Soundtracks

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

By DANIEL SCHWEIGER 04/30/2017
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

By DANIEL SCHWEIGER 04/25/2017
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

By DANIEL SCHWEIGER 01/17/2017
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

By DANIEL SCHWEIGER 01/15/2017
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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THE BEST SCORES OF 2016 – Part Two – The Runners Up and Composers to Watch

By DANIEL SCHWEIGER 01/02/2017
SWISS ARMY MAN soundtrack | ©2016 Lakeshore Records

The Runners-Up and Composers to Watch of 2016 The Runners-Up CAPTAIN FANTASTIC  (Alex Somers / Lakeshore) More proof that those in touch with Iceland’s musical spirit animal are blessed with an ability to capture profound emotion through unusual means, American-born Alex Somers’ work with the band Sigur Ros (and its essential continuation with its bandmate as Jonsi and Alex) now yields a score of singular spirituality as Somers tracks a family of ultra liberals who’ve have truly gone off society’s reservation. His soundtrack’s beautifully ethereal melodies are a unique mix of alt. rock sampling, angelic choruses, Native American winds, accordion […]Read On »


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THE BEST SCORES OF 2016 – Part One

By DANIEL SCHWEIGER
ARRIVAL soundtrack | ©2016 Deutsche Grammophon

THE BEST SCORES OF 2016 ARRIVAL  (Johann Johannsson / Deutsche Grammophon) An Icelander whose intensely psychological, yet still melodically accessible modernist scores like PRISONERS and SICARIO speak in alien languages of subsonic strings and nerve-chilling brass at last gets his actual close encounter as he translates the Rorschach Test language of obelisk / monolith dwelling inter-dimensional deities here. Johannsson brilliantly captures both a sense of wonder and fear with beholding the mind-boggling, verbally-scrambled unknown as whale cry motifs join with alternately moaning and chattering voices, backed by a strong orchestral sound that serves as a powerful universal musical translator in a way that’s […]Read On »


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Interview: Composer Lesley Barber visits MANCHESTER BY THE SEA

By DANIEL SCHWEIGER 12/03/2016
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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MOONLIGHT: Composer Nicholas Britell gets classically serious in the down low hood – Interview

By DANIEL SCHWEIGER 11/05/2016

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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THE ACCOUNTANT: Composer Mark Isham plays a unique set of action skills – Interview

By DANIEL SCHWEIGER 10/15/2016
THE ACCOUNTANT composer Mark Isham | ©2016 Mark Isham

  One might expect composer Mark Isham to have had a tender musical upbringing that resulted in a soft-spoken composer who carried a powerfully blown trumpet. No doubt he was given some very different life choices than Chris – a highly functioning autistic youth with a natural gift for math and an equally big bullying target on his back, one that makes his military dad train Chris and brother in the killer skills that mature a budding genius into “The Accountant’s” cross between Rain Man and The Punisher. Certainly one of the crazier Hollywood films to give socially challenged characters […]Read On »


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