Get the latest score from Howlin' Wolf Records “DON'T GO IN THE HOUSE”, “HOLIDAY HELL” and “GOOD TID

Cinedigm: "MISSION OF HONOR" [Blu-Ray]

Mission of Honor is the story of Squadron 303, a group of heroic pilots who fought in the skies over England in the Battle of Britain during WWII. These brave men were not just fighting to keep Great Britain free from the Nazis, but also to keep alive the memories of their own countries; which had been caught in the crossfire as Germany tore across Eastern Europe. Equipped with nothing more than obsolete RAF planes and second-hand uniforms, they flew for all of those who had become casualties in one tyrant's quest for power. 

Fighting for a mission, with Iwan Rheon at the lead. Pretty good film!
Jeremy [Six Strings]

Intrada: "IRON WILL" (EXPANDED) music by Joel McNeely

Intrada's latest release features Joel McNeely's stunning adventure score to the 1994 Walt Disney film Iron Will. The album released at the time of the film's theatrical run contained about 30 minutes of McNeely's score. This new release more than doubles that length, expanding upon the original program and creating a richer, more varied experience of this epic score. Consisting of powerful themes and outdoor symphonic splendor, Iron Will is a passionate work the likes of which one rarely hears in today's motion pictures.

The score is anchored around a four-note whistle motif, a key element that threads its way through the story. In early scenes, father Jack Stoneman (John Terry) uses this tune to spur his sled dogs to action, usually with the aid of a small hand-carved pipe. When Stoneman dies in a freak sledding accident, his son, Will (Mackenzie Astin), takes up the pipe and the tune—relying on it to communicate with lead dog Gus. Will leaves his mother (Penelope Windust) and sets out for Winnipeg to enter a race, hoping to use the prize money to attend college and save the family farm. Will's fortunes rise and fall over the long trek, and he encounters many dangers and near disasters. Yet in spite of numerous challenges, Will becomes a folk hero—and his four-note tune becomes part of the legend, for when he falters just before the finish line, Will is roused to victory by the unison whistling of the crowd.

For Joel McNeely, Iron Will was the start of an enduring relationship with the studio. He later scored Squanto: A Warrior’s Tale, Jungle Book 2: Mowgli’s Reunion, Peter Pan 2: Return to Never Land, Cinderella 3, and numerous entries in the popular Tinker Bell franchise. For the rest of the world, everyone started receiving McNeely's gift for warm, spirited and often soaring music, of which Iron Will is a testament.

Barcode: 720258542700

For track listing and sound samples, please visit the Iron Will soundtrack page [CLICK HERE].

Jeremy [Six Strings]

Q and A with Composer Roc Chen on "THE WANDERING EARTH" 2ND TOP GROSSING FILM IN 2019

Jeremy [Six Strings]: Can you tell us how you got involved on this project THE WANDERING EARTH. and how you approached this score musically?

Roc Chen: About 14 years ago - how fast time flies - I wrote a book on how to use a Digital Audio Workstation called Adobe Audition, published by Posts and Telecom Press Co, one of the biggest publishing companies in China. The book was highly acclaimed and inspired many musicians to incorporate the Adobe Audition software in their creative process to make their music better. Fortunately, Gong Geer, the producer of THE WANDERING EARTH, was one of those readers of my book. It was through him that I got to know the director of THE WANDERING EARTH, Frant Gwo, and the three of us have built a very trusting relationship.

Jeremy [Six Strings]: Can you share something that happened behind the scenes on THE WANDERING EARTH, something that is not covered in your bio, and a favorite composer and why?

Roc Chen: On a sunny afternoon, I met director Frant Gwo for the first time in his studio.  He said, we are making a sci-fi film, but we want to do it a little bit differently. The idea of THE WANDERING EARTH is that when our solar system is having a crisis, we don’t build rockets and fly away. Instead, we choose to install engines, transforming the Earth with the ability to wander through the solar system. Why would we want to leave the solar system on our home planet, not because a lot of us just finished paying off our home mortgage, but because of our love and emotion for this beautiful planet which we call home. Humans have a deep emotional connection with Earth. It’s so deep, that even when disaster threatens the balance, we'll leave with our home.

These ideas and words deeply touched me and I was greatly inspired. So much so that I wrote a melody on the taxi ride home. After a few days, I received the film clips and was totally fascinated by the city-sized planet engines, visual effects, etc. Seeing all the spectacular pieces of this film, I was blown away and knew I had to rethink what I wrote in the taxi and I went ahead to write a new theme, sort of like those superhero themes. My fellow musicians thought it was great, but I was concerned and not quite happy until I realized a superhero theme wasn’t THE WANDERING EARTH; it should feel like the Earth is conquering the entire universe! So I went back to the original melody I wrote in the taxi, where those first seeds of inspiration were planted, and I played it on a piano for  the director and right after I finished, he said "I’ve got goosebumps all over me now".

Thus, this emotional melody become the main theme of THE WANDERING EARTH and you can hear it in the opening title scene, where Earth starts to sail along with the gentle speech "Goodbye, Solar System..."  The Royal Philharmonic Orchestra's performance of this cue really enhanced this epic but sad moment for all humankind.

Another fun story from behind the scenes happened while we were recording piano at Abbey Road Studios. At first I played the piano as my eyes watched the film clips. It was ok, but some notes weren’t quite synced to the picture. We tried several times with the same issue, so Frant had me turn off the monitor and focus on pouring the emotion out of my fingertips. The results were perfect - great sound and rich in emotion! Frant told me, "All the notes are synced more accurately to the picture now."

My favorite composer is Claude Debussy, I love the color, pattern and the change between light and darkness in his music, it's like watching a beautiful painting of Monet.

Jeremy [Six Strings]: What are you hoping the fans of this project THE WANDERING EARTH, from film to score, will walk away with musically?

Roc Chen: Although it's music written for a sci-fi film filled with action and visual effects. I still hope it sparks an emotional connection with fans. Gladly, I see many fan-made videos with the main theme music in the background. I also see many fans who are talented musicians playing the main theme on all kinds of instruments. I heard many people were brought to tears at the climax of this film, where the music is just a simple piano (the cue is "Farewell Under the Stars".) We planned this nearly silent, intimate piano moment without any sound effects, in hopes the audience would hear their own breath, or have reflections on their own stories. So I hope the music of THE WANDERING EARTH will continue to touch the hearts of people and connect to their own stories.

Jeremy [Six Strings]: What will you personally take away from this project THE WANDERING EARTH and how did this help build to your next project?

Roc Chen:  Always follow your instinct and write not from your brain, but from your heart.  
THANK YOU! Check this out, this film has grossed 700 Million Dollars [CLICK HERE] and it was a complete honor to share this with you. Also get this score released on MILAN RECORDS, THANK YOU to them for helping set this all up...

Jeremy [Six Strings]

Q and A with Composer David Schwartz on "ARRESTED DEVELOPMENT" Season 5... Lost Interview.


Jeremy [Six Strings]: Working with several television shows, and now being brought back to a familiar scene, ARRESTED DEVELOPMENT... How does that feel? What were your first thoughts when you got that call?

David Schwartz:  Any time I get the AD's call, it’s a cause for celebration!  Since ARRESTED never really goes away, it doesn’t feel like a re-boot.  That said, I’m always trying to build on the music from past seasons and hopefully improve it.

Jeremy [Six Strings]: How do you prepare for this? Were you told any direction to move or just following past seasons of your contributions to ARRESTED DEVELOPMENT?

David Schwartz:  Mitch Hurwitz, the creator/genius of AD, and I have developed a very unique shorthand after 15 years.  It actually goes back longer than that, as I have done four or five shows with Mitch.  We spot each episode and that’s where his direction comes from.  We try a lot of different things.  This season, there was less direction than in the past.  That may have resulted in me being a little harder on myself, or at least trying to write a couple of different options for the scenes that I could see going in a couple of different directions. 

Jeremy [Six Strings]: With shows like ROSEANNE, WILL AND GRACE, and a few others, do you think the future holds more of making a return after a long hiatus, and what show would you like to see on the comeback?

David Schwartz:  I keep hearing about my first show NORTHERN EXPOSURE returning… I would be absolutely thrilled!  NORTHER was a hit, but there was another show I did way back when, called MAXIMUM BOB.  It starred Beau Bridges as a Florida Judge who always gave the maximum sentence.  It only lasted one brief season, but it was way ahead of its time.  I’d love to see that show come back!  

Jeremy [Six Strings]: Ask yourself a question that you wish people would ask... that they haven’t.

David Schwartz: Well, now that you ask, I wish people would ask about another series of mine, THE GOOD PLACE.  I am so fortunate to be composing on two series that I absolutely adore.  THE GOOD PLACE is very different from AD - I’m using a very limited palate, and only certain styles of music work for THE GOOD PLACE.  That said, within those limitations, there’s still a great deal of variety and creative freedom.  Both shows have brilliant show-runners, great writers, and exceptional casts, so it’s easy to stay inspired. 

Jeremy [Six Strings]: Who are some of the influences/people you wanted to meet in composing, that you would love to meet?

David Schwartz: Stravinsky.

-Jeremy [Six Strings]

Caldera Records: "THE HISTORY OF ETERNITY" music by Zbigniew Preisner

Caldera Records is proud to present the score for the motion picture “The History of Eternity” from 2014, directed by Camilo Cavalcante, featuring music by Zbigniew Preisner.
The History of Eternity tells of not one, but three love stories. The focus is on three women: one of them is a teenager (Débora Ingrid), the second one is in her 40s (Marcélia Cartaxo) while the last one is in her 60s (Zezita Matos). The male cast consists of Bahian musician Léo França playing a blind accordion player. Irandhir Santos portraying a Sertanejo artist suffering from epilepsy. Claudius Jaborandy offers a counterpoint to these artists as a rather pragmatic man more concerned with material goods. The three stories happen simultaneously and intertwine, but are given separate titles: Chicken Foot, Goat Foot and Urubu Foot. []
The History of Eternity... sweeping with a gliding gentleness and another superb masterpiece by legendary composer Zbigniew Preisner released on Caldera Records. Finding it's way into your heart, every track brings a moving whisper into the light and we are drawn to see it from the darkness. This album plays heavy on the guitar and the theme that keeps you moving from start to finish and holds my attention. THANK YOU!
Jeremy [Six Strings]

Varese Sarabande: "KNIGHT RIDER" [CD and LP] music by Stu Phillips

Varèse Sarabande Records announces the release of deluxe CD and LP packages of music from the beloved original Knight Rider TV show.  Featuring incredible new artwork, these double album sets include one disc of out-of-print music and one disc of never before released tracks as selected by Knight Rider composer, Stu Phillips (Battlestar Galactica, Buck Rogers in the 25th Century, The Fall Guy, The Monkeys, Quincy and The Amazing Spider-Man).  The 2 CD package is available starting today as a 2,000-unit limited edition available only on  The 2 LP package will be available exclusively for Record Store Day, tomorrow April 13th.   To find a participating store near you, visit

Michael Long is a crime-fighter who is seriously wounded during his work. Nursed back to health by a mysterious benefactor (chairman of the Knight Industries), he regains consciousness a new man with a new face and a new name: Michael Knight. His mysterious benefactor (through the guise of associate Devon Miles) provides Michael with equipment and support so that he can continue his crime fighting work. The most notable piece of equipment supplied, is "KITT", a high-performance sports car fitted with artificial intelligence.  Knight Rider ran for four years on NBC and made stars out of David Hasselhoff and his famous car, KITT.  The theme song is one of the most memorable and loved themes from any television series. []
Jeremy [Six Strings]

Varese Sarabande: "PEE-WEE’S BIG ADVENTURE" LP music by Danny Elfman

The beloved score to the classic 80’s film is back after a limited release last year.  This LP is pressed on red vinyl and includes not only the score to Pee-wee’s Big Adventure on side A, but is also accompanied by a bonus program of Danny Elfman’s score to Back to School on side B.  This LP can be purchased on and other fine retailers.

In 1985, Tim Burton and Paul Reubens invited Elfman to write the score for their first feature film, Pee-wee’s Big Adventure. This is Elfman’s first score for film, kicking off his award-winning career. For Pee-wee’s Big Adventure he turned to Oingo Boingo guitarist and arranger Steve Bartek for orchestration assistance. With this iconic score Elfman achieved his goal of emulating the mood of such composers as Nino Rota and Bernard Hermann.

Danny Elfman is an American composer, singer, songwriter, and record producer. Elfman first became known for being the lead singer and songwriter for the band Oingo Boingo from 1974 to 1995. He is well known for scoring films and television shows, particularly his frequent collaborations with director Tim Burton with their latest project being Dumbo.  Among his many notable projects are the scores of all the 50 Shades film, The Simpsons theme song, The original Spiderman and Batman film series scores and The Nightmare Before Christmas. []
Jeremy [Six Strings]

Lakeshore Records: "THE WIND" music by Ben Lovett

Lakeshore Records is set to release the soundtrack to the western supernatural thriller The Wind featuring an original score by Ben Lovett (The Ritual).  Lovett’s score prominently features a pair of unique orchestral instruments seldom employed in film music:  the bass flute, and the Nyckelharpa — a 16 string keyed violin that originated in the 15th century.  The former is a centerpiece of the score, imbuing the soundscape with breathy ambient textures that invoke the endless persistence of wind on the frontier prairie, constantly blurring the line between score and sound design.  Emma Tammi’s directorial debut, written by Teresa Sutherland and starring Caitlin Gerard and Julia Goldani-Telles, will be released in theaters and VOD by IFC Films on April 5. 

The Wind is a stylish “feminist western horror” (Variety) set in the Western frontier of the late 1800’s that follows a plains-woman driven mad by the harshness and isolation of the untamed land.  The film was described as a refreshing “genre-bender” by Hollywood Reporter that’s “loaded with atmosphere.”  Much of that is due to the unique sonic palette Lovett crafted to score the film.  Says the composer: “The score needed to narrate many sections of the film where no dialogue exists, and in order to adequately describe the internal story of the main character I felt we needed to employ an element of chaos into the scoring process.”  He added, “I just felt the sound of someone coming apart mentally and emotionally might not be something particularly elegant or composed.”

Says Lovett on the key instruments: “There’s something naturally haunting about the sound of the Nyckelharpa, it immediately invokes a sort of spooky, old world religion that felt appropriate for the film.  The bass flute became the tonal foundation of the score’s atmosphere.  We wanted to establish a constant and unnerving presence of wind, and I was asked if there was a way to represent this in the score somehow.  Naturally, my first instinct was to try a wind instrument.”

For more information visit:

Jeremy [Six Strings]

Sony Music: "INTO THE STORM" music by Inon Zur

Award-winning film, TV and video game composer INON ZUR has revealed the track list for his forthcoming major label-debut album, Into the Storm –now available for pre-order in conjunction with the release of his next single release, “Shelaya” – featuring award-winning vocalist, Aubrey Ashburn (Dragon Age: Origins, Dragon Age 2). Into the Storm will be available on June 7 from Sony Music Masterworks.

The new song and album are each inspired by the music Zur has composed for the Dragon Age franchise of games. The song’s guest vocalist, Ashley Auburn, has also previously been featured on Inon’s scores in the Dragon Age franchise.

“I’m so excited to share the second single from my upcoming album – Shelaya. This song was written during the time I composed the music for Dragon Age 2, which I decided not to release in the game, but rather to wait and dedicate it as a single of my own. It features the amazing Aubrey Ashburn accompanied by the City of Prague Philharmonic.” –Inon Zur


Jeremy [Six Strings]

Sony Music: "DAYS GONE" music by Nathan Whitehead

Sony Music announces the release of DAYS GONE (ORIGINAL SOUNDTRACK) with music by NATHAN WHITEHEAD (The Purge, He’s Out There, Delirium, Keanu).  Available Friday, April 19, the soundtrack features music from Days Gone, the upcoming, open-world action game, which launches exclusively on the PlayStation®4 system Friday, April 26.  The 25-track collection also includes features from rising artists Jack Savoretti, Billy Raffoul & Zander Reese, as well as “Days Gone Quiet,” performed by Scottish singer-songwriter Lewis Capaldi.

Of the soundtrack, composer NATHAN WHITEHEAD says: “The ideas that define the score are the tenacity of the human spirit and the value of relationships. Early in the process John Garvin, creative director at Sony’s Bend Studio, described to me how the game isn’t simply about surviving, it also examines why we want to survive. When I heard that, I was instantly excited about all the places the music could go. I found it really interesting to be navigating the survival aspect and also this introspective aspect at the same time.

The Pacific Northwest setting is absolutely beautiful and it really felt like the score needed to connect to this environment as well. Deacon and the environment seemed to call for an organic, lived-in sound with a touch of Americana.”

At its core, Days Gone is about survivors and what makes them human: desperation, loss, madness, betrayal, friendship, brotherhood, regret, love – and hope. It’s about how even when confronted with such enormous tragedy they find a reason to live. Hope never dies. You play as Deacon St. John, a bounty hunter, traveling through vast and diverse landscapes in the high desert of the Pacific Northwest. In a narrative that begins two years after a global pandemic, Deacon is facing a brutal struggle for survival in hostile environments filled with infected humans and animals known as Freakers.  The threats in Days Gone are dynamic and change with extreme weather and time of day. Trails become muddy in the rain, Freakers become stronger in the snow and more numerous at night, and day brings more ambushes from marauders. Players must consider these variables for each encounter to strategize their approach at each attempt. Many different items and weapons can be crafted using items found in the field, including brutal melee weapons and traps. Customizable weapons and skills offer true freedom in how the game is played.
Jeremy [Six Strings]

Milan Records: "The Good Girls" music by Tomás Barreiro

A well-to-do socialite and her husband must wrestle with the impact of Mexico’s 1982 economic crisis, in this meticulously crafted feature from Alejandra Márquez Abella (Semana Santa).

This elegant film from Alejandra Márquez Abella shines a crystalline light on the mores of Mexico's upper middle class during the country's debt crisis of 1982. As her camera glides through the world of the wives and fiancées of the well-to-do, she captures, with rigor, humor, and irony the details, subtle glances and muted conversations that determine the pecking order within the wealthy circles.

Sofia (Ilse Salas) and Fernando (Flavio Medina) have it all — money, status, beautiful houses, servants. Fernando has inherited all his wealth, acquired by his father with the help of his uncle Javier. At dinner one night, Javier announces he is stepping aside. There are a few dark clouds on the horizon: their American business associates have backed out of a deal, and the President of Mexico has just appeared on television with ominous news about the economy. Initially, their world remains untroubled.  But gradually cracks appear in Sofia and Fernando's manicured lives, as the social and economic order starts to shift around them.

Tomás Barreiro (b. Mexico City, 1976) is a composer dedicated simultaneously to writing music for film, television and the concert hall. He was selected as one of four finalists for the Toru Takemitsu composition award 2008 in Tokyo by the well-known-composer Steve Reich, who said that “Mr. Barreiro has a very fine ear”. He was awarded 2nd place at the competition, with entries of 96 composers from 26 countries.With extensive experience in music pedagogy and mentoring, many of his students have gained principal roles as music leaders in Mexico and abroad.
Jeremy [Six Strings]

Milan Records: "Apollo 11" music by Matt Morton

Apollo 11 is a 2019 American documentary film edited, produced, and directed by Todd Douglas Miller. It focuses on the 1969 Apollo 11 mission, the first spaceflight to land humans on the Moon. The film consists solely of archival footage, including 70 mm film that was previously unreleased to the public, and does not feature narration or interviews.

Matt Morton is a composer, multi-instrumentalist, and engineer/producer from Columbus, Ohio. He started on the guitar at age 9 and went on to learn the bass, piano, drums, mandolin, cuatro, charango, ukulele, banjo, and the cello. He was a founding member, lead guitarist, and vocalist for The Shantee (rock band), and has recorded several albums, toured nationally, and opened for bands including George Clinton and Parliament/Funkadelic, Blues Traveler, Bela Fleck and the Flecktones, the Neville Brothers, Dickey Betts of the Allman Brothers, Widespread Panic, and The National.
Jeremy [Six Strings]

Milan Records: "Killers Within" music by Jerome Leroy

Written and directed by Paul Bushe and Brian O’Neill Killers Within is a great action/horror mashup with non stop action and thrills! With her son being held captive by a criminal gang, police-officer Amanda Doyle, together with her ex-husband and three unlikely allies, takes part in a desperate plot to hold a wealthy banker and his family to ransom. But this is no ordinary family. The action packed score is by composer Jerome Leroy.

Jerome Leroy, and I'm a composer who writes and produces original music for visual media. Originally from Paris, France, I currently live with my wife, son, and daughter in Los Angeles.

Jeremy [Six Strings]

Wellgo USA Entertainment: "GOLDEN JOB" [BLU-RAY/DVD] and the GIVEAWAY

The heist-action film that reunites the lead actors from Young and Dangerous, GOLDEN JOB debuts on digital and Blu-ray™April 9 from Well Go USA Entertainment. In the new, unrelated adventure, the film revolves around a brotherhood of former soldiers who think they are on a heist to steal valuable and expensive medicines from a pharmaceutical company to help African children. They soon find out they have been duped and truck they commandeer is hauling gold bricks, not drugs. GOLDEN JOB stars Ekin Cheng, Jordan Chan, Michael Tse, Chin Ka Lok and Jerry Lamb.

A group of former mercenaries reunite to plan an epic heist: boosting a truck full of medicine held by a foreign intelligence agency to supply a refugee camp in need. But when they find the truck is actually filled with stolen gold, the band of brothers realize they’ve been double-crossed by one of their own - and putting the situation right will be all out war.

This is GOLDEN, want to win a copy... drop me an email and tell me what your "GOLDEN JOB" is.
Jeremy [Six Strings]

Cheezy Flicks: "Julius Caesar" [1970] on DVD

Julius Caesar is a 1970 British independent film adaptation of William Shakespeare's play of the same name, directed by Stuart Burge from a screenplay by Robert Furnival. The film stars Charlton Heston, Jason Robards, John Gielgud, Robert Vaughn, Richard Chamberlain, Diana Rigg, and Jill Bennett []

-Charlton Heston as Mark Antony
-Jason Robards as Brutus
-John Gielgud as Julius Caesar
-Richard Johnson as Cassius
-Robert Vaughn as Casca
-Richard Chamberlain as Octavius
-Diana Rigg as Portia
-Jill Bennett as Calpurnia
-Christopher Lee as Artemidorus
-Michael Gough as Metellus Cimber
-André Morell as Cicero

Jeremy [Six Strings]

Cheezy Flicks: Tobe Hooper's "Spontaneous Combustion" [1990]

Willard Tobe Hooper (January 25, 1943 – August 26, 2017) was an American director, screenwriter, and producer best known for his work in the horror genre. Among his most recognized films are The Texas Chain Saw Massacre (1974), which The Guardian described as "one of the most influential films ever made" and Poltergeist (1982), which received three Academy Award nominations. 

Sam learns that his parents were part of an atomic bomb experiment. As an adult, Sam discovers he has the power of pyrokinesis. He is able to control fire and electricity, but with terrible consequences to his body afterwards.  []

Jeremy [Six Strings]

Breaking Glass Pictures: "RED ROOM" DVD

Kyra, a young woman kidnapped off the street after a night out, wakes up in an isolated house with two other captives. They are informed by their sadistic captors that they must wait their turn to enter the Room before they will be released. Once they discover they will never leave the house alive, they plot to escape before it is their turn to enter the Red Room.

I am not sure about this film, but the woman on the cover will forever haunt me.
Jeremy [Six Strings]

MVD Entertainment: "YAKUZA LAW" (1969) [BLU-RAY]

Director Teruo Ishii (Blind Woman's Curse, Horrors of Malformed Men), the Godfather of J-sploitation, presents Yakuza Law (AKA Yakuza's Law: Lynching) - a gruelling anthology of torture, spawning three district periods of Japanese history and bringing to the screen some of the most brutal methods of torment ever devised. In this deep dive into the world of the Yakuza, meet the violent men who rule the Japanese underworld and the cruel punishments inflicted on those who transgress them. The carnage begins in the Edo Period with a violent tale of samurai vengeance starring Bunta Sugawara (Battles Without Honor and Humanity), before shifting to the Meiji Period as the exiled Ogata (Minoru Oki, Shogun Assassin) returns to face punishment for his past transgressions... and, ultimately, to take his revenge. Finally, the action is brought right up to date with a tale of gang warfare set in then-present-day 60s Japan and headlined by Teruo Yoshida (Ishii's Orgies of Edo), as a powerful crime syndicate seeks bloody vengeance for the theft of one hundred thousand yen. Brutal, bewildering and definitely not for the faint-hearted, Yakuza Law represents Japanese popular cinema at its most extreme... and most thrilling.

Director: Teruo Ishii
Actors: Bunta Sugawara, Minoru Oki, Teruo Yoshida

Jeremy [Six Strings]

MVD Entertainment: "THE GRAND DUEL" (1972) [BLU-RAY]

The Grand Duel is archetypal spaghetti western which boasts many of the genre's classic hallmarks including action-packed gunfights, wild stunts and an impressive climactic showdown... Genre stalwart Lee Van Cleef (The Big Combo, Day of Anger) stars as a gnarled ex-sheriff called Clayton who comes to the aid of a young Philipp Wermeer (Alberto Dentice), a fugitive framed for the murder of a powerful figure called The Patriarch. Clayton helps Philipp fend off attacks from bounty hunters in a series of thrilling gunfights before the two make their way to Jefferson to confront three villains known as the Saxon brothers, and reveal who really killed The Patriarch. A complex tale of revenge penned by prolific giallo writer Ernesto Gastaldi (Torso, The Case of the Scorpion's Tail), The Grand Duel benefits from a beguiling central performance from Lee Van Cleef and assured helmsmanship from Giancarlo Santi (assistant director to Sergio Leone on The Good, The Bad and The Ugly and Once Upon a Time in the West). Add to this brew a memorable and tuneful score by composer Luis Bacalov (Django, Milano Calibro 9) and the stage is set for one of the grandest of all the Italian westerns.

Director: Giancarlo Santi
Actors: Lee Van Cleef, Alberto Dentice, Jess Hahn

Jeremy [Six Strings]

MVD Entertainment: "KEOMA" (1976) [BLU-RAY]

A strikingly original spaghetti western with a unique elegiac tone, Keoma truly is a one-of-a-kind classic of its genre... The legendary Franco Nero (Django, The Fifth Cord) stars in the titular role as a half-breed gunfighter who returns from the killing fields of the civil war to find his hometown riddled with the plague, its inhabitants terrorized (with the help of Keoma's own estranged half-brothers) by tyrannical gang leader Caldwell (Donald O'Brien, Zombie Holocaust). Keoma's father (Willian Berger, Sartana in the Valley of Death) welcomes his prodigal son's return, but when Keoma saves a vulnerable pregnant woman (Olga Karlatos, Zombie Flesh Eaters) from Caldwell's thugs, the stage is set for a violent confrontation. With the help of his father and his friend, the freed slave George (Woody Strode, Spartacus), Keoma prepares to take a savage revenge on Caldwell and his gang. Directed with immense flair and virtuosity by veteran Enzo G. Castellari (who channels Sam Peckinpah and Sergio Leone in equal measure), Keoma is an epic film of Shakespearean and biblical allusions, which boasts compelling performances and thrilling violent action. Truly epic in scope, Keoma is considered by many to be one of the greatest spaghetti westerns. The film is presented here in a stunning new restoration with a wealth of informative and entertaining new extras.

Director: Enzo G. Castellari
Actors: Franco Nero, William Berger, Olga Karlatos
Jeremy [Six Strings]


One of several 'animal-in-the-title' cash-ins released in the wake of Dario Argento's box-office smash The Bird with the Crystal Plumage, The Iguana with the Tongue of Fire is a gloriously excessive giallo that boasts a rogues gallery of perverse characters; violent, fetishized murders, and one of the genre's most nonsensical, red-herring laden plots (which sees almost every incidental character hinted at potentially being the killer). Set in Dublin (a rather surprising giallo setting), Iguana opens audaciously with an acid-throwing, razor-wielding maniac brutally slaying a woman in her own home. The victim's mangled corpse is discovered in a limousine owned by Swiss Ambassador Sobiesky (Anton Diffring, Where Eagles Dare) and a police investigation is launched, but when the murdering continues and the ambassador claims diplomatic immunity, tough ex-cop John Norton (Luigi Pistilli, A Bay of Blood) is brought in to find the killer... Benefitting from a sumptuous score by Stelvio Cipriani (Nightmare City, Death Walks on High Heels) and exuberant supporting performances from Valentina Cortese (The Possessed, Thieves' Highway) and Dagmar Lassander (The Frightened Woman, The Black Cat), The Iguana with the Tongue of Fire is a luridly over-the-top latter-day entry in the filmography of acclaimed director Riccardo Freda (Caltiki - The Immortal Monster, Murder Obsession). An archetypal giallo from the genre's heyday, Freda's film is presented here in a stunning new restoration with a host of newly produced extras.

Director: Riccardo Freda
Actors: Luigi Pistilli, Dagmar Lassander, Anton Diffring, Valentina Cortese
Jeremy [Six Strings]

MVD Entertainment: "SCARED STIFF" (1987) [BLU-RAY]

TV star Mary Page Keller (Pretty Little Liars) appears alongside Andrew Stevens (10 to Midnight, The Fury) as a couple terrorized by an age-old curse in this much-underrated late-80s offering from director Richard Friedman. Keller plays Kate Christopher, a singer who moves into an old colonial mansion with her son and psychologist boyfriend David (Stevens). But when they make a strange and gruesome discovery in the boarded-up attic, it soon becomes clear that the mansion carries with it a dark and blood-stained past - and one that is about to terrorize them in the present. The second feature helmed by Richard Friedman, who went on to direct such genre favourites as Doom Asylum and Phantom of the Mall: Eric's Revenge, Scared Stiff (AKA The Masterson Curse) builds to an astonishing practical FX-laden climax sure to please fans of 80s horror.

Director: Richard Friedman
Actors: Andrew Stevens, Mary Page Keller, Joshua Segal
Jeremy [Six Strings]

MVD Entertainment: "TERRA FORMARS" (2016) [BLU-RAY]

The ever-prolific Takashi Miike, the director behind the likes of Audition, the Dead or Alive trilogy and Blade of the Immortal, returns with this intergalactic epic in which a team of space explorers find themselves pitched against a horde of oversized anthropomorphic cockroaches. In the mid-21st century, humankind has been forced to look to colonising other planets as a means of combating overcrowding on Earth - their first stop, Mars. With a population of cockroaches having been introduced on Mars some 500 years prior to help prepare the way for human colonization, a manned mission sets out to the red planet with the aim of clearing away the bugs. Upon arrival, however, they discover that the roaches have evolved to huge, vicious creatures capable of wielding weapons. Based on the popular Manga series of the same name, Terra Formars is an action-packed space adventure brought to life by one of Japan's most celebrated contemporary filmmakers.

Director: Takashi Miike
Actors: Rinko Kikuchi, Rila Fukushima, Shun Oguri
Jeremy [Six Strings]

MVD Entertainment: "KOLOBOS" (1999) [BLU-RAY]

The Real World meets Saw by way of Suspiria in this super-smart, super-gory - and, sadly, super-overlooked - late '90s slasher effort from filmmakers Daniel Liatowitsch and David Todd Ocvirk, released in the midst of the post-Scream slice-and-dice revival. A group of youngsters arrive at a snow-covered house under the guise of participating in a "grounding-breaking" new experimental film. With the entire property fitted out with cameras, their every move will be recorded. But when the house locks down, trapping the youngsters within, it soon becomes clear that something sinister is afoot. Scream - you're on camera... Marketed as little more than a generic horror flick at the time of its release, Kolobos, far from being a run-of-the-mill slasher clone, has much more in common with the booby-trap stylings of Cube (1997) and the reality TV theme of My Little Eye (2002), which it preempted by some three years.

Director: Daniel Liatowitsch, David Todd Ocvirk
Actors: Amy Weber, Donny Terranova, Nichole Pelerine

Jeremy [Six Strings]


One of the most underrated and oft-neglected genre filmmakers of his generation, Spanish-born director José Ramón Larraz (Symptoms) finally receives his due with this collection of his work, the first of its kind, bringing together a fascinating cross-section of films from the first half of his lengthy cinematic career. In Larraz's debut feature, the hitherto ultra-rare Whirlpool (1970), Vivian Neves stars as Tulia, a young model invited to a photographer's secluded country home for what purports to be a quiet weekend retreat - but soon transpires to be anything but. 1974's Vampyres - perhaps the best known and most widely-released of all José Larraz's films - sees a duo of blood hungry female vampires prowling the British countryside, from where they lure unsuspecting male motorists back to their imposing, dilapidated mansion for draining... in more ways than one. Meanwhile, in 1978's The Coming of Sin (La Visita del Vicio, in its native Spanish), a young gypsy girl experiences a violent sexual awakening as her dreams of a naked young man on horseback become reality. By turns terrifying, titillating, artful and scandalous, these three films collected here - all newly restored from original film elements, with Whirlpool and The Coming of Sin making their Blu-ray world premieres - collectively offer film fans a unique perspective on the fascinating, highly-varied career of one of the horror genre's most overlooked auteurs.

Director: José Ramón Larraz
Actors: Karl Lanchbury, Vivian Neves, Pia Andersson
Jeremy [Six Strings]

MVD Entertainment: "SISTER STREET FIGHTER COLLECTION" (1974) [Blu-Ray]

In 1974's Sister Street Fighter, Etsuko Shihomi is the half-Chinese, half-Japanese Li Koryu, who travels to Yokohama to investigate the disappearance of her brother, an undercover cop. When she discovers a smuggling ring run by a drug lord with his own personal army of deadly fighters, she must penetrate his evil lair and defeat not only his champion (Masashi Ishibashi from the Street Fighter films) but also a group of female Thai kick-boxers called The Amazon Seven. Chiba appears in a cameo as a fellow karate master who helps Koryu in her mission. Released only three months later, the sequel Sister Street Fighter: Hanging By a Thread, once again follows Li Koryu as she investigates another smuggling ring, this time involving diamonds implanted into the derrieres of prostitutes! Teaming up with enigmatic fighter Tsubaki (Yasuaki Kurata), she once again calls upon her fighting skills to take down another round of colorful bad guys. The final film of the official trilogy, Return of the Sister Street Fighter, finds her back in Yokohama searching for a woman who has become the mistress of another crime kingpin. Kurata again co-stars but this time as a crazed fighter working for the villains who swears that he's the man who can kill Li Koryu. Genre entertainment of the highest order, the Sister Street Fighter films are a wild ride through some of the best exploitation cinema Japan produced in the 1970s. Funky and over-the-top, filled with wall-to-wall action, and featuring some of the craziest villains ever depicted onscreen, the series embodies female power in a male-dominated genre and is a magnificent showcase for the physical presence and martial arts skills of its lead star.

Director: Kazuhiko Yamaguchi, Shigehiro Ozawa
Actors: Etsuko Shiomi, Shin'ichi Chiba, Asao Uchida
Jeremy [Six Strings]

Q and A with Composer BC SMITH about new score "DJINN” released on Howlin' Wolf Records

Jeremy [Six Strings]: Can you tell us how you got involved on this project DJINN and how you approached this score musically?

BC Smith: I received a call from one of the producers asking me to demo a scene from the film for a music meeting the following day. The filmmakers were feeling that the movie wasn’t scary enough and wanted to see what a modern synth-based score might sound like. The meeting was in Abu Dhabi, so they actually needed it in a few hours. I was a fan of Tobe’s work, so I happily banged out music for the clip and sent it off.  I didn’t hear a word for months, until I was asked to fly to Abu Dhabi for a spotting session.

Though the movie takes place in the UAE, the filmmakers didn’t want to use any regional sounds beyond the Lullaby motif that occurs throughout the film.  Salama's themes needed to be beautiful, sad and resonate with all audiences. It was also very important that Um Al Duwais didn’t devolve into a horror villain caricature. The Djinn are a part of Islam and needed to be handled respectfully.  It’s a bit of a daunting task, if you think about it.  Luckily for me, the constraints and limitations of a project often fuel my creativity and I quite enjoyed the challenge.

As with most of my scores I created a sound pallet from scratch to give the movie its own vibe. Much of the tension in the film comes from Salama slowly losing her grip on reality.  The score has a dreamlike quality that turns harsh, as the story unfolds and Um Al Duwais's motivations becomes known.  To me, Salama's fear shouldn't sound like conventional orchestration or writing.  It needed to come from a much darker place, from the horrific secrets she carries.  With that in mind, I liked juxtaposing Salama’s tonal and beautiful themes with atonal and noise-based elements.  Salama is alone for much of the film, and I also used silence as a part of the composition to underscore that isolation.

It was a given that the music needed to raise the fear factor, but it was also equally important that the audience felt empathy for Salama. The audience really needs to stay on her side, despite the implications that she might have been complicit in the death of her child. This film is really about two mothers' grief. How that grief manifests brings about some scary consequences.

Jeremy [Six Strings]: How much interaction did you have with this project DJINN from director (Tobe Hooper) to the producers?

BC Smith: I came on DJINN very late in post. There were revisions with the edit, and lots of new special effects work were in the process of being completed.  I think it had been in and out of post for quite some time.

By this point in the process, I had missed the traditional composer-director collaboration, working in a "bubble" time-frame.  Given that producers were all based out of UAE, outside of our spotting session, all the contact and approvals were done by email. This is not an unusual scenario for me, given the way movies are made these days. I work on projects from around the world, so I’ve become quite adept at creating a workflow that makes everyone comfortable.

DJINN was a situation where the filmmakers thought things weren’t scary enough, and the plot wasn’t flowing.  Most everything I sent off was lifting the film to where they wanted to go, so approvals went very quickly.  To be honest, I had very little interaction with anyone. There really wasn’t a lot of back and forth.  It was mostly, "we like this..., or "give us more..."  Unfortunately, Tobe passed away before I had the opportunity to meet him in person. 

Jeremy [Six Strings]: Did you work with anyone on this project DJINN, and can you also share any stories good or bad or both?  

BC Smith: It was decided early on that it would be an electronic-based score. By nature, that cuts down the amount of musicians I bring on the project. I worked with my engineer Bob Demaa, who mixed and created some of the synths I used.  He had just broken up with his girlfriend, and was channeling some anger that really benefited the film. We’ve had a good laugh about it in hindsight.  I also worked remotely with the amazing vocalist Azam Ali. She truly captured both Salama's grief and Um Al Duwais’s fury. I’m recalling that she was in the middle of a burst water pipe  in her studio. Like Bob, it’s possible that outside stress contributed to her emotional vocal performance.  I’m really only speculating, as she is the consummate professional. Regardless, I was very grateful she was able to work the project into her schedule.  She is a phenomenal talent.  It’s such a pleasure to receive a remote track that exceeds what you hoped you could get.

Jeremy [Six Strings]: How did you decide that Howlin' Wolf Records was the place to release this project DJINN?

BC Smith: I had a few conversations with a friend about which label might be right for the project.  I reached out to directly to Wall from Howlin’ Wolf after the recommendation.  From our first conversation, I liked Wall’s thoughts on everything.  I didn’t need to look elsewhere.  The licensing agreement is complicated so it’s a very small, very limited release.  Some might think that makes it a release not worth pursuing, but I believe that Wall felt that the limited aspect is what makes it kind of special. That is certainly the approach I took, and I’m grateful to Wall and everyone at Howlin’ Wolf for their patience and tremendous support.  They also brought on Javier Burgos to design the CD packaging. He is brilliant and so easy to work with.  I loved everything he created.

Jeremy [Six Strings]: Can you share something about music, that is not covered in your bio, or a favorite composer and why?

BC Smith: I’ve played synths and keyboards on records for a bunch of bands including Good Charlotte, Hollywood Undead, Dashboard Confessional, John Doe, Bon Jovi, the Veronicas, and many more.  It’s mostly been a situation where a band wanted to add interesting synths and electronics to their songs, but I’ve also done some string arrangements,  I grew up playing in rock bands so it’s an enjoyable thing for me to do.  I’m proud of the work but not sure if it’s relevant to my film scoring career, so I leave it off my propaganda.  Also, not noted is that I’ve written a couple batches of cues for music libraries and that work has found its way into a huge amount of TV shows from around the world.  I’m surprised at how much it continues to get used.  It has to be in the hundreds of episodes across all manner of TV.

At heart though, I’m really a bespoke composer.  Every score of mine is different and crafted uniquely for the film.  That is what I like most, and what I do best.

Regarding a favorite composer of mine:  I’m a big fan of film music.  When done well, it's a bridge to empathy and connection with the characters and story. I love the scores of Goldsmith, Hermann, and many of the classic Hollywood composers.  That being said, film scores are an evolving art form and I also tend to gravitate toward those that continue to push the boundaries and defy convention.  Jóhann Jóhannsson was a favorite of mine.  I loved his versatility, working with both electronics, live players and orchestras. I also try to cultivate that same scope and diversity within my scoring projects.  

Jeremy [Six Strings]: What are you hoping the fans of this project DJINN, from film to score, will walk away with musically?

BC Smith: My job is to help tell the story of the film with music.  My hope is that from the very first sounds of malevolence, churning synths and Azam’s haunting voice, the audience is transported into the world of the film.  With Tobe’s death, the industry lost an icon of the horror genre.  DJINN holds a special place in Tobe’s legacy as the last project he completed. Pushing for a soundtrack release was my own personal way to honor that legacy.  This CD is such a small thing, but something tangible folks can hold onto. I hope the soundtrack resonates with his fans and the limited availability makes it something special.

- What will you personally take away from this project DJINN and how did this build to your next project?

BC Smith: One of the joys of my career has been the diversity of films I’ve scored.  It’s been quite a fun ride.  While composing for DJINN and another film, WEST OF REDEMPTION, I discovered that I really like scoring suspenseful films.  I’m always fascinated by the psychology of how and why music works in film, and within that genre there just seems to be an incredible amount of creative opportunity for music.   I probably approach things differently than a traditional genre composer and I’d really like to explore that world further.  Specifically, I’d love DJINN to build toward scoring more spooky films. 

Jeremy [Six Strings]: What do you hope you will see by the end of 2019; from your music, life or in the world?

BC Smith: In the world and particularly the US there is lot of divisiveness. Life is not a zero-sum game and it’s very unfortunate that our government is sowing such a fear-based, discordant mentality.  I’m troubled, but also motivated to action now.  We need a return to kindness and compassion. We need to take care of our planet.

I’m very happy work in an industry that provides a bit of escapism for folks. My musical goals are simply continuing to attract interesting films to score.  I also have a very exciting collaboration with Alessandro Cortini from NIN.  We’ve done some really great film and commercial work together, and have more on the horizon.  He’s just come off the road so we’re considering our next projects and hope to find a good sci-fi film to score together. 

More on BC SMITH:
Get "DJINN" on Cd:


BC SMITH: From his first film score, Chris Eyre and Sherman Alexie’s SMOKE SIGNALS (Sundance Film Festival’s Audience Award and Filmmaker Trophy winner), to horror master Tobe Hooper’s final film DJINN, to Steven Cantor’s Hulu documentary BALLET NOW, BC Smith is one of those rare composers firmly entrenched in a world of diverse and eclectic musical styles.

Whether working with modular synthesizers, multifarious ensembles, large orchestras, peyote singers, aleatorics or bespoke electronics, BC approaches every movie from its own unique perspective, creating an original sonic pallet and score that is truly born from the film's story and aesthetic.

Notable projects include Chris Eyre’s award-winning films, SKINS, EDGE OF AMERICA and the Robert Redford produced Tony Hillerman detective series (THIEF OF TIME, SKINWALKERS, COYOTE WAITS),  MGM’s MOD SQUAD, the John Cusack and Emma Roberts starred ADULT WORLD, AMANDA AND JACK GO GLAMPING staring Amy Acker and David Arquette, and Netflix’s Ryan Koo drama AMATEUR.

His love of pushing boundaries has led to his ongoing collaboration with Nine Inch Nails / How To Destroy Angels multi-instrumentalist Alessandro Cortini under the nom de guerre ACBC.  Winners of a bronze Clio and silver Eurobest Cannes Lion for their music, their international projects include Gus Van Sant and Martin Werner directed campaigns for BMW, the award- winning 8 part Woodkid directed films for Rihanna’s album ANTI and the firefighting documentary BURN, winner of the Tribeca Film Festival’s Audience Award.

Currently, he is delivering his score to the sci-fi film ALT starring SALEM'S Elise Eberle and Sloane Morgan Siegel, collaborating with Steven Cantor again for the documentary HOOD RIVER and attached to score the family autism drama LANGUAGE ARTS.

BC is also an accomplished amateur magician and member of the Academy of Magical Arts world famous Magic Castle.  He specializes in intimate curated evenings of close up magic, haunted artifacts and paranormal entertainment.

His wife is a commercial airline pilot and when he’s not scoring films, they travel globally with their five-year-old son. 


Sony Music announces the release of HELLBOY (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by Golden Globe®, GRAMMY® and BAFTA®-nominated composer BENJAMIN WALLFISCH (It, Blade Runner: 2049, Hidden Figures).  Available everywhere Friday, April 5, the album features music from the hugely anticipated film, based on the Dark Horse Comics character of the same name.  Hellboy will make its theatrical debut on Friday, April 12, 2019 via Lionsgate’s Summit Entertainment label.

Of the soundtrack, composer Benjamin Wallfisch says: “I’m thrilled to be collaborating with Sony Music on the release of the HELLBOY soundtrack album. Mike Mignola, Neil Marshall and the entire creative team have created an incredible next chapter in this iconic franchise, one that demanded a completely new approach to the score. Sony Music couldn’t be a better partner to bring this music to a wide audience and I’m grateful to them, Lionsgate and Millennium Media.”

Hellboy is back, and he’s on fire. From the pages of Mike Mignola’s seminal work, this action packed story sees the legendary half-demon superhero (David Harbour, Stranger Things) called to the English countryside to battle a trio of rampaging giants. There he discovers The Blood Queen, Nimue (Milla Jovovich, Resident Evil series), a resurrected ancient sorceress thirsting to avenge a past betrayal. Suddenly caught in a clash between the supernatural and the human, Hellboy is now hell-bent on stopping Nimue without triggering the end of the world.  Hellboy also features Ian McShane (John Wick), Daniel Dae Kim (Hawaii Five-0 and Lost), and Sasha Lane (American Honey).  Summit Entertainment and Millennium Films presents Hellboy, a Lawrence Gordon/Lloyd Levin production, in association with Dark Horse Entertainment, a Nu Boyana production, in association with Campbell Grobman Films.
Jeremy [Six Strings]


Sony Music announces the release of THE BEST OF ENEMIES (ORIGINAL MOTION PICTURE SOUNDTRACK), with music by composer MARCELO ZARVOS (Wonder, Fences, Enough Said, The Chaperone).  Available Friday, April 5, the soundtrack features music from the Taraji P. Henson and Sam Rockwell-starring film, which makes its theatrical debut via STXfilms on Friday, April 5. 

Of the soundtrack, composer MARCELO ZARVOS says: “The score of The Best of Enemies utilizes a lot of guitar and different types of plucked string instruments found in the American South like dulcimer, mandolin along with piano, voice, orchestral and solo cello. The film deals with the racial tension of early 1970’s North Carolina and with characters finding the common humanity on both sides of the racial divide. The music balances the grueling realities of the time period with a message of redemption.”

Based on a true story, The Best of Enemies centers on the unlikely relationship between Ann Atwater (Taraji P. Henson), an outspoken civil rights activist, and C.P. Ellis (Sam Rockwell), a local Ku Klux Klan leader who reluctantly co-chaired a community summit, battling over the desegregation of schools in Durham, North Carolina during the racially-charged summer of 1971. The incredible events that unfolded would change Durham and the lives of Atwater and Ellis forever.  Robin Bissell makes his directorial debut from his own script, which is based on the novel The Best of Enemies: Race and Redemption in the New South by Osha Gray Davidson.  

Jeremy [Six Strings]

MovieScore Media: "Nepal, Beyond the Clouds" music by Cyrille Aufort

MovieScore Media continues its exploration of great documentary scores through the new soundtrack of French Emmy-winning composer Cyrille Aufort (A Royal Affair, Past Life, Knock). Directed by Eric Valli, Nepal, Beyond the Clouds takes viewers to the small kingdom in the middle of the Himalayas, where the real life tragedy of the 2015 earthquake in Nepal left 9000 people dead and 23000 injured. The film follows two young teenagers, Raj and Shiva in the aftermath of the earthquake that devastated their country. Besides getting their share of the rebuilding process, the two young boys are forced to become men as they are to cope with their own individual losses so that the healing process could begin.

“Raj and Shiva's strength, pugnacity and innocence largely inspired the music for the film,” says Cyrille about the origins of his contributions. “The score, built on a set of 12 strings and 2 soloists (viola and cello) and mixed with synthetic colours, helps to reveal a natural world as beautiful as it is inhospitable and fabulous landscapes as harsh as the climate.  For his part, director Eric Valli wanted the music to highlight the strength of men rebuilding their country with meager resources in the face of nature unleashed.“ With hints of the local musical scene, Aufort uses a beautiful symphonic palette to emphasize the universality of the tragedy, highlighting the international nature of the reconstruction process.

Cyrille Aufort started composing music for the theatre, short films and animation films before working extensively in the cinema. While working as an orchestrator for Alexandre Desplat, Aufort’s first major composing credit was Vincenzo Natali’s DNA-based sci-fi horror Splice, starring Adrien Brody and Sarah Polley. In 2012, Aufort and Gabriel Yared co-composed the score for A Royal Affair, the historical drama starring Alicia Vikander and Mads Mikkelsen. His more recent credits include Yann Gozlan’s A Perfect Man, Avi Nesher’s Past Life as well as the new Arctic-themed documentaries of Luc Jacquet: The Ice and the Sky and March of the Penguins 2: The Next Step, which won the Award for Best Original Music Emmy in the  Mini Series, Film or Special category and a Hollywood Music in Media Award for Best Original Documentary Music. latest release with the label is the French comedy Knock.

On the link below, you can view a video, featuring a suite from the score:
Jeremy [Six Strings]

MovieScore Media: "The Prosecutors" music by Miguel d'Oliveira

MovieScore Media once again teams up with Miguel d’Oliveira, one of the most in-demand composers of the British television documentary scene. Following up releases like Joanna Lumley’s Trans-Siberian Adventure (2015) and Michael Palin in North Korea (2018) where Miguel had to underscore unique foreign cultures, his latest score for The Prosecutors finally takes him back to his native Britain. The three-part series is documenting the work of the Crown Prosecution Service, following a number of cases over an 18-month period and focusing on three different parts of the process: The Charge, The Proof and finally the Trial.

“The Prosecutors was an interesting and challenging canvas to write for” explains the composer about the trials around his score. “The network wanted a big-drama-series kind of soundtrack but me and the directors were constantly trying to root everything on the fact that these were real life stories. I hope I was able to give it a strong body and all the gear changes. Always with an eye on the scale. You push it too far and the whole thing gets derailed.” The unique blend of high-scale drama and human interest stories results in a mesmerizing drama score that captures the very essence of sin, guilt and innocence as each of the cases get resolved by the end of their respective episode.

Following his graduation from medical school, composer Miguel d’Oliveira taught himself music and became a multi-instrumentalist playing in several ethnic and jazz bands as well as symphonic orchestras. After scoring his first short for a film school graduate, he completed an MA in Composition for Film at the National Film and Television School. The composer’s credits include the hit series First Dates (2013), the BBC documentaries The Battle of Britain (2010), The Last Miners (2016) and Louis Theroux: Altered States (2018), the HBO documentary Diana, Our Mother: Her Life and Legacy (2017), Joanna Lumley’s Trans-Siberian Adventure (2015) and Michael Palin in North Korea (2018). Each of these scores highlight the composer’s unique ability in melding ethnic elements with a symphonic sound
On the link below, you can view a video, featuring a suite from the score:
Jeremy [Six Strings]

Intrada: "SON OF THE MORNING STAR" (2Cd) Music by Craig Safan

Intrada revisits an early 1990s release with an expanded, 2-CD set featuring composer Craig Safan's magnum opus, Son of the Morning Star. Initially released in 1991 at the time of the miniseries' airing and out of print for many years, collectors have often requested Intrada revisit, expand and reissue Safan's emotional, musical journey of George Armstrong Custer and his last stand. Four ideas anchor Safan’s orchestral score. His haunting theme for Custer conveys much -- usually voiced on solo trumpet, it references Custer’s military career and embodies a sense of Americana, while also capturing the general’s solitary, independent nature. Preceding Custer’s theme at the outset of the film is a series of three chords orchestrated for strings designed to evoke a sense of tragedy, as the inevitable conclusion looms just hours away in the film's narrative. A second theme, usually orchestrated in lush, impassioned strings, is what Safan refers to as “the big emotional melody,” inspired in its creation by Samuel Barber’s Adagio for Strings. Finally is "Libby's Theme," reflective of her relationship with Custer and the steadying influence she exerts on Custer’s life. All together it creates a powerful journey to the tragic, forgone conclusion.

For this new release, Intrada presents the music in picture sequence, including Safan’s Native American cues and the Irish-flavored cues that encompass the brief but important “Garryowen.” The source elements for this release were 2-track stereo session DATs made by veteran scoring mixer Dennis Sands, who helmed the 1991 orchestral recording sessions in Salt Lake City, Utah.

The title, Son of the Morning Star, was taken from a nickname given to Custer by Native Americans for his penchant to attack at daybreak. The controversial military leader, who graduated last in his class at West Point, became the youngest major general in the history of the U.S. Army during the Civil War, although he returned to his regular rank after the war and was a colonel when he died. Both book and film focus on the last decade of his life and its tragic end.


For track listing and sound samples, please visit the Son of the Morning Star [Click Here]

Jeremy [Six Strings]