Presently the Past in Battlefield 1

Battlefield 1 is an impressive masterpiece from EA. This beautiful, cinematic game that offers an amazing and unforgettable experience that is both visually and audibly stunning. EA selected a new set of composers this time around in order to get away from the modern electronic scores produced for Battlefield 3 and 4. Ultimately, this allowed them to return to their early roots in the series in terms of sound, which was much needed for this game since it goes several years into the past. 

The explosive opening sequence gives the player a sense of loss, offering them a realistic view of the "war to end all wars" where both sides experienced countless casualties. 

I was pleasantly surprised to hear the return of the well-known Battlefield theme, bringing roots from the original appearance allowing us to hear it in a way that it hasn't been played in several years. Yes, Battlefield wouldn't be the same without that old tune (and it seems they will never omit it), but I almost didn't expect to hear it this time (what was I thinking?). It is such a rewarding experience to hear it come up each time throughout the series. Throughout several different variations, I definitely find that the London Philharmonic's performance of the theme in The Greatest Videogame Music is by far my favorite. 

The Battlefiled 1 score overall brings back those classic fps vibes from the early days when Call of Duty 1 was still a thing to be reckoned with. Coupled with the graphical enhancements of the modern age, this game almost feels like they remastered an all-time favorite, bringing with it renewed excitement. 

Whether you have played this game or not, I highly encourage you to check it out. If you are a film score enthusiast, this might just please you as it did me. The line between film and game music is being blurred as scripts become more complex and captivating. 

Greatest Game Music of 2016

There are several games that have been released this year. My favorite would definitely be Nathan Drake's last adventure found in Uncharted 4. Henry Jackman created an incredibly moving score that perfectly matched the equally moving, character-driven story. While there are several scores to choose from and such a large audience, it is truly impossible to create a master list.

To start, the DOOM reboot has had significant praise, listed as number 10 on Factmag. While this horror game is bloody and disgusting, I would never dream of playing it. After a listen, I can't stand it and must say that it is terrible, so it will not be making my list.

I thought that Stardew Valley made a much bigger impact on me. It was simple, mesmerizing, and fun. The album doesn't disappoint in terms of length, featuring over 2 hours of music across 70 tracks. I would agree with the placement of this title.

I find that I agree completely with Andrew's list over at ClassicFM.com. He mentions excellent scores, from Ramin Djawadi's surprisingly effective score for Gears of War 4, to the exquisite, complex masterpieces heard in Final Fantasy XV. The moving strings from The Last Guardian and Austin Wintory's surreal and atmospheric work on ABZÛ. Being the superior list, I recommend you visit it so see what Andrew has already written. He also included some videos in his list as well as samples of music from each pick.

Chris Remo's score for the indie title Firewatch is another one worth recognizing, one that I have actually written about earlier this year. Also Gears of War 4 by Ramin Djawadi is probably one of my favorites from the series and from Djawadi in general. There are many 4th-iteration games out, most of them have better music than their predecessors (i.e. Uncharted 4, Fallout 4, Gears of War 4 to name the ones that come to mind). While there has been countless game releases, I must say that I have listened to less than half of those released so far.

I must say that out of all these, The Last Guardian is one of the best game scores that I have heard. It is just astounding as to how good it is. Coming from what I believe is a Japanese composer, I almost expected this. Those composers over in Japan have a beautiful way of incorporating captivating themes that sound very classical, but still maintain a slight modern ring to them. The Last Guardian does not disappoint.

This year is not yet over, but when it eventually will be we are surely in for a good ride. 2017 will be an excellent year for music, both game, film, and trailer. In the meantime, Merry Christmas eve, eve!

Not That Again!

Do you have a song that you fell in love with that you almost hate now because repeat killed it? Most likely it is the main theme from a film or game. Trailer music can do this as well, but slightly easier than film or game music.

I cannot say that I have a song or album that I can't stand anymore because I purposely create variety in what I listen to. But when you encounter that "this is so epic, I can't imagine life without this" song, you are hopelessly repeating it over and over. Does it ever get boring?

This happens sometimes to me, mostly with trailer music. When I first started getting interested in soundtracks I would play only the main themes from albums instead of taking each album in as a whole. This does increase the longevity of your music, but at the same time there isn't anything wrong with listening to just the themes.

I haven't encountered the issue in a while because of my vast library. I bounce from trailer music, to game, then to film, and repeat. After all, music that fits your mood is much more enjoyable, right? Audiomachine and Two Steps From Hell for physical work to push through the pain, Alexandre Desplat and/or John Williams for a relaxing weekend, or maybe a long drive with exciting game music.

One thing that I noticed when I was using my 3 months of Apple Music was that I really missed my personal library. Those 3 months were spent catching up on all the newest releases and artist discovery. I stayed away from albums I already owned. I know what albums I have and I know which ones to match with my current mood. I was actually excited to end the trial and come "home" again, even though I had listened to an album a few hundred times.

Still, nothing beats the experience of listening to a new score that you haven't heard before. What do you think? Are you attached to your library as I am with mine? Do you find a song or album tedious due to constant playback?

Divide by Chris Tilton

Divide is a new game that will be arriving on January 31, 2016 exclusively for the PlayStation 4. I do not want to go into too much detail to promote the game since my goal is the music, but I can say that the game looks very intriguing. You can learn more at the PlayStation Blog.

While Chris Tilton has been composing for many years, I only just discovered his music when I first heard the score from Assassin's Creed Unity. I instantly fell in love with it. It is definitely one of the best game scores I have listened to. You can hear his music from Volume 1 of the score. I felt that Ryan Amon (the Bonus Tracks) and Sarah Schachner (Volume 2) did an excellent job, but it easy to say that Chris Tilton's Volume 1 is easily far superior.

The EP for Divide is out and ready to listen to. If you are subscribed to a streaming service, I highly recommend you look for it (I guarantee it is available to you). If you enjoy it, it can be purchased through Bandcamp, which will allow you to access a lossless copy of the music. It is currently $2.99.

The Divide EP is also available on Bandcamp if you prefer some hi-res audio - https://t.co/fQRNln3Cb7

— Chris Tilton (@christilton) December 8, 2016

In Tilton's new score for Divide, you definitely get the same feel and similar sound from Assassin's Creed Unity. Unfortunately this is an EP which is very short. I am hoping, along with others I would expect, that we will eventually see a regular release of the score that is more full of content. As of this time I have not found anything that points to a release of this kind.

Let me know what you think of this score in the comments. Are you hoping for an extended version as well?

The Return of... Alice: Through The Looking Glass

   What is your favorite kind of music? Do you prefer the lighthearted Randy Newman, intense Brian Tyler or Hans Zimmer, classical John Williams, or maybe the strange and bizarre Danny Elfman? These are obviously just a few of the thousands of gifted and noteworthy composers out there. I cannot say for certain which type I am most inclined to listen to, I hear it all! There are times where I feel in the mood for a specific kind of music, but how does one go about discovering that type of music? There are several services out there that offer mood-based radio, but I'm not a big fan because they mix all genres instead of isolating scores.

   What genre is your favorite? Are you a soundtrack/score aficionado, or are you a mix of a bunch of genres? My family does not understand why I don't like their "preferred" music, which mostly includes classic rock from the 80's. I have a wide range of music appreciation and interest, but it all lies in the orchestral genres, covering games, films, trailers, etc. even classical music. Whatever kind of music you love wholeheartedly, don't let anyone convince you otherwise. I still have a mixed opinion of rock, but if that is what you love, nothing can change that except for experiences and time. 

   Now, let me get back to the topic for today, which was...

   Alice: Through The Looking Glass did not do so well opening week. I wasn't sure what to think of the film initially since it seemed like a bit of Déjà vu with recurring themes of "Where have you been Alice, it's been a long time?" from the previous film. Regardless, I have not seen it, therefore I cannot give an accurate review, but I can attest to the fact that the score is far superior to the first. This usually doesn't happen, especially in the case of John Powell's How To Train Your Dragon. The first blew us away, and while the second is excellent and consistent with the series, it did not come close to the original. 

   Danny Elfman's new score is interesting, bizarre, and similar enough to the first in order to continue the main theme and overall feel. Alice's theme is nearly unchanged and the instruments remain the same (take note of the organ in the theme), but there are more interesting themes and sections that I found to be much more interesting. 

Happy Holidays!

Christmas is just around the corner! Now where on earth did this year go? Wait, a little bit of Déjà vu here. Don't we all think this every year? This has been an excellent year, and I want to mention a few things about what is coming up in the world of scores.

To begin, I want to finally present to you some of my favorite works from Alexandre Desplat. Though it may be a little dated, it is open for the picking until February 28 (nope, not a leap year). Click on sir Desplat's name for details.

Finally! With all the amazing releases that Two Steps From Hell gave us all in 2015, they just spoiled us again in another epic album: Vanquish. If you haven't been following Thomas Bergersen on Facebook, you might want to check out his most recent post. Apparently we are expecting "A LOT" of music from Two Steps From Hell in 2017. Who's excited! Don't forget to check out the recording sessions video of what is probably the best track in the album Vanquish: High C's.

Now, the scores that I am personally excited for this December are Rogue One, Assassin's Creed, and Hidden Figures. I also was able to discover that Silva Screen Records has put up a Christmas album for pre-order. It is a nice white vinyl edition featuring music from the film Elf. Unfortunately it does not include any music from the score, but it sure to give you some Christmas spirit, in case you have doubts you may not be gifted this year. You can pre-order it on Amazon. If you are one of those Limited Edition fanatics, you may also want to know that only 500 of these exist. 

On December 12, Varese Sarabande will reissue Agnes of God. This is also limited to 500 copies to don't be slow to grab it if you are a fan of Georges Delerue. On the same day Star Trek Beyond is going deluxe (limited to 5,000 copies) through Varese as well. 

Ah, and that just about summarizes things, briefly. What are some of your most anticipated releases?

Some Thoughts on Trailer Music

    During my journey exploring new artists and music with Apple Music, I have finally turned to what I just classify as "trailer music," which is basically independent music not composed for anything in particular.

    Erik Ekholm is one that I would like to mention. I found that his music was not to my liking. I am one who listens to a lot of audiomachine, Thomas Bergersen, abs Two Steps From Hell, which is top notch in terms of quality. The works of these three artists are well composed and are three kings of epic trailer music.

    Erik Ekholm is not one I would spend money on. While initially his scores are very orchestral and interesting, I find that he relies too heavily on the electric guitar. It always overpowers the orchestra, and always at the same point in nearly every song.

    The orchestral parts of his music is decent, I just wish that he used the electric guitar to compliment the orchestra rather than be the dominant instrument. I believe that the three artists mentioned above have mastered the technique of using perfectly blending and balancing the electronics sounds with the orchestral sounds.

    If you are into this type of music, then do not let me stop you. Other great alternatives would be Epic Score and Future World Music. Epic Score sounds really bad with Apple's EarPods though when it comes to the treble and the bass is so intense they can barely take it. This is one reason why I would never pay $30 for a pair, but then again, cheers to you if you love them. I think they are fine and use them regularly anyway.

And what about that Alexandre Desplat link I promised? I totally forgot. I am working on cleaning up some unnecessary cloud data to make room for the link, to stay tuned.

The Great Return

     It has been quite a while since my last post. Currently I am writing a novel and soaking in all the music I can listen to through the relatively new service Apple Music. I do not consider myself a huge fan of Apple in general due to various reasons, but I will say that their new music streaming service is exceptional. I have had the iPod touch 6th generation for almost a year now and have finally accepted the invitation for a 3-month trial.

     Firstly I want to point out that Apple is still the best in terms of dedicated music players for those who do not want to shell out hundreds of dollars on alternatives like Fiio or Astell & Kern. I have encountered some trouble with the software because my albums are all custom tagged because Apple does not know how to tag soundtracks albums (in my opinion) and a good amount of my music is not even in their store. I still am happy with my purchase though. Microsoft Groove and Google Play Music are still excellent app alternatives since those services are more forgiving with customized music.

     Now, Apple Music is a good service that I have been enjoying for the past month or so. My subscription expires on the 9th of December, but I am already convinced to continue with the $9.99 per month. It was an excellent marketing technique to give the user 3 months, that way they can't imagine their life without it. Now, this may not be so appealing to those who are deeply invested in complete scores since they are not sold anywhere, but there is an excellent selection of scores. New scores are usually available, and though some albums are available for purchase only, the majority of what was available from each artist on iTunes was open for streaming.

     I am definitely open to paying for the plan, but I will cancel it at the end of my trial because it is not the best time for me to spend money like that. If you are interested in trying this out, I must warn you to not accept the use of iCloud Music Library if you intend on not using the music in your own library unless your entire library can be found in the iTunes library. iTunes has a tendency to mess things up a bit. I am currently not using iTunes to manage any of my library right now.

     If you are interested or have already reached the end of your trial and would like to continue with the plan, I must advise you to go out and purchase one of the gift cards from Best Buy or wherever you can find them. They are $99 for an entire year, which means you save $20 instead of paying $9.99 a month through iTunes.

     Lastly, I have a complimentary link coming soon. I am in an Alexandre Desplat mood right now, and two of my favorite scores that he composed will be available for one week total. Keep a look out!

The Amazing Spider-Man 2: Commemorating James Horner

First impressions are not always the most reliable and accurate source of opinions. When the score for The Amazing Spider-Man 2 came out, I was so excited. I snatched it up and skimmed through the score as I used to do in the day (yeah, it wasn't that long ago). My impressions: "this sucks!"

Okay, now don't go on ranting to me. There are some who would agree with me and others who absolutely love it. It is an acquired taste, and for those who have actually seen the film, there is an extra plus. I believe that one more easily falls in love with a score once they have seen the film because they understand it more. "Why did he do this? Why didn't he do that? What is that?"

I can say that I have listened to this score all-the-way-through! You may think that I'm crazy that less than half the scores I have are from films that I have actually watched. I just love music, and that is why.

When listening closely to the music by the amazing Hans Zimmer and The Magnificent Six, I did actually end up enjoying it. I found it very fascinating with some resemblances to Zimmer's previous work on Inception. There is much more electronic music here, but it gives an epic feel that probably fits what is happening on the screen. I must say that this is very different from James Horner's score from the original film.

Oh, and while I am on the subject, I would like to take a moment and commemorate James Horner. On this day in 2015, James Horner was killed (61) in a plane accident. As one of the most influential film composers of the century, I found it very sad when I heard of this incident. So if you are a fan, listen to the first Amazing Spider-Man today, and the next one tomorrow. I recommend it anyway, since it gives you a good understanding of how different these scores are.

Now, whether it be the captivating Harry's Suite, or the loud and restless Electro Suite, Hans Zimmer and his friends did an excellent job on this score. I would not say that it is my absolute favorite, But I enjoyed it very much. It took me a whole 3 days to listen to it through! I need some alone time. Anyway, if you do not have this score already, Check it out on YouTube or Amazon below.

Welcome To Africa: African Safari 3D

   Do you ever dream of traveling? I grew up with a grandmother who was always telling me about her travels across the world and her experiences facing death at nearly every turn, surviving only because of one "fortunate coincidence." I thought that she was so awesome and wanted to travel with her. I still dream of traveling.

   When you listen to Ramin Djawadi's score, close your eyes and just imagine the beautiful landscapes of Africa. It is so peaceful and simple, no worries. Imagine the graceful animals in their natural habitat, or maybe you see that beautiful orange sunset that resides over the grasslands. 

   African Safari 3D is a documentary with beautiful, soothing music that gives you a moment of true peace. I have wanted to visit Africa for a while, just to experience the beauty of that continent. At this moment, I can only dream, so dream with me. Let Ramin Djawadi's music flow through you and help you forget for a moment why you are so tight and stressed. 

A Quiet Return

Hello everyone! Despite how quiet it has been here at Soundtracks Gizmo, we've really been working quite loud these few weeks. Summer is finally here, and I know that you need a lot to get yourself through these busy months, or is it that you have a very free schedule? Either way, I hope you have a great summer.

The amount of weekly posts will be cut back through the summer due to our busy lives. If you have a passion for music as much as we do, and would be interested in writing about it, we would be happy to welcome you aboard our team. Just navigate to the "Contact" page and let us know.

Love & Loss

   The brilliant minds behind Two Steps From Hell have defined the meaning of epic music. There is just no going back, and although it may not initially suit the taste of some listeners, There is some amazing music that is better than some film music. Their vast catalog of compositions has so much uniqueness. First you find a rough, loud piece that has some rock components, but another is light, orchestral, and beautiful.

   Love & Loss is one that I will be focusing on. It is composed by none other than Thomas Bergersen. Being the end of the work week, this will wrap things up perfectly. Its victorious tune gives us the feeling of accomplishment, the climax is over and the resolving sequence has arrived. A modern sound is derived from the synth which produces some interesting sounds. Still, the strings are the center focus on this, giving the brass the role of quiet introduction and blending throughout. A choir comes in about halfway when the buildup begins. 

   Every time I hear this I keep thinking of how perfectly this would end a film with a modern take on storytelling. The victory and resolve is clear and precise, and so is the joy from the end of the tiresome adventure. It also leaves us with one small bit that something isn't over. There is something else wrong that is soon to come up. A perfect place to leave off where a sequel would pick up. 

Firewatch

 

There are two games out currently: Firewatch and Overwatch. I kept hearing so much about Overwatch, thinking that it was Firewatch, but I just mixed them up and forgot one of the titles. Today's score comes from the Steam game Firewatch.

   Firewatch is a very interesting take on the first-person point of view. You are stuck in the wilderness of Wyoming trying to solve a mystery and communicating through a walkie talkie as the only way of breaking the silence and loneliness. The graphics are that beautiful and simple/complex type that modern games often have. For being released only about three months ago, it has over 12,000 reviews that give it a very positive score.

   To match the visuals and story, the Chris Remo gives us a very interesting and somewhat minimal soundtrack. The piano in the beginning of Prologue sounds similar to the Fallout theme with all of the chords. This score was given a unique feel that brings it away from that similarity by adding some artificial sounds and eventually an electric guitar in track 2. This simple music is exactly what was needed, because a score too good can distract from the type of graphics in this game, and it does.

   Beartooth Point introduces an acoustic guitar which helps give the feel of the countryside. Some parts of this score remind me of Monument Valley's score, which was very simple to go with its simple yet complex, mind-bending architecture. Without the guitars in this score, it would be too much like Monument Valley.

   This score is a great representation of a composer creating something enjoyable with limited resources. By this I mean that there is no orchestra or expensive instruments. They are very basic, yet the composer was still able to use his imagination with the artificial sounds. The official soundtrack is only 33 minutes long, which makes me guess whether the demand for quantity of music was low or there is a significant amount cut out. I haven't come to actually playing this game yet, though I highly recommend it. The game can be found at the Steam Store. The soundtrack is also available there for $5.99

   Track 15, An Unfortunate Discovery arrives as a surprise, as it introduces something new. There are violins. They sound somewhat artificial though, which could be that they are generated, but it sounds more natural in the next track. Catching Up returns to the prominent piano and its captivating, deep chords. The final conclusion comes with Ol' Shoshone. An acoustic guitar defines a resolving tune while Sean Vanaman sings calmly.

One thing that I will start doing is posting a high quality copy of the artwork for each album, because I know how hard they can be to find. If you haven't already, my recommended resources section offers some very useful links to high resolution artwork that is hard to find.

How Well Do You Know...

New Look!

   There has been a lot happening here, so I thought that a template change would shake things up. I understand that some users prefer dark templates, while others prefer bright ones. I decided to go with a lighter and more simple template. If you are having any troubles with loading, please let me know and I will update things a little.

   I understand how frustrating it is to be on a website and have it clogged with ads. My promise to you is to never do that. While there may be a few around the place, they shouldn't impede loading times or a positive experience. If they do, I would appreciate it if you would let me know and I will update things.

   I would also love to hear any thoughts on what you think of the new design. Remember to enter the Captain America: Civil War soundtrack giveaway! You can find my tweet HERE or at the right sidebar.

Air Force One

   Jerry Goldsmith is a legendary film composer and one who will always be remembered. He scored Air Force One in twelve days, and what came out of those days is one of the greatest and most memorable film themes. It gives the film excitement and the feeling of victory. One of the tracks is even featured in the Soarin' wait line.

   Randy Newman was the original composer who was rejected a week before the deadline. This is where Jerry Goldsmith came in and went about what he was most excellent at. I cannot go about this without giving credit where it is due, so I must also commemorate Joel McNeely's work in assisting Goldsmith. McNeely's compositions are marked as "additional music" which is not featured in the public soundtrack, but can be found in the Rejected and Unreleased album.

   Being a Disney and Pixar film composer who has a natural tendency to write light and fun themes into his scores, it was obvious that Randy Newman would not succeed the way he needed to. His work on his accepted music is very good, and I believe that he has a certain style that he should stay with.

   While listening to Randy Newman's music for Air Force One, it isn't all that bad, generally speaking. It just felt like,  a cartoon, or a Disney film. Some of the music is just outright horrible and unbearable to listen to, but most of it is fine. It wasn't a total loss for him though. Randy Newman was able to recycle some for his score for Toy Story 3.

   Jerry Goldsmith, with the assistance of Joel McNeely, wrote an unforgettable score that shines a bright light on patriotism. He did exactly what the director was seeking. Firstly, the music was much darker which made it feel like an adult film. When the action came, the intensity felt realistic, like something was really wrong. This gave the victorious sections greater power as they released the tension.

   The snare drum and brass are the most dominant sounds during the action sequences. The strings create a good shape in theme, but the brass are the source for much of the intensity and the main instruments used for the theme. During the quieter sections the mysterious bass and the piano's lowest keys flood the scene with a sound that leaves us on the edge of our seats, expecting something but not knowing when it will appear.

   Among all this intensity, there are sweeping themes that return you to a state of relief from the buildup. The strings are the main focus during these parts with the brass coming in prominently at times. The strings have a beautiful way of giving you a soft sound that just sweep you away and immerse you in their themes. I can say this of all the instruments when played in harmony, but I personally enjoy the strings just a bit more.

   I have only seen the TV version of Air Force One, a long time ago. I do not remember all those cues in the score, just the basic story line.

   Now go out and conquer Monday!

Akkadian Empire

   When Call of Duty: Modern Warfare 3 was announced back in 2011, it was called "The most anticipated game of the year." I'm not sure if it lived up to the hype, but the music sure was pleasing. As the final concluding chapter in the series, I believe that it did.

   The reveal trailer features Audiomachine's Akkadian Empire, but you will not be able to hear it very well unless you have previously heard the song yourself. Watch the trailer below and see if you can pick up the basic theme.

   Did you hear it? The music that is playing is in fact from Akkadian Empire, but the catch? The percussion stems are the only thing that is present from the original track.This is an interesting way of going about this campaign, which seems to fit the trailer perfectly. The increasing intensity and simple sound are a good match for what is going on in the video. After all, this is just a reveal trailer.

   Now listen to the master mix with all of the stems combined (below). When you watch the video above again, you can almost hear the choir where it used to be.

   I suppose this track is simple in nature to begin with, and very short, but with a good level of intensity. The drums truly are epic and fun to listen to, so here it is once more. The same stem that is used in the reveal trailer, but without all of the extra sounds. Just pure percussion. 

   It is very interesting to see how the advertising company manipulates the music to fit their needs in trailers. This is the least amount of music from the original mix that I have come across when it comes to trailers. I admire creativity, and that can come from original work, or how someone can take that work and change it up. Do you know of some instances where the music is changed significantly? 

Call of Duty: Modern Warfare 3

   Brian Tyler scored 2011's most anticipated game, and the concluding chapter to the (arguably) greatest Call of Duty games ever made. The epic story just doesn't compare to later releases. Today's score, Modern Warfare 3, is almost too good for the game. Don't get me wrong, the game was fantastic, but the music is just so good.

   The beginning theme starts things off very slow with an intriguing percussion and soothing string melodies. While it begins to build up, the intense music to come is foreshadowed. Brian Tyler wrote one of the best video game scores that I have ever listened to. MW3 is an orchestral masterpiece that occasionally gives us some electric guitar, but mostly focuses on the natural orchestral sounds.

   Prague Hostilities is a new take on the once peaceful sounding theme from the beginning and adds a feel of unresolved conflict and dark bass. Intense action is frequently heard due to the game's setting and subject, but that intensity is toned down with slow build ups and moments that are mysteriously calm.

   I admire the use of the viola in the beginning of I Stand Alone because it has a very unique and unusual sound at times. The viola gave this track an interesting sound to start it off. The ending is equally enjoyable, featuring the main theme that rises and gives a somewhat victorious feel before ending with the brass and percussion hitting a note that does not sound like a resolving victory.

   Hamburg invasion introduces the electric guitar as we enter deeper into this war that spans the globe. Once again, the main focus is the orchestra. Now, when you reach Battle For New York, there is an exception. The excellent orchestral representation of the war is intense, a little victory medley in the middle before reaching a quiet, calm state. Just when it seems nothing is going to happen, you wait, before you suddenly get slammed in the face with the electric guitar. Were you expecting that?

   Interestingly, two excellent film composers worked on the previous title, giving this series a true cinematic feel and sound. Hans Zimmer and Lorne Balfe scored Modern Warfare 2, but Brian Tyler was much needed for Modern Warfare 3. This is the last chapter where everything gets crazy and the final confrontation and resolve is met. This requires much more intensity in the music.

   I admire creativity, and I almost believe that this is one of Brian Tyler's most creative and original work. Consider the brilliantly placed electric guitar so that it actually sounds good. Also, the occasional synth appearances are welcome additions. The various percussion techniques and instruments used help give each track a sound different enough to distinguish from each other, but consistent in overall sound.

   Paris Siege is an epic five minutes of unrelenting tension that stands out as one of the most interesting pieces throughout the score. Special Forces brings back that electric guitar experience from Battle For New York, but at a much lighter scale. It gives off an epic feel that seems to sound like things are going good for the right side.

   The main theme for Modern Warfare 3 is one of the most memorable, so I am glad to hear it brought up frequently, but not too frequently. It can sometimes get annoying hearing the same theme over and over again, but there is a perfect balance. You are actually excited to hear it when it shows up.

   One thing that Brian Tyler wrote into this score is some quieter parts that tone down the action so that we are not always racing toward the goal. There is some sneaking that goes on, but sometimes you get caught and you have no choice but to shoot your way out of the situation.

   MW3 End Credits is an epic conclusion to this great score, presenting the main theme once more. The strings give you a huge performance that bring a close to this adventure and leave you with a satisfying ending. What are your thoughts? Do you have a favorite game score?

Captain America: Civil War

   How was your Mother's Day? Did you do something fun, sit around playing video games, stuck at work? Anyway, if you haven't seen Marvel's latest Captain America film, promise to not to spoil anything if you haven't. The track names are vague, so no spoilers there either.

   Marvel took the world by storm. Captain America: Civil War was a good film that released just three days ago, yet managed to gross $678,391,000 total as of this writing. Henry Jackman returns, giving this film an intense score similar to his from Captain America: The Winter Soldier.

   In this score, you will find that bizarre, electronic sound which is the theme for The Winter Soldier. This is carried from the previous Captain America. Brian Tyler's Marvel Fanfare theme composed for Thor: The Dark World and used in all previous films when the Marvel logo appears in the beginning has been dismissed and replaced. Henry Jackman has given us a good "alternate" version. This makes sense because over time the Avengers are changing throughout the films, so themes will also change.

   I enjoyed this score more than the one written for The Winter Soldier because of its greater orchestral qualities rather than a more electronic and ambient take. Civil War feature some interesting spiccato patterns like in the ten minute suite for Captain America in the previous film. It seems simple, but is somehow complex enough that we all love it.

   Boot Up has a strange, electronic drum beat type sound in the beginning that I found distracting in the film, but the build up of this lengthy track made up for it. We hear The Winter Soldier's theme further on and it becomes mysterious with "simple complexity" is how I will refer to it now. Henry Jackman's specialty.

   A version of the Avenger's theme from Age of Ultron appears to come up, which hopefully will not replace the classic theme from Alan Slivestri's The Avengers when Infinity War is scored. If you go back to when the Hellicarrier rose out of the ocean in The Avengers, focus on that string pattern. That is another one of the themes that is briefly and alternatively heard in Certain Parts. Despite these themes, Civil War has its own unique theme. Standoff, Civil War, and Larger Than Life utilize it noticeably.

   Revealed is a well written example of the more orchestral nature of this music when compared to the second film. You hear a nice array of instruments and a choir while the track goes from a sense of sorrow to building intensity, to a victory.

   Clash is very interesting with appearances of solo technique (vibrato) heard from the violin and cello giving this a modern sound. This blends right into Closure, which presents a mysterious setting and nears us to the conclusion. There definitely are some regrets about what they had to do, but the somewhat victorious feel in Closure gives us the conclusion that also leaves us hanging. Cap's Promise enlarges this victory theme and makes it more satisfying. We are also treated with a brief theme from the Captain America suite and a version of the Avengers theme from the original film.

The soundtrack runs for 1 hour and 9 minutes, leaving us with one important question: where is the rest, given the film is about 2 1/2 hours? This always happens, and people always get all worked up about missing cues and important parts missed. Please, do not tire yourself out from this lack of music. This is just the way the music industry works, unfortunately.

Decimus: The Abbey Road Sessions

Well, I'm off to a late start today, but in time for lunch you will listen to the best trailer music from 2015. Audiomachine treated its fans with not on official release, but three! I have yet to listen to Magnus: B-Sides.

Today is the source of inspiration for this week's Abbey Road series. Decimus is filled with epic themes to jump start your adventure, rejuvenate your strength, and push you forward. Now go kill that monster!

The Lion's Heart sets the mood for the album and presents a good start. Today I will be mainly focusing on Unbroken. I love this song so much.

It is a beautiful representation of the strings, blending spiccato and arco, which shapes the theme. Coming in at the perfect time, the choir adds to the mix, but does not overpower the dominant sound of the instruments.

Faint percussion in the background and some accompanying brass. Being a string player, you may have already guessed that I always prefer the sound of the strings, which are the main instruments in this piece. If you listen for it, you will hear the brass near the end when the climax is reached.

My favorite part in this piece begins at 1:24 when everything ceases except for the violin and the choir. The violin, playing in spiccato, takes a short pause before returning using much higher notes to increase the intensity and eventually reaching the final climax.

What are your thoughts on this beautiful piece? If you like this track as much as I did, you should also look into Voyage of Dreams.

I hope you have an excellent Friday. See you again next week!

Uncharted 3: Drake's Deception

Following my series this week on scores recorded at Abbey Road, today's score comes from the popular PlayStation exclusive Uncharted 3. The Uncharted series is an epic adventure that follows Nathan Drake as he chases after the greatest treasures on earth. This is also the game that is known for consuming 24.2 TB of storage with all of its assets during development.

Uncharted 4: A Thief's End, the final chapter, is due for a release on May 10 of this year. According to soundtrack.net, the official release for the soundtrack is May 17, will be limited to 3,000 copies, and interestingly will see a change in composer. Henry Jackman will be replacing Greg Edmonson, who scored the first three games.

The third installment is what my main focus is on today. Greg Edmonson has spent a good amount of time with this series. This gave him time to evolve the main theme for Nathan Drake. The title for the theme in the second game in given a "2.0" tag at the end, and the third a "3.0". Although they tend to generally sound the same, there is definitely some uniqueness given to each take. In Nate's Theme 3.0, you really feel the epic adventure that is to come. The brass is more profound and the percussion has a "darker" sound to it in the beginning.

The score is not like any other game score that I have previously listened to. It has a more unique feel. I also love how there is a combination of a victorious sound (as heard in Nate's Theme), action, and other music that incorporates the style of music in the particular region that Nathan is in.

At certain parts it sounds quite like some traditional classical guitar, especially in Small Beginnings. The traditional orchestral sounds create an interesting Middle-Eastern style of music with the sharps planted to produce a sense of mystery. There are some Middle-Eastern vocalists and instruments as well that are heard occasionally.

I keep thinking of Jerry Goldsmith's score for The Mummy when I listen to this, just from the musical feel of the sandy places, not from copying. This is heard throughout the majority of the score. Now, if you are afraid of spiders, then Arachnophobia could make your skin crawl. Just imagine a bunch of spiders crawling up your body and across your face. Did you feel them?

Nearing the end, there is some brief and faint electric guitar heard in the background in Boarding Party. Second-Story Work introduces some Spanish sounding guitar. By this time, there is mostly action and intensity since the end and conclusion is finally nearing.

When the conclusion arrives, you get Something Better, a beautiful track that brings in the resolve and leaves you with that sense of victory and accomplishment on a massive scale, thanks to the strings. Just like the latest Uncharted, this score is limited in its CD release, so if you are fortunate enough to own it, kudos to you! The rest of us will have to settle with the digital copy.

The Hobbit

Abbey Road is the most famous recording studio in the world. It is a very historical building in the music industry. This week I will present to you some music that was recorded at Abbey Road Studios.

The first installment of the Hobbit trilogy was the last film based on J.R.R. Tolkien's fantasy world that Howard Shore conducted and orchestrated. He did an excellent job giving us beautiful music. It is easily some of the best music in the film score world. The Lord of the Rings trilogy along with the first Hobbit film was all recorded at Abbey Road.

Doug Adams, a film music journalist, was brought on my Howard Shore to document the work and final product of the music from the Lord of the Rings. If you own the Special Edition of the score for each Hobbit film, you will find that there is included a little notebook with some brief insight on each score as well.

There is such great depth to Howard Shore's music that I could never explain to you. Shore perfectly maintained the unforgettable themes from The Lord of the Rings, but also managed to bring to the table new music, yet still keeping the same feel and sound. If you do not have the score already, track back to my first post to see the booklet pages. I highly recommend adding this to your collection. I always am not sure about writing about scores such as this one because of my limited knowledge.

Above and Beyond by Audiomachine

To wrap this wonderful week up in one tight ribbon, I have here a track from Audiomachine.

Audiomachine is my favorite trailer music company. Today's track comes from 2013's Tree of Life and was featured in the trailer from Monday's film: Cinderella.

Composed by the talented Paul Dinletir, Above and Beyond

Slow piano begins the track and gives us the theme. A short burst of percussion is the cue for the strings, coming in as spiccato and starting the buildup. The cello invites itself in, playing some high notes and introducing the primary theme.

Everything begins to come together as the percussion maintains a steady beat that forshadows what is to come. The percussion and strings play together shortly before reaching its peak and bringing in the choir, which is perfectly balanced and does not overpower the instruments.

I love how everything is so delicately mixed. This is one of my all-time favorite songs from the trailer genre.

Final Symphony

To go along with the Patrick Doyle's beautiful score from Monday, I thought that some music from the popular video game franchise Final Fantasy would be perfect. The album Final Symphony is a collection of the music and you have to hear it first before saying anything.

I know just about nothing about Final Fantasy, but absolutely love the music in this album. The structure of the tracks and overall sound definitely leans toward the classical side, but only considered a classic in the game industry. The complexity of the themes is astounding, giving this the name of best video game music is history.

Yes, there is some great game music out there, but this transcends it all. Being probably one of the most creative game scores I have listened to (and the most classical sounding), from the soothing piano, to the beautiful strings, and everything playing in perfect harmony, this is not traditional game music.

Final Fantasy tends to rely on the strings for the majority of the themes, but in the Symphonic Poem, there are several instruments that add a fullness and very curious sound. It is in no way serious, as it flies down paths that make you chuckle. The main theme is heard throughout the entire piece, although not frequent. The rest is made up of various other themes and sounds/techniques.

Encore: Final Fantasy X is another beautiful piece that presents some themes that create a state of absolute peace and joy. The epic action and length return with the Symphony in Three Movements which is 41 minutes total of extra music.

Now, I hope that you are ready to listen to this noteworthy compilation.

Cinderella

It feels like a week ago that that I witnessed that teaser trailer of a glass slipper glimmering on a turntable. "Seriously, how is Disney going to re-make Cinderella?" I thought. I am not the only one that is a bit tired of those infinite modern Cinderella stories.

Disney's Cinderella from 2015 was nothing like what I expected. I was quite impressed. Patrick Doyle composed the beautiful score that is rich with exciting and very memorable themes which inherit the traditional, magical Disney sound.

Each track in the score has a unique sound to it that is easily recognized. The main theme is quietly introduced and continued throughout the score and across a range of instruments, but when all the instruments all come together and boldly present the theme to you, is is extraordinary.

The main theme is not heard excessively but is accompanied with other themes that delicately hint at it. This score does express an amount of sorrow, but it is always accompanied or entangled with some form of joyous sound. The main conflict in this film is not just between Cinderella and her new family but with keeping her promise to always stay kind and have courage.

When the resolving end is nearing and finally met, you will find an incredibly satisfying ending. This score is one that can be listened to on repeat, and shuffle if you desire. Whether you need some inspiration or encouragement this week, I hope that this score will help you in that. It lifts my spirit to new heights every time I play it, as I hope it does the same to you.

Re-Scheduling, Epic 1-Hour Playlist

I hope you have been enjoying my daily posts. I have decided to cut back on my daily journey and give you three a week. I want to provide meaningful updates that dig into the topics that I am discussing. To begin, I want to start a pattern in what you will find each week.

On Monday you will find film music, either an album, series, theme focus, etc. My vision is that this will inspire you and help jump start your busy week. Music has a wonderful way of doing that. 

Wednesdays are dedicated to game music. It is half-way through the week and you need energy. Not all game music is all action though, but it will be fine. 

Finally, on Friday, you will find a featured track from my library of trailer music. This will wrap up the week and hopefully inspire you again (maybe for that side project in your closet?).

I hope you enjoy what I have planned for next week, and since it is Friday, I have to give you some trailer music. Below you will find a one hour playlist of some excellent trailer music. 

Let me know what you think, and Enjoy!

Selected Themes From The Battlefield Series

Most of the soundtracks I listen to are from games and films that I have never seen and sometimes have never heard of it, but am willing to listen to the music. No, I have not seen Interstellar, or Inside Out, or The Dark Knight, or The Force Awakens, or... a ton. I guess I don't watch a ton of films or play the games.

I can say that I have played four of the games that I will be talking about today. 

The Battlefield series is a popular military first person shooter. It aims for a more realistic, modern experience (after Battlefield 2), and in my opinion, makes the military shine. There are several releases in the beginning, but the major ones are what I will be focusing on. 

The most interesting thing about the Battlefield series is that the main theme is somewhat carried through the series in some form. The first time I heard that epic theme was in London Philharmonic's The Greatest Video Game Music. This is all the way back to Battlefield 2 from 2005. I am not sure if this theme was first introduced here or with the first installment since the soundtrack is hard if not impossible to come by. 

This theme is exclusively orchestral with no artificial sounds outside of the orchestral. The percussion beat that creates most of the theme is copied by the strings while the brass focuses of the rest of the theme and blending everything. At this point, game scores begin to truly become great. The complexity of this score is astounding for just a game. 

Mikael Karlsson recreates this theme in Battlefield: Bad Company with some variations in percussion, and simplifies it with the cello and viola shaping the theme. This matches the rest of the score which is more new music that gives only two instances where the theme appears. In PMW Battlefield 4, it sounds more like what is to come in Battlefield 4. 

Bad Company 2 gives the theme a break and takes a new turn, only to reappear again in Battlefield  3. While more electronic, is adds a more epic feel and modernizes it while maintaining the basic ideas. Just like the Bad Company series, this game, and the fourth after it, provide a rich storytelling experience that is well written and sets the series apart as not just a shooter, transcending anything that Call of Duty has offered after the Modern Warfare trilogy. This was one of the most exciting campaigns I have ever played. The music is very interesting (remember that thing about "modern art"?) and intriguing, somewhat repetitive, but not bad. 

Now when Battlefield 4 comes around, everything great becomes greater. The theme starts off a bit slow, but when that familiar theme explodes (and it does), you get chills because it is so epic. This theme is heard at the end on the campaign when you and your heroic team reaches the final conclusion and is about to save the world from global conflict by taking down the enemy once and for all. Although the rest of the soundtrack inherits the modern, electronic sound, I find it less distracting and more balanced and enjoyable. 

Battlefield 1 is out now and with more excellent music that I will surely encourage you to listen to, as it goes back to its early roots. More on this later, so stay tuned! 

Prominent Themes: Assassin's Creed Series

The Assassin's Creed series has some incredible themes that I am astounded by. They easily are the best in video game history.

Jesper Kyd composed the music for the first and second as well as Brotherhood. I honestly am not a huge fan of this music, but it does in fact fit the period of the game very well, which take place during the middle ages/Renaissance period.

Jesper Kyd returned for Revelations, which spiked my interest. This music is much better, especially since Lorne Balfe was brought on to work on the multiplayer content. Generally, high expectations are put on film composers, so being a composer mostly for films, Lorne Balfe lived up to my expectations on his work for this score.






He must have done a good job because he returned by himself for the third installment. This is where the music begins to get really good. The theme that Balfe set in the beginning of this score is just amazing.



A small project that came with Assassin's Creed III for handheld gaming systems is Liberation. Winifred Phillips scored this game and met the high quality sound that Lorne Balfe put on the III name in the series.



Brian Tyler scored the fourth major installment named Black Flag. This game takes place around the same time and place of Pirates of the Caribbean when pirates were one of the biggest threats. The score is very calming and does not reach the high intensities that is common with Brian Tyler. It does its job very well, making me think of the ocean and the Caribbean. I enjoyed this entire score from beginning to end.





The next two installments come together: Rogue and Unity. Rogue was scored by Elitsa Alexandrova while Chris Tilton (Volume 1), Sarah Schachner (Volume 2), and Ryan Amon (Bonus Tracks) scored Unity. To start, Rogue has a very well written theme that portrays the frigid temperatures in the new American colonies. Chris Tilton takes on the violent French Revolution with fast spiccato and impressive intensity. The interesting thing about these two is that there are slight hints of the theme from Rogue  hidden inside some of the music to Unity. Chris Tilton's music is by far better than the other music produced in Rogue and Unity.




The latest installment of the series takes place during the Romantic Period in London, titled Syndicate. While I do believe that Austin Wintory's music for this game does fit the setting perfectly, the overpowering violin at times can get a bit obnoxious. Of course, this is probably the style of music that was popular at the time, so I still applaud his work, just not so much outside of the game.