Composer Paul Haslinger gives a furious groove to RESIDENT EVIL: THE FINAL CHAPTER – Interview

RESIDENT EVIL: THE FINAL CHAPTER soundtrack | ©2017 Milan Records

When synth retro is all the rage in today’s scoring scene with the likes of STRANGER THINGS and IT FOLLOWS, Paul Haslinger can count himself as one of the O.G. genre gangsters whose exciting music for creatures, gunplay and kick-ass heroes has never stopped mutating. An Austrian bandmate in the seminal progressive synth-rock group Tangerine Dream during such seminal soundtrack likes as NEAR DARK and MIRACLE MILE, Haslinger immigrated to Hollywood with a prolifically successful scoring career. He’d venture from the cool, teen-centric electronic grooves of such scores as CHEATERS, CRAZY / BEAUTIFUL and BLUE CRUSH to a career-making partnership with the vampiric Lycan slayer Selene on […]Read On »

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Benjamin Wallfisch scores A CURE FOR WELLNESS – Interview

A CURE FOR WELLNESS soundtrack | ©2017 Milan Records

Madness and the curse of centuries-old grotesqueries have rarely been as elegantly conveyed as A CURE FOR WELLNESS, an auspicious entry into the time-honored genre of the sane man trapped in an insane asylum – or in this case a Swiss Alps spa seemingly dedicated to the spiritual, and physical health of its decrepit well-healed clientele. Much like a funeral director with obsessive detail to make an unholy mess spic and span, PIRATES OF THE CARIBBEAN and RING director Gore Verbinski has ensured that his institute resounds with old world, aristocratic class, all the better to hide the demonic suffering its delightfully […]Read On »

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Michael Wandmacher scores Selene’s fight in the UNDERWORLD: BLOOD WARS – Interview

UNDERWORLD: BLOOD WARS soundtrack | ©2017 Lakeshore Records

Masked maniacs, ferocious fish, unhinged vigilantes and a wheelman from hell. Reading a list of Michael Wandmacher’s prolific credits feels like a particularly crazed membership drive for The Suicide Squad, a rogue’s gallery that he’s taken out for a spin with a distinctively energetic ability for pounding action where a metal attitude often hits the pedal. Starting his career in the rhythmic company of Jackie Chan with the English version scores for ARMOR OF GOD, TWIN DRAGONS and ONCE A COP. Wandmacher has brought his passion to CRY_ WOLF, THE KILLING FLOOR, MY BLOODY VALENTINE, PIRANHA 3-D, THE LAST EXORCISM:PART II  and PUNISHER: WAR […]Read On »

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Composer Fernando Velazquez hears fear and emotion when A MONSTER CALLS – Interview

A MONSTER CALLS soundtrack | ©2016 Back Lot Music and Quartet Records

  Death and transfiguration are two themes that have often accompa-nied the scores of Fernando Velazquez. Powerfully embodying a new generation of orchestrally rich Spanish composers to steadily take root in Hollywood, Velazquez rose from numerous shorts in his na-tive country to impress Hollywood with his lush, alternately creeping and raging sense of old school melody for DEVIL, MAMA singing with a romantic sense of aristocratic doom for CRIMSON PEAK and PRIDE AND PREJUDICE AND ZOMBIES. A particularly resonant ferryman for Velazquez when coming to grips with the inevitable, as well as the potential radiant light afterwards, is filmmaker J.A. Bayona. […]Read On »

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Marcelo Zarvos scores for the FENCES – Interview

FENCES | ©2016 Paramount Pictures

A distinctive, and prolific voice in Hollywood since arriving from his native Brazil, Marcelo Zarvos has created any number of musically explosive dramatic incidents – among them CELL‘s zombie-making phone calls, the murderous bad cop behavior of BROOKLYN’S FINEST and BEASTLY‘s groovily hip take on a fairy tale as old as time. A frequent collaborator with director Barry Levinson from the found footage parasitic horrors of THE BAY to PHIL SPECTOR‘s record producer gone mad, as well as a go-to composer for Showtime series like RAY DONAVAN, THE C WORD and THE AFFAIR. Marcelo Zarvos’ eclectic resume is no busier than when dealing with relationships in all of their […]Read On »

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Composer Mica Levi goes under the emotional skin of JACKIE – Interview

JACKIE soundtrack | ©2016 Milan Records

As an invigorating wave of “modern classical” scores like INDIGNATION, MOONLIGHT and ARRIVAL now take film music in uniquely interesting directions, the utterly bizarre and hypnotic originality of 2013’s UNDER THE SKIN was the equivalent of an alien landing in arthouse land to broadcast its musical language. Weirdly pitched strings, sound masses and unearthly metallic samples created the equivalent of a seductive hive mind, its heartbeat eerily slithering with just enough melody to keep the listener from Kafka-esque madness. UNDER THE SKIN‘s sonic shock of the new was created by the kind of avant-garde composer who could only come from nowhere. However, […]Read On »

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Interview: Composer Lesley Barber visits MANCHESTER BY THE SEA

MANCHESTER BY THE SEA soundtrack| ©2016 Milan Records

Flowing with melodic grace from classical to electronic music, Canadian-born composer Lesley Barber is often an inward traveler when it comes to her character portraits. Amongst her numerous, and eclectically-styled scores, Barber has played the music of a woman trying to break out of WHEN NIGHT FALLS, found the inner courage within the Hebraic rhythms of a Hasidic wife discovering that she has A PRICE ABOVE RUBIES, or discovering the intoxicating darkness within a potential girls school while suspensefully reading THE MOTH DIARIES. Given Lesley Barber’s unique way of playing relationships, perhaps her most rewarding, if too long apart collaboration is with writer-director Kenneth […]Read On »

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ARRIVAL: Composer Johan Johannsson learns to speak in alien tongues – Interview

ARRIVAL soundtrack | ©2016 Deutsche Grammophon

Maybe it’s something in the water in Iceland that’s produced an invasion of mournfully beautiful and stylistically innovative musicians, each setting out to revolutionize the word with a tonal language of ear-opening, futuristic art. In much the same way that Bjork has caught the world’s attention with her mind blowing take on pop, Johann Johannson has been terraforming a sometimes typical landscape of film scoring into a thing of haunting beauty. Listening to such works as PRISONERS, McCANICK, FREE THE MIND and his Oscar-nominated THE THEORY OF EVERYTHING and SICARIO are haunting journeys into humanity at its worst, and best. Low, nearly sub-sonic […]Read On »

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MOONLIGHT: Composer Nicholas Britell gets classically serious in the down low hood – Interview

In a tough urban environment, being loud and proud is something reserved for the macho occupations of drug dealing and gangsterism, certainly not in the far more vulnerable act of proclaiming oneself as gay. It’s a contrast that marks both filmmaker Barry Jenkins’ artistically subtle approach to MOONLIGHT, and his composer Nicholas Britell’s classically ethereal score. As divided into three “chapters,” Jenkins paints the quiet coming of age of Chiron, the seemingly meek son of a crack addicted mother who falls under the foster fatherhood of the sympathetic dealer Juan (Mahershala Ali, currently impressing as the far more villainous crime kingpin […]Read On »

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