughs], so we were, like, let’s imbue a different type of energy than what we’re used to hearing with Spiderman. We were significantly influenced by modern anime soundtracks, which we feel channel that energy. We’re both fans of anime, and it was pretty fun to see what we could fit into a Marvel soundtrack. Everyone was so collaborative and excited. Working on this show was a great process, and we’re really proud of this score. It feels, to us, that it is something that is not heard in the Marvel Cinematic Universe.
Q: From there, as Peter meets Osborne and begins to understand his superpowers, how did the two of you develop the music as the others start to grow into their characters?
Leo Birenberg: In some ways, it is similar to our process on COBRA KAI – we set up a pallet, like Zach said, with a kind of anime influence, which is like – for the listeners at home – that often means a rock-and-roll meld with melodic orchestra scoring, but always with a jazzy-fusion vibe because all those composers mostly come from that background. There’s also a vast, lo-fi hip-hop element to the score, and so, it started as us developing the pallet, but as the episodes go on. The themes weave into each other, and things that started in one world end up in another, and that’s an actual discovery process for us; as we’re writing, you wake up in the morning. You sit down to do a scene and start using a theme in a new way, or you’ll be exploring one of those pallets in a new way and come up with something that you wouldn’t have come up with unless you were trying to challenge yourself.
Q: How did you share information about creating new musical elements?
Zach Robinson: We have a pretty good system of working together, but we usually work physically separately. We have our studios; we just came up under the same composition systems, and all our file structures are identical. We’re working out of C-base, we’re constantly sharing sessions, we are continually FaceTiming each other and showing each other things excitedly, and it’s kind of like going to the gym with somebody else. They push you to things you don’t usually do or say, “Hey, you know that melody works, but why don’t you try this…” “I wrote a little tidbit theme in this section, and why don’t you call that back for Norman Osborne or something…” We’d try to record as much as possible – we recorded the orchestra in Vienna for this show and some fantastic base drums and guitars here. And then we play on the score, too. We play a lot of synths, and I play a lot of guitar. On COBRA KAI, Leo played tons of Japanese flutes and 80 Ewe flutes, so we performed a lot of production; we handled a lot of the output of the score.
Special thanks to Maddy Myer from Impact24pr.com for facilitating the interview and offering the opportunity to chat with Leo and Zach!
INTRADA RECORDS announces a 35th-anniversary edition of Basil Poledouris’ rowdy score to the 1990 MGM film QUIGLEY DOWN UNDER. When Intrada released its first edition back in 1990, it was quite an event. Released five years after their first release – Red Dawn – the project allowed them to work again with Poledouris. Only this time was it for a new film by a major studio. Intrada president Doug Fake immediately fell in love with the score and would not stop talking about it or playing it. Poledouris’ music had to capture Quigley’s character and circumstances, and the composer managed to do it while capturing a classic cinematic Western style and expressing his native romanticism and dramatic power. It was not the first western the composer had scored for the director, having previously worked on the acclaimed miniseries LONESOME DOVE. While a later reissue from Prometheus in 2006 featured the essentially complete score (minus an overlay here and a correct take there), it was taken from a 16-bit, 44Khz CD-R of the additional tracks Intrada had retained but had to cut out due to the AFM policy in place at the time. For this new release, MGM provided us access to the master sessions on 24-track 2´´ tape, which we had transferred into 24-bit, 96Khz high resolution. We turned these over to Grammy-nominated producer Mike Matessino to mix, assemble, and master to create the definitive release of one of Basil Poledouris’ finest scores. The album features liner notes by Jeff Bond.
Get it at Intrada Here!
Watch the album trailer here:
LA-LA Land Records offers “THE REIVERS: REMASTERED & EXPANDED LIMITED EDITION (2-CD SET),” Music composed and conducted by John Williams, Limited Edition of 2000 Units, RETAIL PRICE: $31.98 - STARTS SHIPPING LATE MARCH
The treasured collaborative relationship between Maestro John Williams (JAWS, E.T., SCHINDLER’S LIST) and filmmaker Steven Spielberg had its roots in the director’s admiration for Williams’ brilliant score to this nostalgic 1969 drama, in which Faulkner chronicles the arrival of the automobile in the American south at the dawn of the 20th century. This new remastered and expanded 2-CD reissue, featuring the complete score presentation for the first time, is an Americana wonder – beautiful, dramatic, heartfelt – an ideal match for Faulkner’s blend of playful humor and vividly drawn prose, conjuring the warm glow of an “endless summer” as experienced by a child on the cusp of adolescence. Williams expertly augments orchestra with guitar, banjo, fiddle, harmonica, mouth harp, and honky-tonk piano, and his traditional orchestral cues are interwoven with passages rooted in old-time music and early jazz. Produced, edited, and mastered by Grammy nominee Mike Matessino, this deluxe, expanded 2-CD presentation was remixed and remastered from Sony Music’s original 3-track elements and approved by the composer. Disc 1 showcases the score presentation and additional music, including a medley of Stephen Foster tack player piano tunes and several alternates (some of which have only survived as mono recordings provided by the CBS Archives at UCLA). At the same time, Disc 2 presents the original soundtrack assembly with its unique performances and edits. Williams’ concert suite for THE REIVERS, as recorded for the 1994 Boston Pops album “Music for Stage and Screen,” concludes the presentation. Here, the composer revisits and expands upon his 1969 score, which features the film’s original narrator, Burgess Meredith. The exclusive, in-depth liner notes are by writer John Takis, and the sharp art direction is by Jim Titus.
This CD Release is limited to 2000 units. Get it here!
Lakeshore Records has released INVINCIBLE: VOL. 1 – Prime Video Original Series Soundtrack digitally, featuring music from series 1-3 by Emmy Award®-nominated, Grammy-nominated, BAFTA-winning composer, producer, conductor, and arranger John Paesano (SPIDER-MAN: MILES MORALES). Paesano’s soaring orchestral score augments every aspect of the esteemed series—from the intensity of the high-impact fight scenes to the emotional heft of the characters’ poignant storylines. Notes Paesano: “Creating the soundtrack for INVINCIBLE was both a thrilling challenge and an absolute joy. In an era overflowing with superheroes, finding the right musical space for Mark Grayson was no small task but one we embraced wholeheartedly. Working with Simon Racioppa and Robert Kirkman to bring this world to life was an incredible experience. I’m so glad Mark now stands alongside the heroes we’ve all come to love because he deserves it.” The series, based upon the award-winning comic book series by Robert Kirkman, is streaming on Prime Video with new episodes available every Thursday through March 13. Purchase/Stream.
France’s Music Box Records proudly presents a World Premiere CD Release album of a remastered and expanded edition of Maurice Jarre’s score to the 1963 film LES ANIMAUX (The Animals). 8-page CD booklet with French and English liner notes by Sylvain Pfeffer - Limited Edition of 500 units. LES ANIMAUX, directed by Frédéric Rossif (TO DIE IN MADRID, L’APOCALYPSE DES ANIMAUX), is an ambitious wildlife documentary that combined edited shots from other films and new ones shot specifically for this feature film. The documentary is a flowing, teeming narrative divided into nine parts, going from the world’s creation to the rediscovery of an earthly paradise and shining the spotlight on wild and domestic animals. The music plays a significant part, allowing Maurice Jarre to let his imagination run wild along with the animals onscreen. The composer gathers a fantasy instrumentation typical of his musical language (Hammond organ, harpsichord, bells, celesta, harp, electric bass, Ondes Martenot…). Characterized by a masterful use of percussion combined with unusual sonorities and surprising instrumental associations, the score reflects the composer’s quest for interesting sound combinations above all. Christophe Hénault has fully remastered this expanded edition from the scoring session elements, featuring previously unreleased cues. The CD has an 8-page booklet with liner notes by Sylvain Pfeffer discussing the film and the score. The release is limited to 500 units.
See Music Box Records.
MovieScore Media’s latest release, available digitally and on CD-on Command, is THE COMMONER, the original score from the 2025 drama television series film directed by Vibeke Idsøe, starring Sindre Strand Offerdal, Gina Bernhoft Gørvell and Anders Baasmo, music by Gaute Storaas (A MAN CALLED ASKEPOTE, CHRISTMAS ON COBBLER STREET, VICTORIA, THREE WISHES FOR CINDERELLA) and released by Amazon Prime Video. THE STORY: For nine years, Crown Prince Harald and commoner Sonja Haraldsen have fought for their right to marry, but the decision lies with King Olav. The Norwegian constitution bars Harald from marrying without royal consent. “The music had to reflect the love, the burden of royal duty, the frustrations, the public fear and anger that this affair could jeopardize the monarchy, and the final victory,” writes Storaas. “As we are in a royal environment, it felt natural to use horns and strings as the main elements of the score. But the director, Vibeke Idsøe, wanted the story to be told in a contemporary way, so I also used synths and electronics more than usual. And, as always, I am pleased about the life Bratislava Symphony Orchestra and conductor David Hernando Rico gave the music. I also wrote some jazz cues, intended to sound like they could have been recorded in the late fifties, performed by a quintet of good friends.” – Gaute Storaas.
See MovieScore Media.
Quartet Records, along with Universal Pictures, Amblin Entertainment, Universal Music Special Markets, and Geffen Records, presents an expanded and remastered 2-CD edition of Elmer Bernstein’s adaptation of Bernard Herrmann’s music for CAPE FEAR, the 1991 remake directed by Martin Scorsese from the 1962 Universal classic film noir for which Herrmann composed the original score. Starring Robert De Niro, Nick Nolte, Jessica Lange, and Juliette Lewis—with special appearances by the main actors of the original film, Robert Mitchum and Gregory Peck—the film is a harrowing thriller about a convict released from prison after serving a fourteen-year sentence, who then stalks the family of the lawyer who initially defended him. Scorsese and producer Steven Spielberg were clear from the start that they wanted to use Herrmann’s iconic score from the original film in their new version, knowing that Herrmann’s music could still move audiences in 1991 as it had three decades earlier. Elmer Bernstein, a close friend and scholar of Herrmann, was the best choice to adapt the score to the needs and editing of the new film. Parts of Herrmann’s rejected score for his last collaboration with Alfred Hitchcock, TORN CURTAIN, and some original music by Bernstein in Herrmann’s style were incorporated here and there to give the new score more consistency. This expanded collection has been produced by GRAMMY nominee Mike Matessino and Neil S. Bulk and mastered by Mike Matessino from original 6-track mixes by engineer Shawn Murphy recorded in New York and London. Disc 1 includes the film score presentation with never-before-released material and additional bonus tracks. The remastered original MCA album, which features performance variations and alternate mixes in some tracks, appears on Disc 2. The package includes an in-depth essay by film music writer Jeff Bond.
See Quartet Records.
Variety reviews the just-released Australian film THE COME BACK TRAIL (2021, receiving a limited re-release in the US in February 21), starring Oscar winners Morgan Freeman, Tommy Lee Wallace, Robert De Niro, Zach Braff, and Emile Hirsch. Aldo Shllaku was honored to join director George Gallo on this musical adventure! The film is about a film producer who owes money to a mobster, and tries to “accidentally” kill his aging movie star for an insurance scam so he can payoff his debt, but he begins to realize that the movie they're shooting is a masterpiece in the making. the film on VOD or in select theaters today! - Via Peter Hackman, Different Direction Management, via Linked-In.
ANDOR, also known as STAR WARS: ANDOR and ANDOR: A STAR WARS STORY for its second season, is an American science fiction television series created by Tony Gilroy for the streaming service Disney+. It is part of the STAR WARS franchise, a prequel to the film ROGUE ONE (2016), and a prequel to the original STAR WARS film (1977). The series follows thief-turned-rebel spy Cassian Andor during the five years that lead to the events of the two films, exploring how he becomes radicalized against the Galactic Empire and how the wider Rebel Alliance is formed. The second and final season is scheduled to premiere on April 22, 2025, with three episodes released weekly until May 13. The musical score is by Nicholas Britell, who scored in both ANDOR’s first and second seasons. Watch the Season 2 trailer:
HERETIC is a 2024 American horror film written and directed by Scott Beck and Bryan Woods. It stars Sophie Thatcher and Chloe East as two Mormon missionaries who attempt to convert a man (Hugh Grant) who is more dangerous than he seems. Score by Chris Bacon (65, STRONG ENOUGH, WEDNESDAY, DARK CARGO, SHERLOCK GNOMES, BATES MOTEL, PATIENT SEVEN). HERETIC premiered at the Toronto International Film Festival on September 8, 2024, and was released in the United States by A24 on November 8. It received positive reviews from critics and grossed $57.4 million worldwide. Grant received Best Actor nominations at the Golden Globes, the Critics’ Choice Awards, and the BAFTA Awards for his performance. In contrast, Beck and Woods received an Independent Spirit Awards nomination for Best Screenplay. Watch the trailer:
Vacation turns disaster when Houston grad Kyle and her friends escape a plane crash in the desolate Louisiana Everglades, only to discover there’s something way more dangerous lurking in the shallows. Music is by British composer Segun Akinola (DOCTOR WHO episodes 2018-2022, THE LAST TREE, GIRL YOU KNOW IT’S TRUE, MURDER IS EASY)
Watch the film trailer:
Apple TV+ has unveiled “DOPE THIEF,” its new, eight-episode crime drama executive produced by Academy Award-nominee Ridley Scott, who also directs the first episode, created and executive produced by Academy Award-nominee Peter Craig, and starring Academy, Emmy, and Tony Award-nominee Brian Tyree Henry, who also serves as executive producer. Based on Dennis Tafoya’s book of the same name, the series follows long-time Philly friends and delinquents who pose as DEA agents to rob an unknown house in the countryside, only to have their small-time grift become a life-and-death enterprise, as they unwittingly reveal and unravel the most significant hidden narcotics corridor on the Eastern seaboard. The ensemble cast starring alongside Henry includes Wagner Moura, Marin Ireland, Kate Mulgrew, Nesta Cooper, Amir Arison, Dustin Nguyen, and Golden Globe-winner Ving Rhames., with a score by Dominic Lewis. DOPE THIEF made its global debut on Apple TV+ on Friday, March 14, 2025, followed by new episodes every Friday through April 25.
THE SAFE HOUSE is a buoyant comedy exploring the free-spirited dynamics of a family during the famous student protests that swept through France in May ’68. This eccentric family portrait by Lionel Baier was adapted from the Prix Femina-winning novel written by one of its members, Christophe Boltanski, nephew of the renowned visual artist Christian Boltanski. This merry band of characters can count on an ensemble cast for their portrayal, with Dominique Reymond as the Grandmother, the late Michel Blanc as the Grandfather, William Lebghil as the Great Uncle, and Aurélien Gabrielli as the Little Uncle, and 92-year-old Liliane Rovère as the Great-Grandmother. Baier’s Swiss-French-Luxembourgish co-production premiered February 20 in competition at the Berlinale Film Festival. The musical score is the work of Diego Baldenweg with Nora Baldenweg and Lionel Baldenweg, a multi-award-winning composer team that has been working together for over 20 years. The siblings represent a unique voice in film music with a talent for composing compelling music in different styles for different genres. The typical Baldenweg sound revolves around orchestral compositions and arrangements, emotional and memorable themes, rhythmical grooves, and ambient textures, often subtly using vocals and electronic sounds. “Play the trumpets as if you were out of breath!” Berlinale competition: The Baldenwegs’ eclectic, jazzy score to Lionel Baier’s THE SAFE HOUSE (La Cache) is a bold breath of fresh air. For this comedy-drama about a young boy moving in with his eccentric uncles and grandparents during the May 68 protests, the Baldenweg siblings have composed a vivacious score brimming with rowdy woodwind instruments. “To amplify the fast pace of the edit and the dialogue, we recorded a variety of organic, moody jazz drum grooves. Instead of relying on electronics or a full orchestra, we mainly focused on wind instruments. Based on our musical arrangements, we requested the musicians for interpretations and loose improvisations with trumpet, flute, bass flute, ocarina, clarinet, bass clarinet, double bass, and piano,” states Diego Baldenweg.
From MAX on digital, THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM tells the fate of the House of Helm Hammerhand, the legendary King of Rohan. A sudden attack by Wulf, a clever and traitorous lord of Rohan seeking vengeance for his father’s death, forces Helm Hammerhand, the King of Rohan, and his people to make a daring last stand in the ancient stronghold of the Hornburg. Musical soundtrack by Stephen Gallagher (MASTERS OF THE MURALVERSE, MYSTIC, EXTREME CAKE SPORTS, FUTURISTS WORLD, PUPPET KILLER).
Jason Statham is A WORKING MAN. Only in Theaters March 28: with Michael Peña and David Harbour, directed by David Ayer, based on the book “Levon’s Trade” by Chuck Dixon, screenplay by Sylvester Stallone and David Ayer, soundtrack music by Jared Michael Fry. Levon Cade left behind a decorated military career in the black ops to live a simple life working construction. But when his boss’s daughter, who is like family to him, is taken by human traffickers, his search to bring her home uncovers a world of corruption far more significant than he ever could have imagined. In Theaters March 28.
Lionsgate presents a Kingdom Story Company production, with THE UNBREAKABLE BOY, directed and with a screenplay by Jon Gunn, based on The Book by Scott LeRette with Susy Flory, Cast: Zachary Levi, Meghann Fahy, Jacob Laval, Drew Powell, and Patricia Heaton; film score by Pancho Burgos-Goizueta (BECOMING VERA, FROM EMBERS, MR. MANHATTAN, ORDINARY ANGELS). Synopsis: When his parents, Scott (Zachary Levi) and Teresa (Meghann Fahy), learn that Austin is both autistic and has brittle bone disease, they initially worry for their son’s future. But with Scott’s growing faith and Austin’s incredible spirit, they become “unbreakable,” finding joy, gratitude, and courage even in the most trying times — an extraordinary true story about a father and son learning together that every day can be the best day of your life! In theaters February 21.
A lone, spectral woman shrouded entirely in black appears on a family’s front lawn without explanation and warns them, “Today’s the day.” 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 (TILL, THE HARDER THEY FALL, THE PIANO LESSON) as Ramona, a woman crippled by grief after she survives a car accident that takes her husband (Russell Hornsby; BMF, FENCES). Seriously injured, Ramona now must care for their 14-year-old son (Peyton Jackson; RESPECT, AMERICAN REFUGEE) and 6-year-old daughter (Estella Kahiha; WILL TRENT, BMF) alone in her rural farmhouse. Then, one day, the woman takes form in their yard. The mysterious woman repeatedly appears in a family’s front yard, often delivering chilling warnings or unsettling messages, leaving the residents questioning her identity, motives, and potential danger. 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. 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 film is produced by Jason Blum, producer of THE INVISIBLE MAN and THE BLACK PHONE. Ben Schor is listed as a music editor, but no composer is listed.
THE PARENTING is a horror comedy in which a couple rents a countryside house for a weekend with their parents and then discovers a 400-year-old poltergeist inhabiting it. D’oh! Directed by Craig Johnson and starring Nik Dodani, Brandon Flynn, Brian Cox, and Parker Posey, with music composed by Nathan Larson (THE SYNANON FLIX, BAD THERAPY, THE WAR GAME, RUPTURE, THE WOODSMAN, GIRLS AGAINST BOYS). WaterTower Music will release a soundtrack album featuring the composer’s score. The film will stream exclusively on Max March 13.
Angel Studios’ RULE BREAKERS Original Motion Picture Soundtrack by five-time Emmy Award-winning composer Jeff Beal has been released today by Categorical Records to coincide with the film’s theatrical debut – just one day before International Women’s Day 2025. Directed by Oscar-winner Bill Guttentag and produced by Laura Overdeck, Rule Breakers is the compelling true story of Roya Mahboob and Afghanistan’s courageous first all-female robotics team. “The opportunity to tell the story of Roya Mahboob and her courageous all-girls robotics team, the Afghan Dreamers, in music was a true honor,” said Beal. “It was also an artistic challenge and a bit of a musical puzzle to do justice to this story. After watching some of this wonderful footage, I thought a girl’s chorus could be a fantastic vehicle to represent the spirit of these women in our score. I am so grateful to have worked with the Brooklyn Youth Chorus, recorded in my studio in New York City, an orchestra recorded in Los Angeles, a fantastic rabab player recorded in Doha, and the amazing Afghan artist Aryana Sayeed, who, while on tour in London, ran into a studio to lend her powerful vocals to our end title song. I also used some electronics in my score to represent the idea of technology and computer coding Roya first taught herself and later brought to a whole generation of Afghan girls.” said Beal. – via Costa Communications, Inc.
Experience Jeff Beal’s inspiring 30 tracks on Rule Breakers Original Motion Picture Soundtrack – now available on all major music streaming platforms. Listen Here:
Watch the Official Music Video “We Believe in Hope,” by composer Jeff Beal, featuring Aryana Sayeed and the Brooklyn Youth Chorus, lyrics by Joan Beal.
Lakeshore Records released REACHER Season 3—Prime Video Original Series Soundtrack digitally featuring an original score by EMMY-nominated composer TonyMorales. Morales creates an ominous high tension with a pulsating synth and percussion-driven score. Season 3 of the series, based on Lee Child’s novel Persuader and starring Alan Ritchson and Maria Sten, is streaming now on Prime Video. In the third season of the action-packed series, Reacher hurtles into the dark heart of a vast criminal enterprise when trying to rescue an undercover DEA informant whose time is running out. There, he finds a world of secrecy and violence—and confronts some unfinished business from his past. Notes Morales: “Writing the score for REACHER season three was so much fun. I could lean into the sound palette developed in season one with more driving rhythms, intense textural sound design, and bruising grooves that define the sound of REACHER.”
Purchase / Stream the Album:
Walt Disney Records announced the release of the original soundtrack for Pixar Animation Studio’s series WIN OR LOSE on February 21. The soundtrack will be available to stream on Amazon, Apple Music, Spotify, and other digital platforms. WIN OR LOSE is directed, written, executive, and produced by Carrie Hobson, Michael Yates, and David Lally. The WIN OR LOSE soundtrack features the original score from award-winning composer Ramin Djawadi (GAME OF THRONES, HOUSE OF THE DRAGON, CLASH OF THE TITANS, PACIFIC RIM) and the original songs and music from multi-platinum award-winning songwriters Shane Eli and Jonny Pakfar (collectively known as CAMPFIRE) who have previously worked with Pixar Animation Studios on “Elemental” and “Dream Productions.”
Said CAMPFIRE, “Pixar continues to raise the bar with their storytelling, and we are proud to be part of something so beautifully told. Collaborating with Ramin on the music has been one of the most fulfilling experiences of our careers, and we hope these songs find a place in people’s hearts the way this show has in ours.” Added Djawadi, “Carrie Hobson and Michael Yates’ creative vision for WIN OR LOSE presented a unique opportunity to explore each character musically. The fresh perspectives between episodes allowed the score to feature various styles and instruments while navigating the characters’ nuanced emotional experiences. Campfire’s striking songs fuse with the score to create a meaningful soundtrack for WIN OR LOSE that I hope will resonate with viewers everywhere.” A brand-new original series from Pixar Animation Studios, WIN OR LOSE, follows the Pickles, a co-ed middle school softball team, in the week leading up to their championship game. Each episode offers a look inside the off-the-field life of a character—a player, their parent, the umpire—revealing their funny, emotional, and always relatable point of view in a unique visual style. The music captures the characters and their stories in a modern and relatable fashion to complement the series perfectly.
The soundtrack can be streamed on Amazon, Apple Music, Spotify, and other digital platforms.
Hollywood Records releases “MARVEL’S DAREDEVIL: BORN AGAIN Main Theme” with music by The Newton Brothers (X-MEN, GOOSEBUMPS, FIVE NIGHTS AT FREDDY’S). The track is available on Spotify, Apple Music, Amazon Music, and other digital platforms. The first two episodes of Marvel Television’s DAREDEVIL: BORN AGAIN are now streaming on Disney+.
Lakeshore Records has released PLANKTON: THE MOVIE Original Motion Picture Soundtrack digitally. The album features songs written by Academy Award & Grammy winner Bret McKenzie (FLIGHT OF THE CONCHORDS), Linda Perry, and Mark & Bob Mothersbaugh (of DEVO). The cast performs Several songs, with Plankton (Mr. Lawrence) and Karen (Jill Talley) lending their voices to anthemic and hysterical earworms. Cinematic pop performer Princess Chelsea contributes “You and Me,” a love song that perfectly captures the unique relationship between Plankton and Karen. With a synth wave, orchestral hybrid score composed by Mahuia Bridgman-Cooper that pays homage to the classic SpongeBob SquarePants sound. The Music Supervisors and Soundtrack Album Producers are Karyn Rachtman and Otis Rachtman. The film was released on Netflix, directed by Dave Needham, and based on the series SPONGEBOB SQUAREPANTS created by Stephen Hillenburg. Plankton’s tangled love story with his sentient computer wife goes sideways when she takes a stand — and decides to destroy the world without him. The movie comes on the heels of the 25th anniversary of Nickelodeon’s iconic animated series SPONGEBOB SQUAREPANTS.
Purchase/ Stream: https://lnk.to/planktonthemovie
This week, composers Mac Quayle, Emilie Levienaise-Farrouch, and Adam Taylor debut their latest scores to their respective streaming series and films. Remember to subscribe to Soundtracks, Scores, and More, and let us know which productions you’re looking forward to seeing! Lakeshore Records has released THE AGENCY – Original Series Soundtrack digitally, featuring an original score by Ivor Novello and BIFA-nominated composer Emilie Levienaise-Farrouch (ALL OF US STRANGERS). The score is a sleek backdrop to the tension-filled series punctuated by intense and unique percussion and atmospheric analog synths. Says Levienaise-Farrouch: “The show contrasts Martian’s psychological unraveling with high-octane action sequences led by the London branch of the CIA. I wanted the music to embody the psychological tension the characters experience, as they are constantly pulled between their duties and personal desires. The music needed both a driving pulse and emotional warmth. It was created using analog synths, piano, string instruments playing extended techniques, and drums, including everything from gran cassa to large oil drums and metal sheets. We were always searching for sounds that would be unexpected and give The Agency its unique musical DNA.”
Available at Spotify.
Lakeshore Records also releases THE GREAT LILLIAN HALL Original Motion Picture Soundtrack digitally, featuring music by Emmy®-winning, GRAMMY, and BAFTA-nominated composer Mac Quayle (Mr. Robot). Quayle’s darkly elegant orchestral score incorporates piano, electronics, and strings that vividly accentuate the emotional challenges of a beloved yet fading Broadway star. Notes Quayle: “This is a touching story about Broadway actor Lillian Hall and the sudden dementia she experiences. The music couldn’t be too big; it needed to be intimate; it needed to be classical but not quite right, almost a little broken. In a mostly orchestral score, it was exciting to blend darker electronic tones to underscore the tension and fear she was experiencing in moments when she was forgetting her lines or hallucinating seeing her dead husband.”Listen on Apple Music Here.
And there is also the Jennifer Coolidge film, RIFF RAFF, by composer Adam Taylor (THE HANDMAID’S TALE). Taylor’s score can be whimsical, melancholic, and sinister, underscoring the complicated character interplay in the darkly comedic crime drama. Riff RAFF (Original Motion Picture Soundtrack) releases digitally worldwide on Friday, February 28, 2025. Get a taste of the film score via the track “Riff Raff” below. Notes Taylor: “Writing the score for Riff Raff was a true joy. The collaboration with the director, Dito, on this dark comedy brought out a quirky side in the writing and instrumentation that was new and exciting to me. Riff Raff was as fun to score as it is to watch.” Purchase/Stream.
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Belmont Family Productions announces the release of the Original Soundtrack for CASTLEVANIA: NOCTURNE SEASON 2, with music by Trevor Morris & Trey Toy. The series premiered on Netflix on January 16, 2025, with the album available on February 28 on digital platforms. ABOUT CASTLEVANIA: Richter Belmont and his allies – including magic-wielding Annette, the newly returned half-vampire Alucard, and the young yet influential Maria – struggle to thwart Erzsebet Báthory, a formidable vampire queen determined to seize Paris amid the chaos of the French Revolution. Their battle leads them to unravel the mysteries of the Egyptian goddess Sekhmet, contend with Maria’s increasingly dark powers, and uncover the intricate past of Drolta, Erzsebet’s loyal servant and high priestess to Sekhmet. Meanwhile, Annette hones her spiritual abilities in a desperate bid to counter Erzsebet’s expanding army.
Soundtracks available: SPOTIFY | AMAZON MUSIC | APPLE MUSIC
Alan Williams has a new soundtrack from Bandcamp: RESTORATION DAWN, an album inspired by events of the 19th century in upstate New York. With folk melodies and rich orchestration, the music of RESTORATION DAWN reflects early American life on the banks of the Susquehanna River, providing hope, inspiration, and determination to overcome obstacles of life in the 1800s. Released March 3, 2025 - Music composed, conducted, and produced by Alan Williams, Orchestrated by Larry Rench, Recorded by F.A.M.E.’s Project Orchestra, Macedonia, Recorded and Mixed by Sasha Jankovic, Pro tools engineer Teodora Arsovska. Listen at alanwilliams.bandcamp.com
Oona Recordings is proud to announce the upcoming release of the soundtrack for THE GIRL WITH THE NEEDLE by Frederikke Hoffmeier, who performs under the stage name Puce Mary, brings a raw, visceral, and atmospheric score to this Oscar-nominated film, which is contending for Best International Feature. Known for her bold, experimental approach to sound, Hoffmeier’s composition immerses listeners in the film’s dark, emotionally charged world. The score to THE GIRL WITH THE NEEDLE is as dark as it is compelling, a masterclass in creating tension, unease, and raw emotional weight. Hoffmeier’s sound design is equally abrasive and intimate, drawing the listener into a world of fractured beauty. Her use of organic textures, electro-acoustic undertones, and dissonant, atonal melodies challenges traditional notions of film music, offering something deeply visceral and unpredictable. Directed by Magnus von Horn, THE GIRL WITH THE NEEDLE premiered at the Cannes Film Festival, where it earned praise for its uncompromising vision. The film received a Golden Globe nomination for Best Non-English Language Film and won two prestigious awards at the European Film Awards, including Best Score for Hoffmeier’s hauntingly powerful work.
THE GIRL WITH THE NEEDLE soundtrack is available for vinyl pre-order, and will be released across all major streaming platforms and digital stores on March 7: Digital Pre Save -
Filmtrax Ltd will release the Original Motion Picture Soundtrack from Focus Features’ newest release, LAST BREATH, by BAFTA-winning composer Paul Leonard-Morgan. Based on an inspiring true story, LAST BREATH follows seasoned deep-sea divers battling the raging elements to rescue their crewmate trapped hundreds of feet below the ocean’s surface. Based on an inspiring true story,?LAST BREATH?follows a seasoned deep-sea diver as he battles the raging elements to rescue his crewmate trapped hundreds of feet below the ocean’s surface. This heart-pounding film is a story of teamwork and resilience that takes audiences on an electrifying race against time. Leonard-Morgan says of the album, “I wanted to create a sense of despair and isolation of being left alone. I selected a solo electronic cello to play the lonely main underwater theme to achieve this. After recording audio elements of a boat by drumming various bits of metal over the hull, I sampled, detuned, and made beats. These elements then became the percussive “ticking clock,” which signaled the race again time to rescue the oxygen-starved diver. The Main Theme is created by sampling a dripping faucet and processing that through a vocoder synth on vintage analog gear. This preparation results in a unique melodic sound combined with powerful ascending strings in the orchestra, low brass, and pounding basses. The music drives the tension and desperation in the film from start to finish.”
Pre-save the album and bookmark it for release here.
Play or download the soundtrack.
Film Music Reporter announced that LuminArt Music Production will provide a soundtrack album for the post-apocalyptic horror thriller SILENT ZONE. The album features the film’s original score composed by Arthur Valentin Grósz ((THE SHEPHERD, HAUNTING TROPHIES, BREXIT BOYS, CIRCUS ELECTRIQUE, MADELEINE, NEW CHANCE). Peter Deak directed the film, which starred Matt Devere, Luca Papp, Declan Hannigan, Nikolett Barabas, and Alexis Latham. Years after a deadly outbreak, Earth has become a deserted, post-apocalyptic nightmare, and the few survivors search for safety from the savage horde of those infected and mutated by the virus. Cassius and Abigail have protected each other since the outbreak began…, but when they cross paths with a pregnant woman, they must risk everything and embark on a perilous journey to find a haven before it’s too late. Fans of THE LAST OF US will love this horror/thriller based on the best-selling novel WELCOME TO THE SILENT ZONE by Viktor Csak. Watch the film’s trailer:
Lakeshore Records releases FIGHT OR FLIGHT – Original Motion Picture Soundtrackdigitally on March 7 featuring music by Paul Saunderson(Trying, BBC Earth). The score delivers intense, darkly driven strings, crashing guitars, and taut synth beats that underscore the action thriller vibes. James Madigan and stars Josh Hartnett direct the action-comedy FIGHT OR FLIGHT. It is currently available on Sky Cinema in the UK. The film will be released by Vertical in U.S. theaters nationwide beginning May 9. FIGHT OR FLIGHT follows exiled American agent Lucas Reyes (Josh Harnett), who is given one last chance to redeem himself - the assignment is to track down and identify a mysterious, international high-value asset known only as The Ghost on a flight from Bangkok to San Francisco. The plane, complicating matters, is filled with assassins from around the world who are assigned to kill them both. The pair must work together in a fight for their lives. At 37,000 feet, the stakes have never been higher. Purchase/Stream.
FANTASMAS follows a fictional version of writer-director Julio Torres (LOS ESPOOKYS, PROBLEMISTA) as he navigates an alternate, fantasy version of New York City. Part neurotic, dark romance, part horror score, part Jersey club infused night out” is how composer Lia Quyang Rusli described her hypnotic original soundtrack for Julio Torres, surreal HBO comedy series FANTASMAS. Chose a music service:
See also: Dive into the depths of suspense with Elliot Leung’s epic original score to OPERATION RED SEA’s highly anticipated sequel: OPERATION HADAL (THE BATTLE AT LAKE CHANGJIN, FRELANCE, OPERATION RED SEA, CESIUM FALLOUT, BURSTING POINT). Chose a music service - CD: https://soundtracks.lnk.to/operationhadalEC or https://thebrutalist.lnk.to/vinylEC
BAFTA-winning, Emmy and Ivor Novello-nominated composer Paul Leonard-Morgan has scored CHAOS: THE MANSON MURDERS. The documentary film debuted on Netflix on March 7, 2025, with the original motion picture soundtrack album available on digital platforms. Leonard-Morgan says of his score, “My soundtrack to Errol Morris’ film, Chaos, is my 8th collaboration with him. What always drives our work together is searching for that unique sound that makes each one a little bit different than before. With Chaos, it was a rare opportunity to use a rock band and orchestra simultaneously. In 1968, Dennis Wilson of the Beach Boys had co-written a song with Manson before the record deal fell through and Wilson screwed him out of his copyright. A few years ago, I heard about a pump organ that used to belong to Dennis that had been left on the side of the road in LA, so I collected it and was waiting to fix it! Then, by pure coincidence, this film came up. I simply HAD to use it! So somewhere between the band and the orchestra is Dennis’s pump organ playing under Manson, talking about their collaboration. The score consists of electric guitar, drums, bass, and mellotron to fit in with Manson’s own musical style, and then I used synths and a full orchestra to keep the score in Errol’s wheelhouse. Such a unique opportunity to try some original scoring techniques.”
Based on the book CHAOS: Charles Manson, the CIA, and the Secret History of the Sixties by Tom O’Neill with Dan Piepenbring, the film probes the covert motives that may have sparked the murders, bringing a fresh perspective to this chilling chapter of American history. A thought-provoking exploration of the tumultuous era’s cultural and political undercurrents, CHAOS invites viewers to question the roles of well-known players and powerful institutions through gripping interviews, shocking archival visuals — and the music of Charles Manson himself.
Filmmusic Reporter indicated that Netflix Music will release a soundtrack album for the streamer’s original documentary series AMERICAN MANHUNT: OSAMA BIN LADEN. The album features selections of the show’s original score composed by Jasha Klebe (PLANET EARTH II, WINTER ON FIRE: UKRAINE’S FIGHT FOR FREEDOM, THE BLACK GODFATHER, A YEAR ON PLANET EARTH). The soundtrack will be released digitally tomorrow, March 10. The streaming/download link will be added to this page within the next day. American Manhunt: Osama bin Laden is directed by Mor Loushy & Daniel Sivan and explores how the world mobilized to hunt down Osama Bin Laden after he orchestrated the September 11 attacks on the United States.
Watch the film’s trailer:
In association with WaterTower Music, Waxwork Records is ecstatic to announce the MICKEY 17 Original Motion Picture Soundtrack by Jung Jaeil. MICKEY 17 is the upcoming madcap political science fiction satire from the mind of Academy Award-winning director Bong Joon-ho (Parasite, Okja, Memories of a Murder). It will be in theaters on March 7. MICKEY 17 tells the story of Mickey Barnes (Robert Pattinson), a man employed as an “expendable,” a disposable clone used to assist in colonizing the ice planet Nilfheim. When each mission inevitably ends in death, Mickey’s body is regenerated so that he can continue his work. Things go awry when his body is regenerated while the previous body, number 17, is still alive. MICKEY 17 also stars Mark Ruffalo (Poor Things), Toni Collette (The Sixth Sense, Hereditary), Steven Yuen (Nope), and Naomi Ackie (Blink Twice). Bong Joon-ho again collaborates with award-winning composer Jung Jaeil (PARASITE, OKJA, SQUID GAME). About MICKEY 17, Jaeil says, “Among the film soundtracks I’ve composed, the music from MICKEY 17 is the closest to my musical preferences. They are classic and intimate.” Click here for more. *This release is a preorder that will ship in May 2025*
Praise be! In partnership with HBO and Rough House Pictures, THE RIGHTEOUS GEMSTONES Season 2 Original Soundtrack and Score 2xLP is available to preorder now! We are thrilled to dive back into the chaotic and hilarious world of the Gemstone family with a new soundtrack album release that’s loaded with features including TWO bonus 7” EPs, artwork by Robert Sammelin, colored vinyl, deluxe packaging, a Judy Gemstone “Stay Horny!” 8 “x10” glossy, and more! THE RIGHTEOUS GEMSTONES Season 2 soundtrack album features 2xLP Pink & Red swirl vinyl and Purple & Pink swirl colored vinyl, deluxe packaging, TWO bonus 7” EP’s featuring both versions of ‘Sassy On Sunday’ performed by Jennifer Nettles and Edi Patterson pressed to Seaglass Blue colored vinyl and ‘Coming Home For Christmas’ and ‘Rock My Boy’s Body’ pressed to Red Glitter colored vinyl. See Here for more.
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
