Archive for the ‘Soundtrack News’ Category

Bioware has announced the release of an official Dragon Age II soundtrack on Apple’s iTunes music service. The game puts players in the role of Hawke and allows them to craft the story of the legend’s rise to power.

The soundtrack is available for $3.99.

Dragon Age II is the sequel to BioWare’s Dragon Age series of role-playing video games.

Dragon Age II tells the story of Hawke, a survivor of the Darkspawn horde’s destruction of Lothering (a village featured in Dragon Age: Origins) who rises to become the Champion of Kirkwall. Using a framed story format, Varric, one of Hawke’s companions, tells Hawke’s story to Cassandra Pentaghast, a Chantry Seeker; “decisions” made in the game by the player determine more than a decade of history that changes the world of Thedas forever.

Choices that the player made in Dragon Age: Origins can be imported and reflected in the world of Dragon Age II. Choices from Dragon Age: Origins – Awakening will also be imported, if the player decides to take this action.

 

 

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Last night, the soundtrack music fan community was collectively shocked when Trent Reznor’s and Atticus Ross’ music for THE SOCIAL NETWORK was the recipient of the Academy Award for Best Original Score.

While the expected favorite to win was Alexandre Desplat’s work on THE KING’S SPEECH, the bulk of the soundtrack music fan community was rallying behind Hans Zimmer’s INCEPTION and John Powell’s HOW TO TRAIN YOUR DRAGON.

Within minutes of the announcement, online forums went ballistic.

At Film Score Monthly, such things were said as:

  • “This category is always a disappointment. Most members of the Academy don’t know a thing about music or scoring for motion pictures. No surprise this year.”
  • “It truly sickens me to think that Danny Elfman, Thomas Newman, Alexandre Desplat, John Powell, James Newton Howard, etc. who have been composing amazingly effective scores for years have not gotten the Oscar recognition they richly deserve. The first few notes of Howard’s The Village or Newman’s Shawshank or Elfman’s Edward Scissorhands or Powell’s Dragon signify music, not sound effects. Eventually Music and Sound Design will just be rolled into one category since its clear voters just have no idea about what music underscore actually means…. ”
  • “Obviously the f***-tards at The Oscars and Academy Awards don’t know what the hell a good score sounds like these days. I can’t believe The Social Network out-beat How To Train Your Dragon.”
  • “As the Academy becomes more and more populated by Generation X and Y, the awards are going to go more and more for simple name and movie recognition than actual worth. That’s not to say we haven’t had that all along – the Oscars are little more than an industry celebrating how great it is being an industry – but the slim idea we once held that people who win are people who (usually) deserve it is going to vanish like morning fog.”

And at SoundtrackFans.com, similar sentiments were echoed through the night:

  • “I knew either this or The King’s Speech would win. They are so predictable and they hardly ever actually give recognition to really great music.”
  • “Somehow, I’m really not that surprised. Obviously the award is not based on the quality of the music, and the people voting on it probably didn’t even care if the soundtrack they voted for the best music of the year was really that good or not. Really sad.”
  • “I hate Oscar for letting that trash music win… How To Train Your Dragon should have won 100%.”

At its basest, the soundtrack for THE SOCIAL NETWORK was a combination of four things:

  • A handful of less-than-minimalistic piano licks (so basic that they would make Carter Burwell cry, “That’s all you came up with, really???”)
  • Non-descript, 8-bit Nintendo Entertainment System ditties remixed for a disco
  • Unused demos and outtakes from the first three Nine Inch Nails albums
  • A sound effects loop that mimicked buzzing bees, an army of rats, and the labored breathing of a marathon runner

And all Reznor and Ross really did was mix and match those four elements for the entire film. It would have been much befitting of a movie set in an earlier time period, like TRON (the original, not TRON: LEGACY) or even REVENGE OF THE NERDS, but not a film set between 2003-2005. This is not a cry against electronic music, it is simply a head-scratching moment forever to be locked in the annals of the Academy.

According to the Academy rules for the nomination process of a motion picture score, outlined here, “The work’s eligibility shall be evaluated on its effectiveness, craftsmanship, creative substance and relevance to the dramatic whole.”

While all of those factors are completely subjective to the listener/viewer, many scores are produced each year that easily obliterate THE SOCIAL NETWORK on a creative scale alone – not the least of which was Zimmer’s work on INCEPTION, which, while I did not personally enjoy it as a CD, it was impossible to deny the monolithic effect it had on the film.

Adding further insult to injury, in the Voting Rules on the official Academy website, it actually states:

“The Academy’s entire active membership is eligible to select Oscar winners in all categories, although in five – Animated Short Film, Live Action Short Film, Documentary Feature, Documentary Short Subject, and Foreign Language Film – members can vote only after attesting they have seen all of the nominated films in those categories.”

This means that for all of those high-profile “Big 4” Oscars (Best Picture, Best Director, Best Actor, and Best Actress), the voting body DOES NOT even have to prove they’ve seen the movies to be able to vote for them. Likewise, for Best Original Score, no one has to prove they’ve even heard the soundtrack.

Continue reading on Examiner.com: THE SOCIAL NETWORK wins Best Original Score Oscar; Soundtrack fans outraged! – National Soundtracks | Examiner.com http://www.examiner.com/soundtracks-in-national/the-social-network-wins-best-original-score-oscar-soundtrack-fans-outraged#ixzz1FMo6tfzS

 

The Gnomeo and Juliet film soundtrack, slated for release by Buena Vista Records on February 8, will feature music from Elton John.

The Disney film hits theaters on February 11. The album features 14 tracks – nine of which have been composed and performed by Elton John. Tracks include the new single “Hello Hello” (on which John duets with Lady Gaga) and “Crocodile Rock” (his 1973 hit, remade as a duet with Nelly Furtado).

The album also includes various tracks from Oscar-nominated composerJames Newton Howard (a former member of John’s band) and from Chris Bacon – both of whom incorporate John hits such as “Rocket Man,” “Bennie & The Jets,” and “I’m Still Standing.”

John served as executive producer for the Disney adaptation of William Shakespeare’s classic love story and recently attended the film’s London premiere.

This year, The King’s Speech and The Social Network put up their dukes to battle it out for awards.

They are both nominated in every major category.

At the Golden Globes, The King’s Speech picked up Best Actor, Drama

The Social Network won this round by picking up Best Motion Picture Drama, Best Director, and Best Score.

Trent Reznor, the industrial rocker who gained fame with Nine Inch Nails, described picking up the Best Original Score trophy for the score – which he wrote alongside musical collaborator Atticus Ross as “surreal”, adding he never expected to even work on a film.

Accepting his trophy in Los Angeles, Trent said: “A year ago I had no idea I’d have the opportunity to score a film. The idea of standing up here to accept this award is surreal.”

Reznor isn’t done on the soundtrack scene. He has agreed to score The Girl with the Dragon Tattoo.

With the Oscars looming, the two heavyweight films will slug it out for award dominance.

Fresh off The Social Network soundtrack, Trent Reznor is ready for another round. Reznor and director David Fincher are collaborating once more, this time on The Girl with the Dragon Tattoo.

Reznor’s score for the Facebook movie has been attracting a lot of critical heat with some suggesting he might be up for an Oscar.

Fincher’s adaptation of Stieg Larsson’s popular novel is released 16th December, 2011. It retans its Swedish setting and stars Rooney Mara as Lisbeth Salander, Daniel Craig as intrepid journo Mikael Blomkvist, Stellan Skarsgaard as Martin Vanger and Robin Wright Penn as Erika Berger.

The official motion picture soundtrack for The Twilight Saga: Eclipse has nabbed a nomination for this year’sGrammy Awards.

The Eclipse soundtrack is nominated in the following category: “Best Compilation Soundtrack Album For Motion Picture, Television Or Other Visual Media.”

Also nominated are several of the Twilight series soundtracks’ artists, including: Cee-Lo Green, Muse, Florence + the Machine, The Black Keys, Paramore, Band of Horses, and Vampire Weekend.

The Twilight soundtrack was nominated in this category last year.

The Grammy Awards air on February 13th at 8:00 p.m. EST.

It should be interesting to see whether The Twilight Saga: Eclipse nabs this award. The album is nominated alongside the albums for Crazy HeartGlee: The Music, Volume 1Treme, and True Blood – Volume 2.

Two of the Eclipse album’s songs (“What Part of Forever” by Cee-Lo Green and “Eclipse (All Yours)” by METRIC) are also nominated for Satellite Awards (winners for which will be announced on December 19th)!

Original Post on Examiner.

Glee_4The “Glee” version of Katy Perry’s “Teenage Dream” topped the digital track sales chart last week, the best any “Glee” tune has done so far.

Now there are two new soundtracks available. Read their track listings after the jump. …

The release order of the two albums seems backwards but for some reason the “Glee” Christmas album is already available while the shows “Volume 4” soundtrack won’t be out until next Tuesday.

Glee_xmasThe Christmas album includes music from the show’s Christmas episode, scheduled to air Dec. 7.

The full track listing for  “Glee: The Music, The Christmas Album” is:

  1. We Need A Little Christmas
  2. Deck The Rooftop
  3. Merry Christmas Darling
  4. Baby, It’s Cold Outside
  5. The Most Wonderful Day Of The Year
  6. Last Christmas
  7. God Rest Ye Merry Gentlemen
  8. O Christmas Tree
  9. Jingle Bells
  10. You’re a Mean One, Mr. Grinch
  11. Angels We Have Heard On High
  12. O Holy Night

As for the show’s fourth soundtrack, it includes tunes from the first half of the show’s second season, including the hit “Teenage Dream” performed by new cast member Darren Criss.

The full track listing for “Glee: The Music, Volume 4” is:

  1. Empire State Of Mind
  2. Billionaire
  3. Me Against The Music
  4. Stonger
  5. Toxic
  6. The Only Exception
  7. I Wanna Hold Your Hand
  8. One Of Us
  9. River Deep, Mountain High
  10. Lucky
  11. One Love
  12. Teenage Dream
  13. Forget You
  14. Marry You
  15. Sway
  16. Just The Way You Are
  17. Valerie
  18. (I’ve Had) The Time Of My Life

I’ve written about the “Glee” soundtracks in the past and somehow missed a disc from the show’s Halloween episode. “The Rocky Horror Glee Show” was released in October.