• Andrew Scott Bell : THE DEATH OF SNOW WHITE
• Gavin Brivek Interview : THE PITT
News:
• Film & TV Music News
• New Soundtrack News
• Non-Film Music Works by Film Composers
• Film Music Book News
• Documentary Film & Soundtrack News
• Vinyl & Video Game Soundtracks
Known for his imaginative electronic and orchestral music for WINNIE-THE-POOH: BLOOD AND HONEY (2023) and its 2024 sequel, WINNIE-THE-POOH: BLOOD AND HONEY 2, both with director Rhys Frake-Waterfield, composer Andrew Scott Bell has now scored THE DEATH OF SNOW WHITE for director Jason Brooks (FRIDAY THE 13TH VENGEANCE 2: BLOOD LINES).THE DEATH OF SNOW WHITE: Pursued by her stepmother for eternal beauty, Snow White flees into a terrifying forest and aligns with seven bloodthirsty dwarves - cold-blooded assassins with a knack for brutal killings. Her spirit is tested in this grim fairy tale.
Andrew also recently signed on to score PINOCCHIO: UNSTRUNG, again with Frake-Waterfield, premiering in Spain in October 10th (A limited release is set for the United Kingdom in 2025.
Watch the trailer for THE DEATH OF SNOW WHITE:
Q: How did you work with director Jason Brooks to create the kind of music he wanted for this film?
Andrew Scott Bell: My manager, Peter Hackman, found this movie and introduced Jason and I, and the three of us – there may have been another person in it, it may have been Naomi, Jason’s writing partner and producer for the film. We had this introductory meeting, which is pretty common, but normally happens is I ask about the movie, I’ve read the script, I ask what they’re thinking and try to get a feel for that. Upon reading the script and seeing some of the test footage they sent me, I just had this immediate sense of what I could I thought the music could accomplish and the vision that I had for the music. I don’t normally do this, but I pitched Jason my vision for the score, very simply, as what if BRAVEHEART was a horror score? He just thought that was so much fun. That was just the initial idea, and it spread from there. There are more elements of adventure in the seven dwarf themes – they have this kind of quirky, almost like pirate themes in 3/4 or 6/4, depending on how fast it was, and those characters really have fun with their viscous kills and are really playful with it; they come together like a team, often, like jumping off of each other’s backs to swing the axe, or grabbing one person and putting the axe on the ground and then pulling the person toward the axe together, and it just seemed natural that they would have this kind of bombastic kind of fun with this twisted stuff!
The music grew from that initial idea, always with Jason involved, I would text him and say I’m thinking of this type of instrument for the Huntsman, not because it’s from this part of the world, but because it’s a chaotic kind of percussion instrument, and I think it works for their frantic energy, and that kind of thing. I will say that he trusted me, and that’s nice, and we just went from there.
Q: You’re known for a number of unique home-made instruments added to your repertoire… How did you musically treat the characters with those kinds of elements, in the score?
Andrew Scott Bell: I believe Hans Zimmer said this, originally and I really like it so I’ve adopted it to my practices: “the active verb for music is to play,” and so my use of all these strange and unusual instruments is of my way of keeping it fresh and making sure that I’m being playful in my work, because it makes it fun to explore new and weird things. So, like the beehiveolin [See Winnie the Pooh: Blood and Honey], that originally started as a kind of a, would it be funny if, kind of thing… like a gimmicky thing. But the end result of it was like this very unique sound. It doesn’t, really, quite sound like a violin, it sounds kind of like a violin, but by the nature of being filled with honeycomb and larva comb, it’s got this deadened sound that doesn’t resonate as much but makes the overtones of the strings go wild and crazy! The other nature of that instrument is that I could bring it to full tension, as if it were an older violin; it has this low, growling sound. I think it’s lowest string is like an E-flat, so it’s slightly above the range of a viola.
I always wish, when you’re listening to my scores, that you don’t hear those elements and notice them. I hope that they always blend in to the rest of the sonic landscape that I’m creating. I don’t want people to… if I were to do a TEXAS CHAINSAW MASSACRE movie and I would use the sounds of chainsaws, I would try to do so in a way that, recording the chainsaw or using or playing the chainsaw, you wouldn’t hear it and think, ‘Oh! He’s using a chain saw!” Maybe I would play it with mallets and give this metal percussion, that would just blend into the sound of the percussive elements of the score, without you thinking, while you’re watching, “oh, he’s using a chainsaw because it’s a chainsaw movie. You know what I’m saying?
Q: Yeah. And now I want to watch that movie! (both laugh). So, what other musical elements have you added to SNOW WHITE score?
Andrew Scott Bell: I tried to pull from a bunch of different, world music, I guess, for lack of a better word, because the film and the costuming and the set design, they didn’t want to limit themselves to one area of the world. I think it just exists in a fantasy world where they weren’t really concerned whether or not the buttons or Germanic, because the original fairytale is from the Brothers Grimm so it’s a Germanic fairy tale. But on these elements, the characters have English accents, and there’s elements from all over the world. I remember talking to Jason, and asked if we want to put the music in one section, like I’m thinking about uilleann pipes, which are the Irish version of bagpipes – a little softer than the highland bagpipes in Scotland – I’m certainly thinking of using Irish tin-whistles, pennywhistles type stuff, but do we want to limit it there or should we just barrow from all over? He said, “let’s just borrow from all over.” So there’s mandolin, there’s accordion, all sorts of instruments, like percussion instruments from the Middle East which I used for the huntsmen. It really varies all around.
I will say the one fun thing I added to the score, because I scored this film in our Virginia cabin, where we have a vacation lake house, and I have a duplicate set up of my studio where I just bring my hard drives. We had some friends visiting us and we were hiking one Saturday, and my friend, Colin, had this walking stick for the hike, and I said, “Colin, why does you’re walking stick have holes in it, and he whipped it up and started to play his walking-stick, because it was a giant flute! And I said, “I knew I said I wasn’t working this weekend, but we’re going home and we’re going to record some of that!” and it made it into the movie in a couple of scenes, so there’s a walking-stick flute in the movie!
Q: What else did you find most unique about scoring SNOW WHITE?
Andrew Scott Bell: I think, for me, this was a chance to try – it’s not quite a horror film, it’s more like a dark and gruesome fantasy film. It has some great action scenes, it’s like an adventure film as well. I really liked to flex some of my non-horror muscles in a feature film. I’ve gotten to flicks before; I worked on movie called POWDER PUP that was a family friendly, sports kind of adventure movie, and that was a lot of fun, but this felt like I really got to try some stuff that I haven’t yet gotten to try. A lot of what I work on is horror. So, this has elements of horror, but there’s a romance in there, there’s action, there’s humor. One thing that really felt knew to me, in all of the fight scenes in this film, there’s really funny moments of dialog. So, to balance between somebody’s head getting chopped-off with a sword and to bounce over to the dwarfs doing something funny, so I write a little bit of a comedic cue, and then bouncing back to action, and somebody being split in half, and then I bounce over to the brother characters, and they’re doing something funny. To bounce around in that dexterity was a challenge for me, but once I got the hang of how those scenes work, rhythmically, I think you can hear it if you listen to some of the battle scenes in the soundtrack, where it’ll be battle-battle-battle, and then a little dip for comedy dialog moment, and then back to battle and fight. So once I got the rhythm of that and how that should feel, then the rest of those scenes were really fun to go with.
Q: I’d also like to ask you about a few other scores between WINNIE-THE-POOH and SNOW WHITE… Tell me about scoring TENANTS and your musical treatment for that film?
Andrew Scott Bell: I loved the movie TENANTS. That was director Buzz Wallick, who I’d previously worked for in PSYCHO STORM CASER. TENANTS is an anthology film but it’s so unique, in my perspective, from a lot of other anthology films. TENANTS (2024; Amazon ): After waking up in an unfamiliar apartment complex, a woman desperately searches for her sister while being hunted by a shadowy figure. As she makes her way through the building, unspeakable horrors befall the tenants she interacts with.
Normally an anthology film, these days, is however many short ten-minute films or fifteen-minute films – I worked on DEATHCEMBER (2019) which had twenty-four or twenty-five five-minute short films, all of them by different directors and none of them connected whatsoever. But in TENANTS, the premise is that it’s one apartment building, and each short, little story is a different apartment within the building. The connecting story is this woman played by Mary O’Neal, Buzz Wallick’s wife and co-writer of a lot of the segments, and co-producer on the film as well, and the lead – she’s trying to find her sister and she’s going through the apartment complex, and when she bumps into somebody she follows them into their department and finds out what horrors are behind the door. And then, of course, at the end you get to find out why she’s been looking for her sister, and the mystery there.
That was fun for me, because not only did I get to create kind of unique themes for each of the shorts – I think there were five shorts, four shorts and one really tiny short. I also got to tie them together with similar themes – there’s a kind of a throughline grief, and I got to write a theme that would play in all the shorts, some were a chord progression from which I could build different melodies that are all the grief theme. And because it had this old kind of Twilight Zone-esque aspect to it with all these mini stories and terrible things happening to these characters but they’re all connected and there’s this mystery and it’s in this old art-deco style apartment building in Los Angeles. I really got to play in kind of a Bernard Herrmann classic/mystery/thriller world that I grew up listening to Bernard Herrmann is such an influence of mine and I don’t always get to write in that style. A lot of times it feels like it doesn’t belong in the film’s I’m working on. But if you listen to that score it could be something like an old Hitchcockian, Alfred Hitchcock Presents type of show.
Q: You’d also scored THE HANOVER INCIDENT, a short sci-fi film for Charles Berlepsch.
Andrew Scott Bell: I loved working on THE HANOVER INCIDENT! It’s a short film, kind of a proof-of-concept for they would like to do, either a feature script version of the story, and they also have a ten-part episodic version of the story which goes into more detail. I think it would make a great feature film, I also think it would make a great ten-part series. The process of working with then on that was super-pun. Not only did I get to score it and work with the director on it in the normal way, but we also hired a full sixty-piece orchestra in Budapest to record the soundtrack. And that was a phenomenal experience, to get three hours with them and it's like boom-boom-boom-boom! There’s no time to sit back and think, this orchestra across the world is playing my music! But then, once you finish the Zoom call, you sit back and go “wow!” that was incredible! But when you’re in it you’re busy giving notes, trying it again, and listening, and having to do another take, and saying, “Ok that’s great, we’re moving on!” and then afterwards, looking at the footage, piecing the music together for my You Tube channel, it was just such a joy! Any time I get to work with live musicians, it’s like a drug that I am addicted to and don’t often get to partake! Because music budgets are different these days, film budgets and different these days, and we can do a lot, successfully, on the computer, and I record a lot of my own instruments and layer them into the computer sounds, so any time I can work with an orchestra, thus far in my career, has been a treat. Hopefully, one day it’s every time, but I don’t think I’ll ever get used to it, I think I’ll always be in awe of the incredible musicians all coming to together to play something I wrote.
Q: What’s coming up for you next that you might be able to talk about?
Andrew Scott Bell: Next, I’m working on a film called DEVOUR with Scott Hansen, which is very loosely about a metal band whose members are actually vampires, and that’s going to be a lot of fun! A struggling all female metal band called "The Virginia Bitches" have a taste for blood and while on tour their van breaks down in the middle of nowhere. Seeking help they come across a town full of cannibals led by an infamous Warlock. - IMDB
I start that, literally, any day now, I’m just waiting for them to send me the edit and I’ll get started, but then after that is another big one, because DEVOUR is I think is probably going to be a big hit, I think people in the horror community, and it’s got a lot of metal bands already licensing their music, so it’s going to play out like a huge metal band music video! Then after that is PINOCCHIO UNSTRUNG, where I didn’t work on PETER PAN or BAMBI, but I’m coming back after the two POOH movies to work with Rhys Frake-Waterfield again on PINOCCHIO UNSTRUNG. A dark reimagining of Pinocchio, this unsettling tale explores the eerie nature of the iconic puppet, blurring lines between reality and fantasy. I’m really excited for this, because it’s got Robert England (Freddie Krueger), and he’s voicing the Cricket character, the conscience – I don’t know if it’s Jiminy Cricket, I know that in the Disney version it is, but I’m not certain if in the original tale the Cricket has a name. Richard Brake, an incredible actor, is Geppetto, and I can't wait to see how he brings Geppetto to life. And the animatronic puppet that they used for Pinocchio – they used all practical effects, which were designed by Todd Masters from CHILD’S PLAY. It’s stacked with great talent, and I’m delighted to be a small part of what’s hopefully going to be a really fun and exciting twist on Pinocchio’s story.
(see my first two interviews with Andrew about WINNIE-THE-POOH: BLOOD AND HONEY here) and WINNIE-THE-POOH: BLOOD AND HONEY: II:
Special thanks for Peter Hackman for facilitating this interview.
THE PITT, a new series from MAX starring Noah Wyle, depicts the lens of the frontline heroes working in a modern-day hospital in Pittsburgh, Pennsylvania. The series is a realistic examination of the challenges facing healthcare professionals in America as they juggle personal crises, workplace politics, and the emotional toll of treating critically ill patients, revealing the resilience required in their noble calling.
Watch the trailer for THE PITT:
Q: What brought you to score the music for THE PITT series, and what were your initial conversations with the directors and/or showrunners?
Gavin Brivik: I was initially put forward for the series by my agents, and the showrunners and the post supervisor have seen a movie I had worked on called HOW TO BLOW UP A PIPELINE. They brought me in, and honestly, they had sent me the first episode. When I watched the series, I pitched that the show didn’t need music, and I thought it worked so well with no score. It was like a funny initial conversation where I was almost talking myself out of a job, but they agreed, and it was actually their vision. So, to find this middle ground, I pitched the idea of a very atmospheric and pulsing, intent electronic score that almost felt like it was coming from the ER equipment, like all the medical equipment was making the score, so there are heartbeat pulses, these pulsing electronic textures that almost sound like one of the machines is making them. We did keep it very subtle and non-intrusive. Scott and John, the showrunner and the executive producer, that was always what they wanted, and I think they were just having trouble finding a composer that could do that style. Some of the other music tracks they tried, even though they might have been subtle, still felt too noticeable.
Q: What can you tell me about beginning to create your musical palette for the show, once you started?
Gavin Brivik: It was an intuitive thing. They had asked me to write some demos for some scenes, and I initially just knew that it needed to be an electronic score; there was just something about the hospital environment, the ER, the doctors being so precise, and kind of cold and calculating, there’s no room to be emotional, almost, when they’re working on these patients, even though it’s impossible to avoid that, as we see in the series. That just led me to feel like I needed this modern electronic score. I wrote these demos and Scott & John really liked them; we were on the same page from the get-go. Also, just to distance myself from other medical shows – I wanted to use synths, and it was all digital, all electronic. I performed all the synths in my studio. There were some very subtle strings, primarily electronic and sample-based.
Q: How were themes and motifs for specific characters used in the hospital environment?
Gavin Brivik: We didn’t do themes or motifs for characters, which was unique to the show. In general, we had an over-arcing sound for the series. The recurring musical palettes are the pulsing heartbeats, rising like agitated shepherd tones, and honestly, these electronic pulses and swells are pretty much across the board; we didn’t have anything that’s across-the-board character themes in the show.
Q: As the series developed, what new musical treatments came into play, and how did new characters introduce new themes and such?
Gavin Brivik: The main thing that some people who have a great ear will notice is that the music speeds up slowly. In episodes 1 through 3, a lot of the tracks are 120 BPM, and as things progressed, I’d move things to 125, then to 130, then to 135 and 140. So it felt like I almost approached the whole series as if it was a speeding up effect. No particular character introduces anything new other than the fact that, because the show, each episode is one hour in the shift, the whole series is like one shift, and I almost approached the series like scoring a feature film, where I viewed it like one grand arc.
Q: You co-wrote the series’ end credits song, “Fail Forward,” with signer/songwriter Taji. How did you work together and develop this musical treatment for the end credits?
Gavin Brivik: Taji and I had been in a band in 2019, and I’ve been a huge fan of his work. He has so many great solo records and has such a unique sound in his guitar-playing and vocals. John and Scott, the showrunner and executive producer, used a song from Thom Yorke and Jonny Greenwood from The Smile; they loved The Smile, Radiohead and were looking for that vibe for the end credits. Initially, we had some atmospheric compositions, but I had pitched the idea, what if I wrote a song, and they said, “Let’s hear it.”?
So, I called up my buddy Taji, and he had a sketch of “Fail Forward” already written. It sounded a bit different, but it had all the framework for the lyrics, guitar chords, and a bass line, and essentially, I came in and wrote a new drum part, my own synth parts, and kind of restructured the song. Scott and John had given me notes on making the song more propulsive, so I added more synths. We quickened the pace of the drum beat. Then I brought in a lot of players: my friend Rock, who played drums; my friend Adam, who played guitar; my friend Joel, who played bass; and Taji and I would give notes to all these people to guide them. Ultimately, the show used instrumental versions, and then they saved the lyrics for the 13th episode, so we didn’t hear the full version of the song until episode 13. It was a cool creative choice.
Q: What was most challenging in creating the score across the TV seasons, and what was most satisfying?
Gavin Brivik: The challenging part was being additive, like staying in line with the direction of the show. It is challenging to create all these tense moments but not have a big, bombastic score, like not relying on staples of film score material, like using big drums or specific sound effects. It was like a practice in minimalism that I found was pretty hard, maybe because, at my core, I’m a maximalist, and a lot of my music prior to this was very maximalist. It was a great creative exercise. It was also challenging to jump into this word flow at such a high level with all these seasoned professionals who had been working at the highest level. I’m still getting my career going, so the challenge was learning how to work into their process.
The most satisfying thing was how aligned I was with the show’s creatives. It really was such an easy process because they just loved what I was doing intuitively. There weren’t tons of back-and-forth, and there weren’t so many rounds of notes and revisions. We were able to do a lot with the stems of the music, and we were able to lock into something so quickly; that was the first time I’d experienced that.
I think one other thing was learning to work in tandem with the great sound designer, Brian Parker, who probably had the toughest job – all the sounds of every medical piece of equipment, every beeping sound, it was so accurate. There were so many references, and I think the challenges were not stepping on his work, but allowing both of us to have a lot of space for our sounds and for things to work so well in tandem. I always feel like Brian’s work has been overlooked because it’s so good, and people don’t realize just how technical the sounds are in the ER and how much precision was put into ensuring every machine is as accurate as possible.
Q: Tell me briefly about some of the other film scores you’ve worked on… such as 2023’s HOW TO BLOW UP A PIPELINE, 2021’s WILD INDIAN, and Blumhouse’s THE VISITOR in 2022.
Gavin Brivik: Yeah, for HOW TO BLOW UP A PIPELINE we were inspired by the early William Friedkin films, Michael Man’s THE THIEF, and I was obsessed with the TANGERINE DREAM scores, and the film is a homage to the early ’70s early 80’s. It was fun to work with a big genre of music, which has allowed us to be very in-your-face and loud. I always joke; it’s like the Chris Nolan approach to scoring, where sometimes the score is so loud you miss dialog! So, it’s fun to be within that world.
And with WILD INDIAN, that was basically my first professional orchestral scoring gig. It happened during the lockdown, so we recorded remotely in Bulgaria, and it was a crazy experience just working with all the musicians. They were also about to enter a lockdown, so we got really lucky with the timing. We were grateful, and I do love working with live musicians. It was also Lyle (Lyle Mitchell Corbine Jr.), the director’s first time directing, so working with a first-time director can be exciting because there are a lot of fresh ideas and experimentation. Many of my scores are synth, like the other one you asked about, THE VISITOR, which was very synth-based, but we used some strings for that. I worked on that director’s (Justin P. Lange) prior film, THE SEVENTH DAY (2021), and we had a great time on THE VISITOR. It was a very intimate film, about a drama between this husband and his wife, with the idea that he’s finding these paintings that look like him all over this town. He’s being treated very strangely, but I think it was great because the director, Justin, is very into instrumental music like many horror film directors are, which I love, and I was lucky to do some horror films. It‘s my favorite genre to work in because the audiences are also so open to new ideas and experimentation. It feels like the genre is continually pushing the artform forward. If you think about the history of horror in cinema, it’s always been a very cutting-edge craft, where new and exciting ideas get presented, and people are willing to accept extraordinary things because the genre allows for it.
Q: What’s coming up next for you that you can mention?
Gavin Brivik: Another horror film, the FACES OF DEATH remake. I’m really excited about that. Hopefully, that will come out this year or next year. That also has a very insane sounding score and some pretty grotesque but awesome scenes, for all the horror fans out there! And then I’m doing an indie film, a psychological thriller, next month. I’m lucky and getting a lot of work in the genre space.
ABBOTT AND COSTELLO MEET FRANKENSTEIN/ABBOTT AND COSTELLO MEET THE KEYSTONE KOPS - Frank Skinner / William Lava, Herman Stein & Henry Mancini / INTRADA / SINGLE CD
Intrada presents its 12th album recording project – ABBOTT AND COSTELLO MEET FRANKENSTEIN/ABBOTT AND COSTELLO MEET THE KEYSTONE KOPS. The project was generously funded through a Kickstarter campaign, and again proudly features the Royal Scottish National Orchestra under the baton of William T. Stromberg. The score was reconstructed by the late and sorely missed John Morgan, Bill Stromberg and Anna Stromberg. The album was mixed and edited by Leigh Phillips and mastered by Ray Faiola and Chris Malone, featuring liner notes by Faiola as well. It’s the long-awaited release of some truly effervescent film music. Frank Skinner, noted for scoring many pictures in the Universal series, provided all of the music for ABBOTT & COSTELLO MEET FRANKENSTEIN, no previous tracks were brought in from previous films. Stromberg provides a wonderful reconstruction of music of FRANKENSTEIN with 21 splendid tracks and a terrific mix of horror music referencing the Frankenstein Monster, the Wolf-Man, and Dracula offer classic horror creature music, while also supporting musical amusement for Abbott and Costello; the closing 8 tracks, from ABBOTT AND COSTELLO MEET THE KEYSTONE COPS, may be sans monsters, but offer some great comedy music on their own, featuring theme and score by HenryMancini, with additional scoring by William Lava and Herman Stein. A thick, 25-page booklet, written by Ray Faiola, provides details of both films for each track on the CD. The label offers a huge thank you to all Intrada’s Kickstarter contributors, without whom this release truly would not have been possible. Order from Intrada Here.
GLADIATOR/Hans Zimmer & Lisa Gerrard/LA-LA-LAND RECORDS/3 DISC CD
La-La Land Records, Paramount Pictures, and Geffen Records present GLADIATOR: 25th ANNIVERSARY LIMITED EDITION (3-CD SET), a deluxe remastered and expanded re-issue of renowned composer Hans Zimmer and acclaimed vocalist/composer Lisa Gerrard’s original motion picture score to the 2000 Best Picture GLADIATOR, starring Russell Crowe, Joaquin Phoenix and Connie Nielsen, and directed by Ridley Scott. Zimmer and Gerrard’s original score provides a beauty heart for the splendidly massive film about a former Roman General who sets out to exact vengeance against the corrupt emperor who murdered his family and sent him into slavery. The label’s definitive release offers three CDs (Disc 1: 62:19; Disc 2: 59.24; Disc 3: 78.17), along with 32-page notes from Kaya Savas cover the film in detail, from writer David Franzoni’s script, Ridley Scott’s decision to make the film and how it was done, details about the cast, and Gerrard and Zimmer’s score, presented here in three CDs – the first 2 for the full score, the 3rd additional music and a musical sketchbook, showcasing exclusive, never before released sketches from Hans Zimmer’s archives, as well as Additional Music tracks (There is no spoken dialogue in this presentation). This edition of GLADIATOR rivals all previous editions and is well worth the cost in its presentation. Order at La La Land Records
MAYFLIES/Lorne Balfe & Jo Stevenson/MovieScore Media
MovieScore Media has released the soundtrack to MAYFLIES, an original score from a 2022 drama TV series produced by Synchronicity Films, released by the BBC. MAYFLIES stars Tom Glynn-Carney, Rian Gordon, and Matt Littleson, with a score composed by Lorne Balfe and JosephStevenson. The TV drama series follows a friendship forged between James and Tully in a small Scottish town in 1986. One weekend, they make a vow to each other to go at life differently. But then, 30 years on, half a life away, the phone rings. Tully has the worst kind of news. “The score blends a string quartet, piano and bowed marimba,” wrote the composer, “with solo viola and cello melodies performed by Scottish players bringing a rich and subtly Celtic folky flare to the score. We are both from Scotland – as are the vast majority of the cast and crew on the show – and so we felt it was important to give it a bit of a Scottish edge. As the story moves gradually towards its heartbreaking conclusion, we needed to introduce a sense of tension and inevitability – of time ‘running out’ for Tully as cancer begins to take hold. We created this sense of inevitable and sorrowful dread through the use of subtle percussive pulsing, ticking and hypnotic piano and solo string figures.” – Joseph Stevenson.
Order them at MovieScore Media
ONE DEADLY SUMMER / THE WHITE QUEEN/GEORGES DELERUE/
MUSIC BOX RECORDS /CD
2025 marks the 100th anniversary of Georges Delerue's birth. Music Box Records presents on the same CD two original motion picture soundtracks composed and conducted by Georges Delerue: L’ÉTÉ MEURTRIER (ONE DEADLY SUMMER, 1983) and LA REINE BLANCHE (THE WHITE QUEEN, 1991). In ONE DEADLY SUMMER, Delerue composed a dark and tormented score for the film, including some pieces that are reminiscent of his scores for François Truffaut’s last films. The dark gem of the score is the jazz theme associated with Éliane (Elle) and accentuates the young woman’s aura of sensuality. THE WHITE QUEEN, starring Catherine Deneuve, Bernard Giraudeau and Richard Bohringer, is set in the post-war era. Delerue provided a nostalgic score, filled with restrained emotion. The main theme, heard as early as the opening credits, develops a simple folk-like melody reminiscent of the sea shanties of sailors gone to face the open seas. The second theme (Jean), with a sadder tone, conveys the regrets of characters faced with the consequences of their past choices. The set includes a 12-page booklet with liner notes by Sylvain Pfeffer. The CD release is limited to 750 units. Available from Music Box Records of France and also from Intrada.
THE KNACK… AND HOW TO GET IT/JOHN BARRY/QUARTET RECORDS Quartet Records, in collaboration with Metro-Goldwyn-Mayer, celebrates the 60th anniversary of the iconic score composed by John Barry for the classic Richard Lester film THE KNACK… AND HOW TO GET IT, winner of the Palme d’Or at the Cannes Film Festival in 1965. The “Swinging Sixties” marked a period of significant social, cultural and innovative change in the UK. John Barry played a pivotal role in shaping the cultural revolution of the era, swiftly becoming one of England’s most influential and sophisticated film composers. The music, powerfully melodic, is richly vibrant, funny, and well-remembered as an icon of the “Swinging London” movement. The soundtrack album was released on LP by United Artists Records and subsequently reissued on CD by Ryko in 1998, and again by Quartet in 2011. While there are some anomalies, the label has employed every available technique to remove sound effects and ensure the music is as clear and enjoyable as possible. The result is convincing, and it’s the only way to listen to the long-lost, historical original film recording. The package includes a 20-page booklet by film music journalist and writer (and major Barry connoisseur) Jon Burlingame.
Philip Glass to be honored with Lifetime Achievement Award at 25th World Soundtrack Awards. While initially renowned for his work for opera and his symphonies, Glass has made an equally impressive contribution to film music, with a rich oeuvre of film scores. During this concert, a selection of Philip Glass’s work will be performed by the Brussels Philharmonic conducted by maestro Dirk Brossé, who personally presented the award to Philip Glass in New York.
STAR TREK’S STRANGE NEW WORLDS returns this summer exclusively on Paramount+! Join the crew of the U.S.S. Enterprise as they discover new civilizations, test their resolve and dive into thrilling adventures. One show. Infinite Adventures. Watch STRANGE NEW WORLD’s
Leigh Phillips is thrilled to have had the opportunity to produce and reconstruct three wonderful and rare, newly recorded Jerry Goldsmith CD’s, (the two pictured, plus “The People Next Door”). Captured with the usual team in Smecky Music Studios, performed by The City of Prague Philharmonic Orchestra and conductor Adam Klemens, the CDs are coming soon for Intrada Records.
THE GLASS DOME Glaskupan (original title), a dark, suspenseful 6-episode Swedish TV crime-mystery-drama series (2025- ), distributed by Netflix, with music by Joel Danell (TROLLTIDER - LEGENDEN OM BERGATROLLET, ALONE IN SPACE) and Edvin Nahlin (TV series PALME, THE GLASS DOME). Plot story: behaviorist/criminologist Lejla returns to a small community in Sweden, a place where she once was held captive by an unknown perpetrator, but which is also her retirement home, with her partner, the former police chief Valter. Soon the couple starts to investigate the mysterious disappearance of a local girl.
Watch the official trailer:
Composer Lasse Elkjær is excited to announce the trailer for STAND YOUR GROUND has dropped. “A high explosive action feature film with tight abs and bulging biceps. I had a blast scoring this action movie,” Elkjær said. The movie is starring Eric Roberts (THE DARK KNIGHT, 2007), Peter Stormare (FARGO, 1996) and the Norwegian bodybuilder champion Daniel Stisen (THOSE ABOUT TO DIE - TV Series 2024) and directed by Fansu Njie. Former Special Forces operative, Jack Johnson, uses the Stand Your Ground law to seek vengeance for his wife's murder, igniting a brutal war against a local crime lord's family and ending in an explosive showdown. Theatrical release May 9, 2025.
Trailer:
She’s back! Watch the first official teaser trailer for WEDNESDAY SEASON 2. Part 1 is coming on August 6th. Part 2 is coming on September 3rd. Only on Netflix.
Watch the Official Teaser:
Our lives are the sum of our choices. Tom Cruise is Ethan Hunt in MISSION: IMPOSSIBLE – THE FINAL RECKONING, the direct sequel to MISSION: IMPOSSIBLE – DEAD RECKONING, it is the eighth installment in the MISSION: IMPOSSIBLE film series. Lorne Balfe, who composed the scores for two previous films in the series, returned to score the film. The film, originally titled Mission: Impossible – Dead Reckoning Part Two, dropped its subtitle in October 2023, and the new subtitle was announced in November 2024. -via Wikipedia. MISSION: IMPOSSIBLE - THE FINAL RECKONING, coming 23 May 2025 (USA).
The Original Motion Picture Soundtrack for ON SWIFT HORSES, composed by Mark Orton, is now available on all digital platforms, coinciding with the film’s theatrical release. The score blends lush orchestration with a rebellious undercurrent of 1950’s surf guitar, reminiscent of Link Wray, to create a uniquely romantic yet dangerous soundscape that mirrors the film's exploration of desire and post-war constraints. The album also features two all-new recordings by artist Loren Kramar, including the original composition, “Song For Henry” written by Loren Kramar and Sean O’Brien for the film.
Orton reflects on the score, “The score for On Swift Horses is built around the characters of Julius and Muriel, who, despite being separated by 800 miles, share an undeniable connection. This bond is woven into the music itself, with their individual themes intertwining over time, creating a sense of intimacy and distance simultaneously. The score has two distinct sides: one organic and introspective, using piano, strings, vibraphone, and solo cello to evoke the characters' emotional journeys, and the other more rhythmic and edgy, driven by a trio of guitar, bass, and drums, which underscores the tension of the gambling scenes.”
More info here.
Based on the 1975 Japanese action/crime film, BULLET TRAIN (Shinkansen daibakuha original title), BULLET TRAIN EXPLOSION is a modern take on the 1975 movie, in which a group who straps bombs to a Japanese bullet train in an attempt to extort money from the government. Released in the US via the internet on April 23, 2025 via Netflix. See NETFLIX
SUPERMAN, DC Studios’ first feature film to hit the big screen, is set to soar into theaters worldwide this summer from Warner Bros. Pictures. In his signature style, James Gunn takes on the original superhero in the newly imagined DC universe with a singular blend of epic action, humor and heart, delivering a Superman who’s driven by compassion and an inherent belief in the goodness of humankind.
Behind the camera, Gunn is joined by frequent collaborators, including composer John Murphy. The film stars David Corenswet (TWISTERS, HOLLYWOOD) in the dual role of Superman/Clark Kent, Rachel Brosnahan (THE MARVELOUS MRS. MAISEL) as Lois Lane and Nicholas Hoult (the X-MEN movies, JUROR #2) as Lex Luthor. Superman will be in theaters and IMAX nationwide on July 11, 2025, and internationally beginning 9 July 2025, distributed by Warner Bros. Pictures.
See a sneak Peek here:
Anya Taylor-Joy, Miles Teller, and Sigourney Weaver turn in excellent performances in Scott Derrickson’s creepy action, adventure and horror film, THE GORGE (2025), in which two highly trained operatives become close after being sent to protect opposite sides of a mysterious gorge, without knowing what lies inside. When evil emerges, they must work together to survive what lies within. Trent Reznor and Atticus Ross provided a fine score. The film is now playing on Amazon’s Prime Video.
Watch the trailer:
Premiering on Apple TV+ May 16 in MURDERBOT, 2025– , 10 eps TV Series. Based on “The Murderbot Diaries” – Martha Welles’ Hugo and Nebula Award-winning series – MURDERBOT follows a security construct who has jailbroken himself and now possesses free will. But instead of rebelling or running away, the cyborg keeps his freedom a secret, passing the time during security shifts by watching his favorite soap operas. The comedic sci-fi series. Stars Alexander Skarsgård, Jennifer Sendaula, Maroc Rey, score by Amanda Delores Patricia Jones (FREECOMMERCE, MOVING ON, FREEDOM HAIR).
Watch the series:
In Anthony and Joe Rosso’s THE ELECTRIC STATE (Streaming on Netflix), an orphaned teen hits the road with a mysterious robot to find her long-lost brother, teaming up with a smuggler and his wisecracking sidekick. Film stars Chris Pratt, Millie Bobby Brown, Woody Harrelson. Netflix subscribers are in for a treat when this adaptation of Simon Stålenhag’s graphic novel hits the platform. The film, a dystopian road movie set in an alternate version of 1997, follows Michelle’s Millie Bobby Brown, a teen searching for her family among the silent wreckage of a post-war southwest and a vision of a world filled with massive robots rotting along familiar California highways.
Henry Jackman (CAPTAIN AMERICA: THE WINTER SOLDIER & CIVIL WAR, X-MEN: FIRST CLASS, JUMANJI: WELCOME TO THE JUNGLE, KINGSMAN: THE SECRET SERVICE) is attached to score the Godzilla x Kong sequel (currently untitled) next installment in Legendary Pictures’ Monsterverse movie franchise. The film is directed by Grant Sputore (I AM MOTHER) and stars Dan Stevens (who reprises his role as Trapper), as well as Kaitlyn Dever, Jack O’Connell, Sam Neill, Alycia Debnam-Carey, Matthew Modine and Delroy Lindo. No plot details have been announced yet.
- via https://filmmusicreporter.com/
Directed by: Joe Carnahan and starring Kerry Washington, Omar Sy, Mark Strong, Da’Vine Joy Randolph, Cliff “Method Man” Smith, with score by Craig DeLeon (STRANGE DARLING, A MAN IN FULL, FATAL ATTRACTION, VELMA, GOLIATH). SHADOW FORCE follows an estranged couple with a bounty on their heads who must go on the run with their son to avoid their former employer, a unit of shadow ops that has been sent to kill them. They broke the rules by falling in love, and in order to protect their son, they go underground. With a large bounty on their heads, and the vengeful Shadow Force hot on their trail, one family’s fight becomes all-out war. Lionsgate presents, in association with Media Capital Technologies, a Made with Love / Simpson Street / Indian Meadows production.
From H.P. Lovecraft Historical Society: BLACK GOAT, the 44-minute Lovecraftian television pilot created by the HPLHS’s very own Davey Robertson (producer, cinematographer, and editor of THE CALL OF CTHULHU and THE WHISPERER IN DARKNESS), and Executive Produced by Sean and Andrew, is now available to the public! It's not a direct Lovecraft adaptation, but it's infused with more than a hint of Lovecraftian influence. BLACK GOAT premiered on Screambox TV Friday March 28th, and then will be available on demand streaming at Midnight Friday March 8th through the Screambox app and website.
ASH, coming up in theaters March 21 and streaming on Shudder May 9, tells of a woman who wakes up on a distant planet and finds the crew of her space station viciously killed. Her investigation into what happened sets in motion a terrifying chain of events. ASH is directed by Flying Lotus, and stars Eiza Gonzalez, Aaron Paul, Iko Uwais. ASH has the kind of compelling hook irresistible to genre fans: a woman (Eiza González) awakens on a strange planet with no memory of who she is or how she got there, surrounded by the brutally murdered members of her supposed crew. When a man (Aaron Paul) arrives to rescue her, the lone astronaut must decide if she can trust his story as the mystery of their surroundings unfolds. Director Flying Lotus (aka Steven D. Bingley-Ellison), best known to horror fans for his short Ozzy’s Dungeon in the horror anthology film V/H/S/99, is a veteran of the film festival scene.
Directed by David F. Sandberg (LIGHTS OUT, ANNABELL: CREATION, SHAZAM!, SHAZAM FURY OF THE GODS), Sony Pictures presents UNTIL DAWN: A group of friends trapped in a time loop, where mysterious foes are chasing and killing them in gruesome ways, must survive until dawn to escape it. Drama, Horror, film opens 25 Apr 2025 (USA). Film stars Ella Rubin, Odessa A'zion, Michael Cimino, score by Benjamin Wallfisch (BLADE RUNNER 2049, WOLF MAN, KRAVEN THE HUNTER, ALIEN: ROMULUS, TWISTERS, THE FLASH).
Survival was just the first chapter. ?THE STRANGERS—CHAPTER 2 arrives in theaters September 26. Directed by: Renny Harlin, written by: Alan R. Cohen & Alan Freedland, Cast: Madelaine Petsch, Gabriel Basso, Ema Horvath, score by Justin Caine Burnett (THE STRANGERS: CHAPTER 1. THE PATIENT mini series, AFTER, 9-1-1: LONE STAR, CRICKET). Synopsis: The chilling next chapter of THE STRANGERS franchise: on the final day of their cross-country road trip, a couple's vehicle breaks down, forcing them to take refuge in a remote Airbnb. As night falls, three masked strangers terrorize them until dawn. Lionsgate presents a Fifth Element production, in association with Stream Media, Sherborne Media, and Lipsync.
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. 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.
DROP is jointly produced by blockbuster genre houses Blumhouse and Platinum Dunes. Emmy nominee Meghann Fahy, 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 (IT ENDS WITH US’ Brandon Sklenar) is more charming and handsome than she expected. But their chemistry begins to curdle as Violet begins being 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 exactly as directed or everyone she loves will die. Her unseen tormentor’s final directive? Kill Henry. The film also stars Violett Beane (TRUTH OR DARE) and newcomer Jacob Robinson as Violet’s sister and son; with Reed Diamond (MONEYBALL), Gabrielle Ryan (POWER BOOK IV: FORCE), Jeffery Self (MACK & RITA), Ed Weeks (THE MINDY PROJECT) and Travis Nelson (THE LAKE) as the restaurant’s staff and diners. The score is by Bear McCreary (FOUNDATION, THE LORD OF THE RINGS: THE RINGS OF POWER, HAPPY DEATH DAY, THE CLOVERFIELD PARADOX, GOD OF WAR, I STILL SEE YOU).
Directed by Mimi Cave and starring Nicole Kidman, Matthew Macfadyen, Jude Hill, Gael García Bernal, in HOLLAND, a wildly unpredictable thriller in which Nicole Kidman plays the meticulous Nancy Vandergroot, a teacher and homemaker whose picture-perfect life with her community pillar husband (Matthew Macfadyen) and son (Jude Hill) – in which a woman's picture-perfect life in quaint Holland, Michigan crumbles, when she and a friend uncover a twisted secret in their midst. Soundtrack by Alex Somers (HONEY BOY, NICKEL BOYS, OMNIVORE, UNDER THE BRIDGE, FRESH).
DEVIL MAY CRY - 2025 8 eps TV-MA TV Series. When a mysterious villain threatens to open the gates of Hell, a devilishly handsome demon hunter could be the world's best hope for salvation. The popular Capcom video game “Devil May Cry” is getting an animated adaptation, and there’s a lot to get excited for. Created and executive produced by Adi Shankar (CASTLEVANIA, DREDD), the eight-episode first season follows Dante (Johnny Yong Bosch), a demon hunter for hire, as he faces sinister forces while unaware the fate of the world hangs around his neck. Shankar partnered with Studio Mir (THE LEGEND OF KORRA, THE WITCHER: NIGHTMARE OF THE WOLF) on the project’s animation saying the studio’s portfolio “speaks for itself.”
FYI: Anyone can survive five nights. This time, there will be no second chances. Blumhouse’s box-office horror phenomenon FIVE NIGHTS AT FREDDY’S, the highest-grossing horror film of 2023, begins a blood-chilling new chapter of animatronic terror. Based on Scott Cawthon’s blockbuster game series, FIVE NIGHTS AT FREDDY’S 2 is directed by acclaimed returning filmmaker Emma Tammi (THE WIND, BLOOD MOON). The first film, which opened to a record-shattering $80 million and went on to earn almost $300 million worldwide, followed Mike, a troubled young man who reluctantly takes a job as a night security guard at an abandoned theme restaurant, Freddy Fazbear’s Pizzeria, hoping it will help him retain custody of his young sister. That fateful decision instead drags him into the black heart of a supernatural nightmare. Music by The Newton Brothers (FIVE NIGHTS AT FREDDY’S, DOCTOR SLEEP, DAREDEVIL: BORN AGAIN, THE LIFE OF CHUCK). FIVE NIGHTS AT FREDDY’S 2 is again produced by Jason Blum (M3GAN, BLACK PHONE, HALLOWEEN franchise) and Scott Cawthon. Genre: Horror.
THE ACCOUNTANT 2, directed by Gavin O'Connor, written by Bill Dubuque, starring Ben Affleck, Jon Bernthal, Cynthia Addai-Robinson, Daniella Pineda, Allison Robertson, and J.K. Simmons, and music by Bryce Dessner (WE LIVE IN TIME, MANHUNT, SING SING, SHE CAME TO ME). It is the sequel to THEACCOUNTANT (2016, which Mark Isham scored). When someone close to her is killed by unknown assassins, Treasury Agent Marybeth Medina is forced to contact Christian Wolff to solve the murder. With the help of his estranged but highly lethal brother Brax, Chris applies his brilliant mind and less-than-legal methods to piece together the unsolved puzzle. As they get closer to the truth, the trio draw the attention of some of the most ruthless killers alive – becoming targets of a ruthless network of killers who will stop at nothing to keep their secrets buried.
The Single Most Important Naked Gun Movie Since The Other Naked Gun Movies. SYNOPSIS: Only one man has the particular set of skills... to lead Police Squad and save the world! Lt. Frank Drebin Jr. (Liam Neeson) follows in his father's footsteps in THE NAKED GUN, directed by Akiva Schaffer and from producer Seth MacFarlane. Joining the case are Pamela Anderson, Paul Walter Hauser, CCH Pounder, Kevin Durand, Cody Rhodes, Liza Koshy, Eddie Yu, with Danny Huston; score by Joel McNeely. Based off the widely popular comedy franchise THE NAKED GUN and television series POLICE SQUAD! by Jim Abrahams and David Zucker and Jerry Zucker. In Theatres August 1, 2025,
Watch the new teaser trailer for THE NAKED GUN movie now:
Lakeshore presents FREAKY TALES, now playing in theaters and on digital. If you don’t remember the Oakland of the 1980s, then Anna Boden and Ryan Fleck’s FREAKY TALES movie is going to take you back! Starring Pedro Pascal (THE LAST OF US, THE MANDALORIAN) and featuring score by Academy Award winner and multi-Grammy-winning artist and composer Raphael Saadiq (Beyonce’s COWBOY CARTER), we have the distinct privilege to share the cue, Clint Leaves from the forthcoming FREAKY TALES Original Motion Picture Soundtrack! Listen to “Clint Leaves” from the album below: https://soundtracksscoresandmore.com/. Purchase/Stream.
Watch the film’s trailer:
Different Direction Management reveals the official poster for the upcoming horror film,
????? ?? ? ?????????, which was co-scored by DDM’s client, Marcus Trumpp, and Brandon Roberts. CLOWN IN A CORNFIELD is a 2025 American slasher film directed by Eli Craig (ZOMBIELAND and TUCKER AND DALE VS EVIL) and written by Craig and Carter Blanchard. It is based on the 2020 novel by Adam Cesare, and stars Katie Douglas, Aaron Abrams, Carson MacCormac, Kevin Durand, and Will Sasso. It premiered at South by Southwest on March 10, 2025, and will have its theatrical release in the US on May 9, 2025. The story line takes place in a fading midwestern town in which Frendo the clown, a symbol of bygone success, reemerges as a terrifying scourge.
Watch the Official Trailer:
BRING HER BACK is an upcoming Australian horror film directed by Danny and Michael Philippou, and written by Danny Philippou and Bill Hinzman, in association with Salmira Productions and South Australia Film Corporation. The film stars Sally Hawkins and Billy Barratt. It is scheduled to be theatrically released by Sony Pictures Releasing International's Stage 6 Films in Australia on 29 May 2025. The film follows a brother and sister who uncover a terrifying ritual at the secluded home of their new foster mother. Score by Cornel Wilczek ((THE NEWSREADER, FAKE, SURVIVING SUMMER, TALK TO ME, GLITCH TV Series).
Watch the film’s trailer:
HEADS OF STATE is a new action thriller from Amazon MGM Studios, starring Idris Elba, John Cena, and Priyanka Chors Jonas. Music by Steven Price ((BEAST, LAST NIGHT IN SOHO, SUICIDE SQUAD, FURY, GRAVITY). When the UK Prime Minister and US President become the targets of a foreign adversary, they're forced to rely on one another to thwart a global conspiracy. The film releases on Prime Video on July 2nd, 2025.
Watch the trailer:
IN THEATERS JULY 2: A new era is born. This summer, three years after the JURASSIC WORLD trilogy concluded with each film surpassing $1 billion at the global box office, the enduring Jurassic series evolves in an ingenious new direction with JURASSIC WORLD REBIRTH. Five years after the events of Jurassic World Dominion, the planet’s ecology has proven largely inhospitable to dinosaurs. Those remaining exist in isolated equatorial environments with climates resembling the one in which they once thrived. The three most colossal creatures across land, sea and air within that tropical biosphere hold, in their DNA, the key to a drug that will bring miraculous life-saving benefits to humankind. Anchored by iconic action superstar Scarlett Johansson, Emmy and SAG nominee Jonathan Bailey and two-time Oscar® winner Mahershala Ali, this action-packed new chapter sees an extraction team race to the most dangerous place on Earth, an island research facility for the original JURASSIC PARK, inhabited by the worst of the worst that were left behind. The film is directed by dynamic visualist Gareth Edwards (ROGUE ONE: A STAR WARS STORY) from a script by original Jurassic Park screenwriter David Koepp. Alexandre Desplat has been named as the JURASSIC WORLD REBIRTH composer.
More info here:
Watch and share the new ‘Classic Jurassic’ featurette:
Watch the Jurassic World Rebirth Trailer:
Hollywood Records announces the release of Marvel Television’s DAREDEVIL: BORN AGAIN – Vol. 1 (Episodes 1- 4) Original Soundtrack with music by THE NEWTON BROTHERS (Marvel Animation’s X-MEN ‘97, GOOSEBUMPS, and FIVE NIGHTS AT FREDDY’S). The digital soundtrack is available at Spotify, Apple Music, and other digital platforms. DAREDEVIL: BORN AGAIN – Vol. 2 (Episode 5- 9) Original Soundtrack is set for release on April 18. Continuing their collaboration with Marvel Studios, The Newton Brothers’ score amplifies the series’ dark, raw, and deeply thematic essence, incorporating elements of choir, organ synths, and orchestration to reflect the show’s religious undertones and high stakes. Commenting on the score, The Newton Brothers said, “From the shadows of Hell’s Kitchen to the depths of Matt Murdock’s soul, this soundtrack is a sonic journey through the heart of ‘Daredevil: Born Again.’ We wanted to craft a score that immerses listeners in Daredevil’s world—a sound that is dark and haunting, yet full of resilience. It carries the rage that fuels his fight and the vulnerability that makes him human.”
Walt Disney Records announces the release of ANDOR: SEASON 2 - VOL. 1 (Episodes 1-3) (Original Score), the first volume to the highly anticipated second season of Lucasfilm’s Emmy®-nominated original live-action series ANDOR. The series continues the story of Cassian Andor and the emerging rebel alliance. The original score is by Emmy®-winning composer Brandon Roberts with original Andor themes by three-time Oscar®-nominated and Emmy®-winning composer Nicholas Britell. ANDOR: SEASON 2: VOL. 1 (Episodes 1-3)(Original Score) is now available on Spotify, Apple Music, and other digital platforms. The release will be followed by ANDOR: SEASON 2 - VOL. 2 (Episodes 4-6) (Original Score) composed by Brandon Roberts and Nicholas Britell, available May 2. Andor Season 2 - Vol. 3 (Episodes 7-9) and Andor Season 2 - Vol. 4 (Episodes 10-12) (Original Score) composed by Brandon Roberts with original Andor themes by Nicholas Britell are set for release on May 9 and May 16. Listen to the Andor Official Playlist here.
Forty Below Records has released a soundtrack album for the Prime Video original series THE BONDSMAN. The album features the show’s original songs produced by Tim Lauer and written & performed by lead actors Kevin Bacon & Jennifer Nettles. The soundtrack is now available to stream/download on Amazon and any other digital music services. THE BONDSMAN is a supernatural horror series (scored by Tyler Bates & Travis Bacon) follows a murdered bounty hunter who is resurrected by the Devil to hunt demons that have escaped from the prison of Hell. The Blumhouse Television series full season is now available to stream exclusively on Prime Video. - via FilmMusic Reporter
Watch the trailer:
Composer TimKelly, has recently worked on the WATCHMEN I and II animated specials. For WATCHMEN, Tim wanted to create a score that both captured the gritty, street-level world of New York City while also giving a nod to the WATCHMEN legacy. His approach was influenced heavily by his growing love for synthesizers and electronic music. He knew the project required an 80s-inspired sound, so he dug into his collection of analog synthesizers, experimenting with textures and sounds to create something raw and distorted that felt at home in the dark, violent world of Watchmen. His research process was mostly about diving into the material – watching the previous adaptations, reading the graphic novel multiple times, and understanding the core themes. The result was a score that’s dark, atmospheric, and, at times, even a bit sci-fi. One of the most fun parts was using a mix of synthesizers and his own instruments – like the melodica, a wind instrument that blends the sounds of a piano, accordion, and harmonica. The sound of the score is predominantly synthesizer-driven, but it’s layered with these unique textures to add depth.
French composer Erwann Chandon’s (NICE GIRLS, SUPER Z, HEAD IN THE CLOUDS) latest score is NATACHA (PRESQUE) HÔTESSE DE L’AIR (Natacha (almost) flight attendant (2025). The comedy story follows Natacha, who, since she was a child, has dreamed of becoming an air hostess so that she can break free from the constraints of an age where women are expected to remain at home. Just as her dream is on the verge of becoming a reality, she finds herself involved against her will on an adventure on the trail of a bunch of thieves who have stolen the Mona Lisa. The soundtrack is available for listening from the Plaza Mayor Company and on SoundCloud:
Gil Talmi has released his soundtrack to GONE GIRLS: THE LONG ISLAND SERIAL KILLER, a crime documentary and TV Mini Series now showing on Netflix, soundtrack mastered by Reuben Cohen at Lurssen Mastering. This 3-part documentary is a look back at the women who disappeared from New York City and Long Island that went unsolved from 1993 to 2011, until 2023, before the 2010 discovery of female remains found in the Gilgo Beach area of Long Island, which lead authorities to believe the deaths were all connected. This series picks up where 2020’s dramatic film LOST GIRLS, also on Netflix, leaves off. Click the link below to listen to it on your favorite streaming platform: https://netflixmusic.ffm.to/gonegirls
The details of the score album for Ryan Coogler’s supernatural horror movie SINNERS have been revealed. The music for the 2025 period supernatural horror film SINNERS consisted of two projects produced by Sony Music. The first album, SINNERS (Original Motion Picture Soundtrack), featured various genres performed by blues musicians along with the cast members. The second album, SINNERS (Original Motion Picture Score), consisted of the original score composed by Ludwig Göransson (OPPENHEIMER, BLACK PANTHER, THE MANDALORIAN, VENOM), a frequent collaborator of Ryan. Both albums were distributed under the Sony Masterworks and Sony Classical Records labels on April 18, 2025, the same day as the film's release. The Proximity Media production revolves around two twin brothers who return to their hometown in an attempt to leave their troubled lives behind, only to discover that an even greater evil is waiting to welcome them back. – via film music reporter.
Watch the trailer:
Hollywood Records release the Original Motion Picture Soundtrack for20th Century Studios’ THE AMATEUR, with music by Volker Bertelmann. Known for his innovative and emotionally resonant compositions, Bertelmann crafts a soundscape that elevates the film's perilous journey. A thrilling blend of classical precision and modern sonic textures designed to keep you on the edge of your seat, Bertelmann's unique approach delivers a score that is both hauntingly beautiful and relentlessly driving. Volker says of his experience working on the film: “This thriller required a unique tonal approach to reflect the intelligence of the protagonist, played by the amazing Rami Malek. I experimented with various string and piano techniques to create distinct textures and, for the first time, enjoyed incorporating the bass harmonica. Composing music for a well-crafted film is always a great experience.” The soundtrack is available from SPOTIFY | AMAZON MUSIC | APPLE MUSIC
Composer Aaron Gilhuis most recently composed QUEEN OF THE RING, a very Americana, bluesy, folk base, with a big cinematic orchestral main theme, so the thought is to do covers of all these classic songs, combinating traditional instrumentation with modern synths and production techniques offers something truly unique and engaging for fans of all genres. Aaron’s music-making setup includes top-tier gear like the Roland XM synth, which provides the atmospheric, electronic elements of the score, and the Sequential Pro 3, which is used extensively for its dynamic, punchy synth leads. Perhaps most striking are the Strymon pedals, with Aaron using four different units to shape the tone, adding depth and dimension to every note. In addition to the score, Aaron produced a collection of reimagined covers, working with an eclectic mix of artists who lend their voices to give these tracks a fresh twist.
Watch the film’s Trailer #1:
Intrada presents the premiere score-only release of Hans Zimmer’s A LEAGUE OF THEIR OWN. The delightfully witty film deserved a similar tongue-in-cheek score. Zimmer’s music artistically represents not only the film's period, but the onscreen antics as the first-ever women’s baseball team is formed. The film gave Zimmer the opportunity to create a score that blends nostalgic Americana with his inimitable style, resulting in a mix of swing/jazz numbers that complement his rousing orchestral music. Although the film is partly comedy, Zimmer narrows in on the heart of the story – the camaraderie of the players and the emotional depth of the story – while also capturing the WW II era.
See Intrada for more details:
Hollywood Records releases Marvel Studios’ THUNDERBOLTS* Original Motion Picture Soundtrack with music by Academy Award®-nominated composers Son Lux (EVERYTHING EVERYWHERE ALL AT ONCE). Commenting on the score, Son Lux said, “Since the inception of Son Lux, a fascination with orchestral instrumentation and its sonic potential has propelled the project. THUNDERBOLTS* feels like a full circle moment – our collaboration with the London Contemporary Orchestra has allowed us to return to this root inspiration and explode outward from it in new ways. Over the course of multiple sessions at Abbey Road, we recorded materials that were then manipulated, corrupted, and iterated upon, opening the door to possibilities that we can’t wait to explore further. This group of antiheroes provided the perfect inspiration for us to find our own way of making a Marvel score.”
The digital soundtrack is available at Spotify, Apple Music, YouTube Music and other digital platforms. The film will premiere in U.S. theaters on May 2nd. The limited edition 1-LP pressing on translucent yellow vinyl features 22 tracks and will be available this summer. Watch the THUNDERBOLTS* visualizer video here.
Lakeshore Records releases SEVERANCE: SEASON TWO—Apple TV+ Original Series Soundtrack digitally. Composer Theodore Shapiro, streaming now on Apple TV+. Notes Shapiro: “The music of Season Two of SEVERANCE is true to what came before in Season One, while also developing new themes, new sounds, and new variations. The season’s bold expansions into new storylines and new locations, along with the incredible filmmaking and performances, provided plenty of inspiration.” Purchase/Stream:
Jacob Yoffe has scored ETHAN BLOOM, a coming-of-age comedy about a teen who wrestles with loss, spiritual identity, and first love (writes Indigogo). The film premiered in the US on April 6, 2025 at the Miami Film Festival. Writes Elite Music Coaching on Facebook: The Power of Music in Film: “One of the most exciting aspects of producing Ethan Bloom? Curating the perfect soundtrack. We were fortunate to have Jacob Yoffee compose a score that elevates the film’s emotional depth. But we didn’t stop there… As producers and music industry professionals, we wanted Ethan Bloom to serve as a real-world opportunity for independent musicians to land placements. And it happened: FOUR Sync Titan members had their music placed in the film, including the MAIN TITLE song, “Modern Life” by Pinto & the Bean. This isn’t just a film – it’s more proof that independent artists CAN land major placements.
THE ETERNAUT is a 6-episode Post Apocalypse/Argentinian sci-fi thriller based on a Graphic Novel/ Deadly Disaster. The story follows a group of survivors as they battle an alien threat that is under the direction of an invisible force, after a horrific snowfall claims the lives of millions of people. Soundtrack by Federico Jusid (A WIDOW’S GAME, LA FAVORITA 1922, A THOUSAND BLOWS, THE HEAD [series], APOCALYPSE Z: THE BEGINNING OF THE END).
A NICE INDIAN BOY follows composer Raashi Kulkarni with a score that blends Western orchestral traditions with rich Indian musical elements, creating a dynamic, hybrid sound that complements the film’s exploration of identity and family. Raashi worked in close collaboration with director Roshan Sethi to create a score that integrates Bollywood influences with modern pop sensibilities, capturing the film’s heartfelt and humorous journey of self-discovery. Roshan Sethi, director of the film says, “I have had the pleasure of working with Raashi on two movies. Her music, especially in this movie, combines comedy and emotion in such a natural and fluid way.” Kulkarni says, “I’m honored to be a part of A NICE INDIAN BOY. I focused on creating a score that would reflect the emotional depth of the characters’ journeys, particularly through the development of unique musical themes. Each motif represents a new chapter of our lead character’s growth. I also had the privilege of arranging the musical number at the end with an orchestra, which established a cohesive sound from beginning to end. A NICE INDIAN BOY is now in theaters; watch the trailer here:
Listen to the soundtrack:
Find a screening near you at this link
Created, written, and directed by Malin-Sarah Gozin, and co-directed by Hans Vercauter, DEAD END [DOOD SPOOR]stars Peter Van den Begin and Elise Schaap. The story follows Ed Bex, a man with a bizarre gift: when he tastes something, he sees flashes of its past. Ed runs a one-man operation called The Aftertaste, helping grieving families uncover the final moments of their loved ones through his disturbing talent. It’s a series that blends psychological intrigue, grief, and dark humo, which Lachlan Anderson’s score mirrors all of it. “This score turned out to be more personal and emotional than I expected,” said Anderson. “A nice mix of unexpected unease, weirdness, and emotional warmth.” Anderson worked closely with the Budapest Art Orchestra for the orchestral themes and collaborated with a range of musicians including solo violinists Joni Fuller and Peau Halapua, and bassoonist Jessica Goldbaum, whose haunting performances helped shape the musical identities of key characters. Lachlan Anderson (AUS/NZ) is a musician and screen composer known for his distinctive, atmospheric scores. His recent work includes the eerie soundtrack for David Farrier’s Mister Organ (Netflix) and the chaotic sonic landscape of Sasha Rainbow’s debut feature body-horror film Grafted (Shudder, 2025). The DEAD END soundtrack will be released across all major streaming platforms:
Lakeshore Records, has released THE FRIEND digitally, featuring music by award-winning composers Jay Wadley (HEART EYES) and Trevor Gureckis (SERVANT). The piano-led score accompanied by soaring strings and wind instruments provides a poignant backdrop to the emotionally charged film starring Naomi Watts and Bill Murray. Based on the bestselling novel, writer and teacher Iris (Watts) finds her comfortable, solitary New York life thrown into disarray after her closest friend and mentor (Murray) bequeaths her his beloved 150 lb. Great Dane. Iris finds herself unexpectedly bonding with Apollo, she begins to come to terms with her past, and her own creative inner life in this story of healing, love, and friendship. Wadley notes: "Collaborating with my business partner Trevor Gureckis on the score for THE FRIEND was a truly rewarding experience. Working alongside directors Scott McGehee and David Siegel, who crafted such a poignant narrative, allowed us to create music that deeply resonates with the film’s themes of grief and companionship.” Gureckis adds: “The score reflects the multifaceted nature of New York City. Our compositions range from understated jazz passages to more contemplative, atmospheric arrangements that accompany Apollo's introduction—the Great Dane whose presence becomes a central visual force in the film. For Apollo's musical identity, I incorporated the collar of my late dog as a percussive element, adding textural depth and personal significance.” Purchase/ Stream:
Watch the official trailer:
A CRUEL LOVE: THE RUTH ELLIS STORY – Samuel Sim’s evocative and deeply emotional score masterfully captures the tragic essence of one of Britain’s most infamous judicial cases. The film follows the story of Ruth Ellis: her lifestyle as a young nightclub manageress, her violent relationship with the man she then killed in cold blood, her arrest, trial, and subsequent legal battle to get her release before she was hanged. British composer Sim’s score is built upon a re-occurring rising melody, subtly woven throughout the soundtrack in various guises. This motif serves as a sonic representation of Ruth’s hope—ethereal yet ever-present, even in the darkest of circumstances. “I wanted to create the feeling that the chance for Ruth’s escape was there,” Sim explains, “even as it becomes increasingly unattainable and out of reach.” To further emphasize Ruth’s psychological descent, Sim employs an innovative approach to sound manipulation: “I reprocessed some of the string recordings, sending them through modular synth effects and broken tape machines,” Sim described, “trying to bend and twist the sound into something increasingly disturbing.” This soundtrack stands as a powerful and unforgettable musical portrait of Ruth Ellis, her fleeting hope, and the tragic inevitability of her fate. Visit Silva Screen Records, Follow us on Twitter, Facebook, and Instagram.
Daniel Pemberton reports a ?NEW MUSIC ALERT!!?: “A bunch of my score cues from the episodes Bete Noire and USS Callister: Into Infinity from the new series of BLACK MIRROR are now up for your listening pleasure on all music services on the Series 7 soundtrack album: Listen now:
DNA-Productions is releasing a soundtrack album for the crime thriller MOB COPS. The album features the film’s original score composed by Lionel Cohen (MOB TOWN, FIRST WE TAKE BROOKLYN, BARDEJOV, FERAL STATE). The soundtrack is now available on Amazon. MOB COPS is directed by Danny A. Abeckaser and stars David Arquette, Jeremy Luke, Kevin Connolly. The movie is based on true events and follows a team of NYPD detectives as they wage war on two of their own officers who have sold their souls to the city’s homicidal crime boss. See more details from FilmMusic Reporter.
Watch the trailer:
Who do you trust when you can’t trust yourself? Mercury KX Platoon has released a new soundtrack album for the Apple TV+ original series SURFACE. The album features selections of the original score from the show’s second season composed by Tóti Guðnason (LAMB, COLD COPY, DELIVER US, AZRAEL) and produced by Ólafur Arnalds, who composed the first season. Visit Amazon or any other major digital music services to stream the soundtrack. Mercury KX has previously released an album featuring Arnalds’ music from Season 1 back in 2022. SURFACE stars Gugu Mbatha-Raw, Oliver Jackson-Cohen, Millie Brady, Phil Dunster, Rupert Graves, Gavin Drea, Tara Fitzgerald, Joely Richardson. Stream SURFACE now on Apple TV+. Watch the trailer:
Walt Disney Records releases the Original Score Soundtrack for DISNEY’S SNOW WHITE – a live-action musical reimagining of the classic 1937 film. The Original Score was composed and performed by Jeff Morrow (STORMY, AMERICAN PAIN, WHO ARE YOU CHARLIE BROWN?) and produced by Fernand Bos. Apple Red Vinyl will be released this May and is available for pre-order now at Disney Music Emporium. Jeff Morrow said, “Getting the opportunity to be part of the nearly one-hundred-year legacy of SNOW WHITE music was an incredible honor. With my score, I wanted to pay tribute to the musical world established in the original while also bringing it into the sound of 2025. This is what Pasek and Paul's songs do so brilliantly well - they feel both timeless and modern. I spent many weeks at the piano figuring out Snow White's theme so that when played one way, it could convey sadness, reflecting the tragedy that starts the film, and when played another way, it could be heroic and cathartic at the end of her journey.
Watch the teaser trailer:
Lakeshore Records has digitally released G20 – Original Motion Picture Soundtrack featuring music by Joseph Trapanese (THE WITCHER). Trapanese utilizes taut synths and soaring orchestra to convey the tension of the dramatic thriller. When the G20 summit comes under siege, U.S. President Danielle Sutton (Academy Award winner Viola Davis) becomes the number one target. After evading capture by the attackers, she must outsmart the enemy to protect her family, defend her country and safeguard world leaders in this action-packed thrill ride. Trapanese: “Working alongside South Africa’s own Mzansi Youth Choir on the final track was especially rewarding, bringing a genuine warmth and joy that perfectly complements the conclusion of our film and soundtrack. I'm proud of what we've created together and grateful to producer Andrew Lazar and the teams at Amazon and MRC for their support and trust in the creative process.” Purchase / Stream:
Silva Screen Records is proud to announce the release of MUSIC FROM HOUSE OF THE DRAGON, a new album featuring the epic score from HBO’s hit series HOUSE OF THE DRAGON reimagined by London Music Works and renowned cellist Nick Squires. This collection of music from the show’s first two seasons – originally composed by Emmy Award-winner Ramin Djawadi – offers fans a fresh way to experience the grandeur and drama of Westeros through powerful new performances. In HOUSE OF THE DRAGON, music plays a pivotal role in storytelling, underscoring the rise of the Targaryen civil war and the emotional journeys of its characters. Throughout the series, Djawadi carefully crafted new leitmotifs for characters like Rhaenyra Targaryen and Alicent Hightower, and heightened pivotal scenes with music that oscillates between intimate and explosive. One standout example is Princess Rhaenys’ dramatic entrance during King Aegon’s coronation, where celebratory fanfares abruptly give way to roaring percussion as her dragon appears – a moment Djawadi has cited as a favorite for how the music shifts “from celebration mode to pure chaos in an instant” perfectly mirroring the on-screen shock.
The album is available digitally and on all major streaming platforms (including Spotify, Apple Music, and Amazon Music), allowing fans to instantly dive into the Targaryen soundscape. Additionally, a limited vinyl edition is in the works for collectors and audiophiles, to be released later in 2025.
See details:
Lakeshore Records has digitally released HAPPY FACE, the Original Series Soundtrack featuring original music by EMMY-nominated composer Ariel Marx (A SMALL LIGHT, KANGAROO ISLAND, SHIVA BABY). Marx’s spare yet atmospheric score subtly augments the psychological tension of the dramatic series based on the popular memoir and podcast. The series starring Annaleigh Ashford and Dennis Quaid, and is streaming now exclusively on Paramount+. HAPPY FACE is inspired by the true-life story of Melissa G. Moore; the critically acclaimed Happy Face podcast from iHeartPodcasts and Moore; and the autobiography Shattered Silence, written by Moore with M. Bridget Cook. Jumping off from Moore’s true-life story, the Paramount+ Original Series follows Melissa (Ashford) and her incarcerated father, known as the Happy Face Killer (Quaid). After decades of no contact, he finally finds a way to force himself back into his daughter’s life. Notes Marx: “I’m very excited to release HAPPY FACE with Lakeshore – it’s a mix of acoustic and electronic, melody and ambience, and evokes a sense of both nostalgia and paranoia as Melissa reconciles what she discovers about her father.”
Purchase / Stream the Album: https://lnk.to/happy-face
Decca Records announces the release of the Original Motion Picture Soundtrack for Focus Features’ THE BALLAD OF WALLIS ISLAND, with score by Adem Ilhan (PIGLETS, SPENT, THE BEAUTIFUL GAME). The film was released in select New York and Los Angeles theaters on Friday, March 28, and in theaters everywhere on Friday, April 18. The soundtrack will have a physical release on July 11th. THE BALLAD OF WALLIS ISLAND follows Charles (Tim Key), an eccentric lottery winner who lives alone on a remote island and dreams of getting his favorite musicians, McGwyer Mortimer (players Tom Basden and Carey Mulligan) back together. His fantasy quickly turns into reality when the bandmates and former lovers accept his invitation to play a private show at his home on Wallis Island. Old tensions resurface as Charles tries desperately to salvage his dream gig.
Order CD, Vinyl. Etc:
Antonio Pinto, acclaimed composer of such film and TV scores as COLLATERAL, LOVE IN THE TIME OF CHOLERA, THE MOSQUITO COAST), has released “2073” – the Original Motion Picture Soundtrack, digitally. The science-fiction docudrama was released at the end of 2024 and earned a Best Motion Picture nomination from the prestigious Sitges Film Festival and a Documentary Director Award win at the Montclair Film Festival. “Music for the end of the world, an attempt to save it,” said Pinto. Guilherme Francischi and Edwin Ospina provide additional music for the film. 2073 is about a woman living in a ruined Earth who tries to comprehend how the world was destroyed. The film is available to stream on Digital VOD via iTunes, Amazon Video, etc., and now on Max. Buy/Stream the Album: [Choose Your Service]
Watch the 2073 Official Trailer on NEON, via YouTube:
Lakeshore Records has released BLOOD HIVE 3 Original Score from the TV series YELLOWJACKETS, digitally. Craig Wedren, frontman for D.C.-based seminal post-hardcore band Shudder to Think, and Anna Waronker of indie pop icons That Dog, build upon their strikingly dark backdrop to the first two seasons and take the score in ever more boundary expanding directions. Wedren’s and Waronker’s original song “Sleepwalking,” is also included on the soundtrack and the music video for the song, directed by Yellowjackets’ own Bart Nickerson, premiered today (Apr. 11). Notes Wedren and Waronker: “Season three was a kaleidoscopic moving-puzzle of interweaving stories, relationships, and timelines that allowed -and pushed- us to explore and expand in awesome new musical directions, while continuing to build upon the sound of the first two seasons. The Showtime® original Emmy®-nominated series YELLOWJACKETS season three is currently streaming on Paramount+ with Showtime plan.
Watch the video for "Sleepwalking":
LILIES NOT FOR ME (score by Theodosia Roussos), is a new release for MovieScore Media for an original score from the 2024 drama feature film directed by Will Seefried, starring Fionn O’Shea, Robert Aramayo and Jodi Balfoura. THE STORY: A gay novelist and his psychiatric nurse bond over a series of doctor-ordered ‘dates’ as he tells the story of a friendship which spiraled out of control when they turned to a risky procedure to cure themselves of feelings for each other. THE SCORE: “Creating the score for LILIES NOT FOR ME was a labor of love; I worked closely with director Will Seefried for months with the script to envision what the story sounded like, creating all central themes ahead of the filming. The fully fleshed out score came to life with the incredible picture. My goal was to highlight the different colors and energies of the solo instruments and orchestra to relate the intimacy, excitement, brutality, heartbreak, and love in the story.” – Theodosia Roussos. Release date: April 14, 2025
More info here: Spotify:
FALLEN is a hit Swedish Television Crime Series. Actress Sofia Helin (ATLANTIC CROSSING, ARM: THE KNIGHT TEMPLAR, THE SNOWMAN) plays veteran Stockholm inspector Iris Broman whose life is turned upside down when her husband is gunned down in front of her. As she was the intended target, Iris is excluded from the investigation and the perpetrators remain at large. Sophia Ersson (SANNINGHEN, RIDING IN DARKNESS, THE AVERAGE COLOR OF THE UNIVERSE) provides the original score. FALLEN becomes available from Kino Lorber on DVD May 20, 2025, with a SRP of $29.95. See more details: https://kinolorber.com/product/fallen
Varese Sarabande had just announced two new titles as part of our CD Club series: Patrick Doyle’s Deluxe Edition score to Alfonso Cuarón’s A Little Princess, and a Deluxe Encore Edition of the 2-CD soundtrack to The Thorn Birds, Henry Mancini’s television masterpiece. Doyle provided Alfonso Cuarón’s A Little Princess with a gem of a score, full of heartfelt themes, enchanting waltzes, Indian flourishes (the protagonist had been living in India) and a marvelous sense of period storytelling. Doyle stays true to the ideal of childhood innocence, and the protagonist’s indomitable spirit, while taking the symphonic drama to Shakespearean heights. Our 28-track 1995 soundtrack album is expanded in this Deluxe Edition with an 11-minute bonus section of unreleased cues and alternates with 7 tracks, including 3 suites. Daniel Schweiger provides new liner notes. Mancini's score is as intimate as it is epic, with a lilting, Irish-flavored dulcimer theme for the Cleary family’s Irish roots and the beauty of the Australian countryside, as well as a bittersweet love theme. The 2-CD Deluxe Encore Edition corrects the missing dulcimer melody of the main title from the original 2004 release, and is remastered for better sound and careful removal of sonic artifacts, with new liner notes by television music authority Jon Burlingame.
Lakeshore Records is set to release Another Simple Favor—Original Motion Picture Soundtrack digitally today, May 2 featuring music by EMMYÒ Award winner Theodore Shapiro (Severance). Shapiro’s eclectic use of synths and strings creates a mostly understated atmosphere that can quickly shift from whimsical to ominous. The film, director Paul Feig’s sequel to A Simple Favor, starring Anna Kendrick and Blake Lively is streaming now on Prime Video. Notes Shapiro: “’Another Simple Favor’ reunites Stephanie and Emily in Capri for a murderous destination wedding. The score is also a reunion of the musical elements from the original film— bells, lush string chords, modular synths, alto flutes and trombones. Capri gets its own theme and weaves itself into the fabric of the music.” Purchase / Stream.
Italian Western – Violent Image – Savage Soundtrack –
The Music of Spaghetti Westerns
by John Mansell, Apr 8, 2025
Music in an Italian western is far more than a background to the action; the music becomes an important and integral component of the film making process. It elevates and underlines the narrative and adds a new and greater dimension to each storyline. The composer interviews within this book are an insight into the workings of various Maestros who were involved with this quirky and innovative genre of films. The interviews were conducted over a period of twenty-five years. As most of the composers are now sadly deceased it is a valueable and interesting look at how the music worked and the way in which each composer approached the genre.
The author John Mansell also discusses the use of music during the gunfight scenes, the screams, squeals and whistles, which became the trademark of the moviesand gives a brief history of the genre and how it was born.
John Mansell is a british film music critic, soundtrack collector and a member of the International Film Music Critics Association (IFMCA).
Paperback: Available from BearManorMedia and Amazon:
Paperback: Price $27.00
FREE delivery Tue, Apr 15 for Prime members Hardcover: Price, product page $38.00
FREE delivery Apr 19 - 23 for Prime members
“Anvils in the Abyss” is the debut single from Sheffield 78 — the raw new brainchild of composer Frank Ilfman. A distorted dive into analog electronica, Sheffield 78 grinds vintage synths, warped tape loops, rust-bitten drum machines, and industrial percussion into a gritty new pulse, fueled by hunting vocals machinery on the verge of collapse. The past is humming. The future is wired. The machine never sleeps.
“Anvils in the Abyss” – Anvils thunder, cold and black, Steel-born echoes shatter back. Molten rivers scorch the floor. While iron fists command war. The air is ash, the sky is slate, Machines beat loud – relentless fate. No dawn, no rest, no silence near, just anvils ringing – harsh and clear.
“Anvils in the Abyss” kicks off the upcoming EP – Lost Tapes, a flickering transmission from the dark side of the ‘80s, where beauty bleeds through static and shadow. Steel gods awaken, forged in The flame. Their shadows rise, yet none remain. The Anvil Lay Again – releases April 11, 2025. Check it out here:
TESSELLATION is the score by Nainita Desai for artist BRUCE MUNRO’s art installation ‘FOSO’ [Fiber Optic Symphonic Orchestra]. It is an abstract large scale outdoor installation of an entirely light-responsive orchestra. The artist describes the experience in more detail: “In this installation, eighty, two- meter high, five-meter diameter light installations, each being a “musician,” will form the physical plan of an orchestra. Each musician is represented by the iconic Hills Hoist rotary washing line, an everyday Australian object that is also a beautiful structural support to my mind. Cylindrical arrays of fibre optic cables will encircle each Hills Hoist, making it a column of light. A control system will scroll through a rainbow of colors synchronized with a symphonic soundtrack. As the fiber optic columns change hues, viewers will experience sound translated into color.” This creates the immersive experience of an orchestra playing amid the lights. Different frequencies and pitches of sound are assigned different colors. The composer elaborates on the musical experience – “Using the symphonic orchestra including organic and electronic musical sounds, I wanted to take the listener on an exhilarating, emotional journey through nine musical pieces. While composing, in my mind’s eye I would think of the visual layout; how all the colors and rhythms would interweave with one another. I would think of the patterns and shapes the installation would create with the emotional connection; from dense and rich, vibrant and colorful, to gentle and calming. The ebb and flow of the work would take you on a rollercoaster of building tension to a soft release of emotion.”
Visit http://www.silvascreenusa.com
Marking Earth Day 2025 (April 22), Disneynature’s SEA LIONS OF THE GALAPAGOS launched last April on Disney+. The stunning feature film introduces viewers to a handsome sea lion pup named Leo as he grows and explores the Galapagos Islands enroute to becoming a confident adult. Also launching is Disney Music Group’s SEA LIONS OF THE GALAPAGOS Original Score Soundtrack composed by Raphaelle Thibaut. Said Thibaut, “Composing the score for SEA LIONS OF THE GALAPAGOS was incredibly rewarding. I believed the score had to play a crucial role in capturing the emotional depth of Leo's journey. I was drawn to the emotional and environmental contrasts at the heart of the film—playfulness and danger, land and sea, intimacy and scale. To support Leo’s journey, I blended expressive orchestral writing with raw, textural sounds and subtle regional colors, aiming to create an immersive, organic sound that felt like an extension of the environment and to capture both his spirit and the wild, magical character of the Galapagos.”
Listen to Thibuat’s track, “Leo Found a Home,” here:
This is a story about being murdered by your lover, getting lost in Mexico, finding a unicorn, a competitive quilter, Tracy Morgan, and exploring our connection with a possible alien. In other words, it’s a documentary about OCTOPUS!, narrated by Phoebe Waller-Bridge. Let’s look at the octopus through the eyes of people who love them, as well as those who think they are ugly. And along the way, we’ll follow the life of a Giant Pacific Octopus we’ve named “Doris” as she survived in the dark, dangerous ocean. The two-episode documentary, which debuts exclusively on Prime Video on May 8, explores one of the most intelligent and mysterious life forms on the planet as it follows the eight-legged animal through its lifespan, and features an eclectic mix of characters who have their own unique connections to these creatures, from the scientist trying to save them, the explorer trying to understand them ... to the 30 Rock star, who is obsessed with them. A new Original Series beginning May 8th on Amazon’s Prime Video. Siddhartha khosla (ELSBETH, ONLY MURDERS IN THE BUILDING, THIS IS US, RUNAWAYS) provides the musical score.
Official Trailer:
CHEF'S TABLE: LEGENDS is celebrating a decade of culinary excellence, spotlights iconic chefs whose groundbreaking work and global influence revolutionized modern gastronomy and inspired countless others. Netflix’s upcoming CHEF’S TABLE: LEGENDS is a new spin-off of their wildly popular globetrotting series CHEF’S TABLE that ups the experience in every way, telling the stories of some of the world’s most famous and accomplished chefs using beautiful imagery, tantalizing regional dishes, and of course, lush music. Longtime CHEF’S TABLE lead composer, Duncan Thum (LIVE TO 100: SECRETS OF THE BLUE ZONES, CHEF'S TABLE), who’s received two Emmy Award nominations for his work on the original series, returns once again for this legendary update, providing his signature auditory backdrop to the show’s stories, this time with an unexpectedly personal connection to a highlighted chef’s work. CHEF’S TABLE: LEGENDS premiered on Netflix on April 28th.
After releasing our jazzy, eclectic and emotional soundtrack to LA CACHE two weeks ago (see Soundtrax, March 2025), MovieScore Media/Reality Bytes offers our next release, HOME IS THE OCEAN. World Premiere: Zurich Film Festival (Documentary Competition). The film is about a family of eight, sailing the seas and living on a 20m2 boat. 20 years ago, the parents set sail to raise awareness about climate change. The filmmaker accompanied the family for seven years and documented against the backdrop of breathtaking landscapes how the Schwörer’s, with six children in tow, are challenging conventional norms of education, home, safety, and relationships. Until a storm forces them to rethink their life choices and family set-up. Our ambient, polyrhythmic and textured piano score recreates the sound of the ocean in different weather stages. We think it’s the perfect OST while strolling through the streets with headphones on, or while sitting back and dreaming about nature.
See more details Here
BITTER SEEDS explores the global fault lines of modern agriculture — where biotechnology promises a new Green Revolution, but at a cost still unfolding. From remote Indian villages grappling with genetically modified seeds to the powerful institutions that promote them, the film examines a deeply human story shaped by science, economics, and survival. Composer Frank Ilfman brings this narrative to life with a poignant, cross-cultural score that blends traditional Hindi instrumentation — including sitar, regional vocals, and percussive textures. His music underscores the film’s emotional weight, honoring both the cultural richness of rural India and the global resonance of its story.
From Bitter Seeds (Original Motion Picture Soundtrack), released April 22, 2025 from Ilfman’s Bandcamp.
Jon Mansell’s latest Movie Music International (MMI) covers KANTAURI, a 2025 documentary which takes us on a journey into the deep side of the Cantabrian Sea to show the hidden treasures that lie under the surface. It includes a look at the complex relations between the wild sea life within the environment that they depend on to live. It is an outstanding film, with a musical score that is superbly beautiful, and wonderfully thematic and emotive. Music is by Joseba Beristain, it is a fusion of synthetic elements, choral pieces, percussive elements, songs, and poignant symphonic performances that are mesmerizing all which combine to create an enthralling, rewarding, and enriching listen.
Now available, featuring the premiere voice of Lovecraft’s writing, Andrew Leman of the H. P. Lovecraft Historical Society, with music by Reber Clark, Four Lovecraftian sonnets from H. P. Lovecraft's “Fungi from Yuggoth”: XIV Star Winds, XXV St. Toad's, XVI The Window, XXX Background. Also included are all four tracks, music only. Includes high-quality download in WAV, MP3, FLAC and more. Paying supporters also get unlimited streaming via the free Bandcamp app. Download available in 24-bit/48kHz.
A different breed of love story, PETS is a Disney+ original from director Bryce Dallas Howard & Imagine Documentaries. The PETS Original Score Soundtrack premiered on National Pet Day (April 11th), on streaming services from composer Sami Jano. The score joyfully depicts the unconditional love that comes with owning pets of all shapes and sizes. PETS explores the extraordinary relationship that exists between animals and their people all around the world. The documentary invites viewers on an uplifting journey that showcases the universal love transcending species, filled with moments of laughter, tenderness, and genuine emotion. Said Dallas Bryce Howard, “Directing a documentary about the relationship between pets and their people has been a dream for years. There’s something about these wordless intuitive bonds, full of mischief and love, that feel like magic. And pet videos? They tap into such pure innocence and happiness, the kind of laughter that catches you off guard and reminds you why we love them so much.” Humorous and heartfelt, the film profiles a diverse cast of characters from every-day pet guardians to dedicated animal rescuers and beyond, highlighting the uniquely vital connections they share with their dogs, cats, pigs, goats and even birds of prey.
Stream onAMAZON / APPLE MUSIC / SPOTIFY, watch the trailer:
Richard Band reports that his very first film score, which he co-composed with his long-time friend Joel Goldsmith, LASERBLAST, in 1978, is now available on vinyl. (Joel, sadly, passed away in April 29, 2012 at age 54). “It’s hard to believe that this was 47 years ago and before MIDI even existed,” Band says. “Everything was performed in real time by me and Joel. I’m sure you’ll agree that it’s a fun Blast from the past (pun intended) Enjoy!” This is the first-ever original film score by two veterans in the sci-fi film and TV genre: Band later became known for such works as METALSTORM, RE-ANIMATOR, PIT AND THE PENDULUM, GHOULIES, PUPPET MASTER, as well as television episodes of STARGATE SG-1, BUFFY THE VAMPIRE SLAYER, and THE PRIMEVALS. For LASERBLAST, Richard and Joel employed innovative electronic techniques that pre-dated the use of MIDI and other digital media. Synopsis: A teenager stumbles upon an alien weapon, transforming him into a grotesque killer. Also included in the album are several 70s rock and roll style source cues. Licensed exclusively from Richard Band. Limited to 500 units. Audio for this album was sourced from the original master tapes and remastered for vinyl.
Available from Mystic Vault.
La-La Land Records, Paramount Pictures, and Geffen Records present a remastered and expanded Limited Edition 2XLP vinyl release of acclaimed composer NinoRota’s (8 1/2, LA DOLCE VITA, WAR AND PEACE, ROMEO AND JULIET) original motion picture score to the 1972 Academy Award-winning masterpiece THE GODFATHER starring Marlon Brando, Al Pacino and Diane Keaton, and directed by Francis Ford Coppola. Pressed on 180-gram colored vinyl, THE GODFATHER is a 2XLP 33 rpm album that will be available in two striking variants: “Tuxedo Black and White” and “Cannoli Cream and Moe Green”! This deluxe release is the first time the remastered and expanded presentation of Rota’s masterwork is available on LP. Like the film itself, Rota’s iconic score has woven deeply into the fabric of our culture. The music is a dramatic and emotional wonder – deeply soulful and romantic, yet tragic and teaming with pathos. The score’s waltz and love theme have both joined the pantheon of the most universally recognizable movie themes in history. The program features the film’s score presentation mastered in high resolution along with additional and alternate cues, including two tracks by Carmine Coppola. The booklet insert contains liner notes by writer Tim Greiving and the album’s sharp art design is by Dan Goldwasser. Limited to only 1500 units (750 units of each variant).
Lakeshore Records releases SPLIT FICTION – Original Soundtrack digitally on all major music platforms, featuring original music by Gustaf Grefberg & Jonatan Järpehag. The otherworldly synth score ranges from atmospheric to high tension, providing an enthralling backdrop to the critically acclaimed co-op game. Story: Mio and Zoe are contrasting writers – the former writes sci-fi while the latter writes fantasy – who become trapped in their own stories after being hooked up to a machine designed to steal their creative ideas. They’ll have to rely on each other to break free, working together to master a variety of abilities and overcome diverse co-op challenges while jumping between sci-fi and fantasy worlds in this tale of unexpected friendship. Notes Grefberg: “What was truly inspiring about this game was the got to work with so many genres and styles of music and take on the challenge to make them flow together.” Adds Järpehag: “Working on the music for SPLIT FICTION with Gustaf was the most enjoyable and enriching experience I’ve had professionally. Collaborating with Gustaf, whom I’ve admired since BROTHERS: A TALE OF TWO SONS, taught me greatly due to his sensitivity, technical expertise, and discipline." Purchase/ Stream.
Today, Ubisoft announced the immediate release of the first album of ASSASSIN’S CREED SHADOWS’ Original Game Soundtrack. Composed by The Flight (Joe Henson, Alexis Smith) this first album is now available worldwide on most music platforms. Two other music albums composed by Japanese-Canadian psychedelic rock band Teke::Teke and Londo-based music production team Thunderdrum feat. The music duo The Flight, who previously worked on ASSASSIN’S CREED ODYSSEY, are returning to compose the original score music for ASSASSIN’S CREED SHADOWS. Blending the authenticity of traditional Japanese instruments with modern music techniques throughout the album, they worked closely with the teams at Ubisoft to create a grand musical landscape for the game’s setting, and the characters’ stories. The Flight notes “Feudal Japan – a long-awaited setting for ASSASSIN’S CREED fans—finally comes to life in SHADOWS, and we eagerly embraced the opportunity to re-enter the Animus and collaborate with Ubisoft Quebec. Our score follows the journeys of Naoe and Yasuke, blending the series’ sci-fi roots with influences of traditional Japanese music, featuring instruments such as Koto, Shamisen, Taikos, and Shakuhachi to create a unique and forward-looking sound.”
ASSASSIN’S CREED SHADOWS (Original Game Soundtrack), composed by The Flight, is available on all major streaming services at this link:
For more information on the Assassin’s Creed Franchise, please visit Ubisoft's website.
Ark Soundtrack Square is happy to announce an upcoming release from the RAMBLING label will be available on May 28, RAN (Color Vinyl, 2LP) by Toru Takemitsu. Pre-orders are now being accepted!
The original soundtrack from RAN directed by the world's master filmmaker, Akira Kurosawa, is now available on analog vinyl! (*Imported) Ark Square
The Daywalker is back. Varèse Sarabande announces the first-ever vinyl releases of the expanded scores for BLADE and BLADE II – by prolific composers Mark Isham and Marco Beltrami, respectively—arriving on May 16th and available for pre-order today. These Deluxe Editions, featuring the complete film scores with every cue, will be pressed on “Bloodbath” red vinyl exclusively at Barnes & Noble and “Blood Splatter” clear and black translucent vinyl – limited to 500 copies – through the Varèse Sarabande store. Both titles come in 2-LP gatefold packages adorned with brand-new artwork by acclaimed illustrator Micha Huigen.
See details:
Microsoft Studios Music announces the release of the Original Game Soundtrack for Stoic Studio’s upcoming TOWERBORNE, with music by BAFTA Award-winning composer, Austin Wintory. Wintory says of the score, “After nearly a decade working on the grim, heavy BANNER SAGA trilogy, Stoic’s director Arnie said to me ‘Now I’d like to work on a game I could play with my kids.’ I don’t take for granted the chance to completely 180 from the direction we were heading all that time and plunge headlong into something totally new. Such was the case with TOWERBORNE. It was clear that the goal here was something full of optimism and joy; that at its darkest, it never loses a spirit of adventure and hope. For over five years we collaborated closely and I’d like to think we managed to find that magical zone which separates “childlike” and “childish.” To cap it off by recording in the hallowed halls of a Los Angeles scoring stage (Warner Bros Eastwood stage) felt like the culmination of a life’s dream.”
TOWERBORNE is a fast-paced, hope-filled, action RPG with exhilarating combat set in a vibrant world where you clash with malevolent forces. Battle solo or alongside companions and fight as one to protect the people of the Belfry from the monsters lurking outside the tower’s walls. TOWERBORNE is currently available in Early Access on Steam. To keep up with TOWERBORNE, visit towerborne.com and follow @Towerborne on Twitter/X, @towerborne.com on Bluesky, and join TOWERBORNE’S Discord.
Materia Editions, the first sheet music publisher focusing exclusively on video games, proudly presents the Guild Wars 2® Living World Season 2 score book in collaboration with Arena Net, developer of the critically acclaimed MMORPG Guild Wars 2. This collection brings all 19 tracks from Living World Season 2 to life with stunning detail, offering a full conductor’s score for fans, music students, and composers alike. Edited and engraved by Sydney Kjerstad, the score book is available as a paperback book for $24.99 or digital PDF download for $14.99, and both formats can be ordered from the Materia Editions store page (see below). Listen to the soundtrack and you'll be instantly transported to special moments in the game, the satisfaction of overcoming a challenging encounter or immersing yourself in a powerful story. With sheet music from the game, you can take it one step further: gain insight into how composers Maclaine Diemer, Lena Raine, and Stan LePard craft music for games. Whether you’re studying orchestration, exploring the composers’ techniques, or simply admiring the craftsmanship of this legendary score, this book is the definitive way to experience the music of Guild Wars 2 like never before. Paperback book: PDF Download:
- via Greg O'Connor-Read/Top Dollar PR
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
