Latest news with #soundtrack
Forbes
4 days ago
- Entertainment
- Forbes
Finishing Move Inc On Scoring Doom: The Dark Ages: 'It Felt Impossible'
Doom: The Dark Ages marked a departure for the franchise in myriad ways. Combat was slower and more tactical; the typically futuristic setting was swapped out for a medieval realm with gothic castles and mountains and the level design was much wider. There was also a change in the music department too. Composer of Doom (2016) and Doom Eternal (2020) Mick Gordon was replaced. Tasked instead with adding to the Doom franchise's iconic list of soundtracks was Finishing Move Inc, a band known for working on Borderlands 3 (2019) and The Callisto Protocol (2022). The group was founded in 2013 by Brian Lee White and Brian Trifon who had been scoring commercials for several years already. The pair teamed together and began working on video games and movie trailers, eventually adding Jay Wiltzen and Alex Klingle to the mix. Within just two days of The Dark Ages' release, the soundtrack reached number two on Apple's iTunes chart. I sat down with three of the four band members - White, Trifon and Klingle - to discuss their process of putting the game's music together. BLW: It felt like an impossible task. The music for the last two games was beloved. The Bobby Prince stuff for the series in the nineties is iconic. We were stepping into large shoes. FEATURED | Frase ByForbes™ Unscramble The Anagram To Reveal The Phrase Pinpoint By Linkedin Guess The Category Queens By Linkedin Crown Each Region Crossclimb By Linkedin Unlock A Trivia Ladder ID Software wanted us to take this in a new direction. It's got a new setting and this is a prequel. The gameplay style is different too and so they wanted a more cinematic approach to the music but keeping it metal. They lovingly referred to the music as a rock orchestra instead of a rock band which is what you heard in previous games. Our score is a little more spacious. We used a traditional orchestra with instruments and a choir while still bringing that heavy metal vibe. A balalaika AK: We approached it from a few angles. We looked at medieval folk instruments and grabbed influences from different cultures around the world. We used something called a tagelharpa which is a northern European folk instrument. It sounds like a cello or violin if it had more hair on its chest. It gives this brutal and primal vibe that fit Doom's world well. Then we used a Russian Soviet era instrument called a balalaika that I found in a dusty old shop in Florence, Italy. It has this haunting sound when tuned a little lower. There's also a beautiful tribal drum that's made by artesans in the Quebecan mountains. It gave us a deep pounding pulse. We also dove into older styles of metal that evoked a sinister and ancient quality. Those albums from the early roots of heavy metal in the early 70s are about running to the hills and going into battle, slaying demons. Lastly we looked at sinister harmonies. Classical composers such as Dmitri Shostakovich and Sergei Rachmaninoff had this dark quality with a tinge of beauty to them. That really captured the essence of the dark ages and the medieval world. BLW: We're also dealing with much larger spaces in this game. The maps are massive and the arenas are really big so we wanted to capture that by making the sound more cinematic with longer tails and more reverb on the drums. BLW: We spoke about pacing and structure for the music from day one. Hugo [Martin, game director at ID Software] used an analogy; if Eternal made you feel like a Ferrari, in The Dark Ages you're a Sherman tank. It's this grounded stand and fight game. The traversal is not the same here so you're not doing vertical movements. It's much heavier. So we asked 'how do we make the music heavy and brutal while still feeling like this crazy power fantasy but not necessarily representing that with insane speed?' Finishing Move Inc previously worked on Halo Wars 2 BLW: All of us are gamers and have been for a long time. My introduction into modern gaming was through Wolfenstein (1992) and the original Doom (1993). I was too young to be playing it but I'd go over to a friend's house and it'd be on their parents' computer. It was absolutely revolutionary. I play a lot of modern games but my heart is in vintage gaming as that's what I grew up with. Working on Doom 30 years later is incredible. BT: This keeps happening though. We've been involved with Halo, Microsoft Flight Simulator and now Doom. Those all are games that first came out when I was a freshman. Halo and Xbox were cultural touch points for me then. My youngest memories on a computer was at my grandparents house playing Flight Sim. Then with Doom I convinced my mom to buy a family PC to play it. Being able to contribute to these franchises as an adult is insane. AK: I've grown up with games my whole life too. Like Brian Trifon, Doom is something my parents did not let me have but I'd go to a friends' house and play. It was the same with Halo. My parents always read the age ratings on the box. AK: It's so fun to work on a game when it's a long term project. A movie trailer requires a very brief turnaround and then it's done. A game can involve talks for years. With Doom, the cues we wrote a few years ago ended up being different to what's come out in the end. Allowing ideas to cook in the oven for that long meant they could develop naturally. It's such a rewarding experience. BLW: Most of the touch points a young audience will have today is going to be from a video game. You play a game for 50 or 100 hours and the music gets embedded into your brain. As a kid, I'd rinse my favourite albums but people don't do that so much anymore. With a game you have to be present. For many, the music in games has actually become their entry point into music generally. I won't be surprised if there's young people who find their first encounter with metal sounds through Doom. BT: My kids' favourite music is in games. I try to play bands of all styles to them but they don't like that. Music in the Zelda and Mario games is what they love. That's what they're exposed to. That's where they make an emotional connection to it. It's hard to get them to sit through a TV episode or a whole movie (unless it's the Minecraft movie) but video games is where they're connecting deeply and wanting to then play the songs they hear on a piano. Brian Trifon was inspired by Nine Inch Nails AK: It's different for each of us. We all have our own specialities and tastes that we bring. For me, I've got one foot in the modern era and another in the traditional. I actually like a lot of electronic music. I love synthesisers and forward-thinking artists on the cutting edge, like Noisia. But then I also love going back to orchestral and classical music with a darker edge that has this little beauty to it too. BLW: The common thread amongst all four of us is that we started our musical journey as teenage dirtbag guitar kids trying to tap. We all discovered electronic music later on too. That's why we can do so many styles. The thing we all share is a love for different types of music, specifically guitar based stuff and electronic sound design. BT: My background is the same. I was die hard about guitars and metal. I hated synthesisers but at some point I heard Nine Inch Nails. I saw them live and thought they were so heavy. It started the process of expanding my ears. Like Alex and Brian, I had a career in electronic music for a while. At some point you start to ask if you believe in the essence of what an artist is doing when you're analysing or listening to them. It's not even about instrumentation or style; it's about whether they're doing something you can identify with. For me, that's what I've come to care about. BLW: We've worked on a lot of dream franchises so maybe we're pushing our luck, but Call of Duty has always been an iconic game that's up there with Halo and Doom for me. That'd be rad to work on at some point. AK: Mine would never happen as I doubt there'll be another game, but I'd love to work on Bloodborne 2. I love FromSoft. It has the coolest, darkest vibe. BT: For me, I'd love to work on a Metroid game.
Forbes
4 days ago
- Entertainment
- Forbes
‘Mission: Impossible' Launches Inside The Top 10 As The Series Comes To An End
The score for Mission: Impossible – The Final Reckoning debuts at No. 10 on the U.K.'s Official ... More Soundtrack Albums chart and No. 23 on the Album Downloads tally. NEW YORK, NEW YORK - MAY 18: Tom Cruise arrives at the US Premiere of "Mission: Impossible – The Final Reckoning" at Lincoln Center Plaza in New York, New York on May 18, 2025. (Photo byfor Paramount Pictures) After only a few weeks in theaters, Mission: Impossible – The Final Reckoning already ranks among the top 10 highest-grossing films of the year. Box Office Mojo reports that since being released in mid-May, what is being called the final installment in the action series starring Tom Cruise has raked in more than $360 million — and the total is still climbing. Mission: Impossible is beloved around the world and is remembered in part for its iconic theme song, but that's not the only bit of music from the series that people love. The score that was created for this latest film has proven commercially successful in at least one market where the movie is also widely embraced. The latest Mission: Impossible score debuts on two music charts in the U.K. this week. The full-length, which is credited to composers Max Aruj and Alfie Godfrey, even manages a top 10 start on the Official Soundtrack Albums chart. The project launches at No. 10 on that tally. On that list, Mission: Impossible earns the loftiest debut of the frame, beating a new rendition of The Empire Strikes Back soundtrack, as well as several high-profile comebacks. The same studio effort also appears on the Official Album Downloads chart, which is not specific to any one genre, but instead to the digital format. On that list, Mission: Impossible opens at No. 23. Unlike on the soundtrack tally, the score doesn't earn the top start here. Instead, the composers come in behind new releases from U.K. favorites like When Rivers Meet, Louise Sparks, and Stereolab. Mission: Impossible is one of several Cruise-related titles with scores currently charting on the Official Soundtrack Albums ranking. The original Top Gun pushes 10 spaces to No. 16, while its follow-up Top Gun: Maverick reenters the ranking at No. 42. Both may experience gains thanks to all the excitement around the movie star's latest blockbuster. The Top Gun sequel is also present on the Official Compilations chart, where its accompanying album jumps several spots to No. 67 shortly after celebrating 150 weeks on the list.
Globe and Mail
23-05-2025
- Entertainment
- Globe and Mail
Digi 995 Universe Launches as a Groundbreaking Digital Franchise Blending Sci-Fi Books, Music, and Gaming
A new universe is rising from the ashes of a fallen world. The creators of Digi 995 have officially launched a multi-dimensional sci-fi experience combining immersive storytelling, soundtracks, and an action-packed game—ushering in a new era of interactive entertainment. At the heart of this innovative brand is Digi 995, a sentient robot tasked with rebuilding humanity after a cataclysmic event wipes out civilization. This story comes alive across multiple platforms: The Books: Explore a post-apocalyptic saga full of digital war, mythical creatures, and moral complexity. Learn more on Amazon here The Soundtrack: Every book in the series is paired with an original album. Stream tracks, watch visualizers, and discover the sound of the future at and click on the soundtrack tabs. The Game: Digi even has a game coming soon. Everyone will soon be able to dive into the world of Digi 995 in game format. The Merch: Style meets story with limited-edition apparel and collectibles featuring official certificates of authenticity. Shop the drop at 'Digi 995 is more than a brand—it's a living, evolving digital experience,' said a spokesperson for the Digi 995 team. 'We're blending storytelling, music, and gaming into one immersive world where the fans are part of the future.' Fans can begin their journey now at the official hub: Follow the movement on social media: Instagram | TikTok | YouTube | Facebook Hashtag: #EnterTheDigiVerse About Digi 995: Digi 995 is a futuristic media brand that combines science fiction, music, and interactive gaming. The universe centers around a robot named Digi 995, who must reconstruct the world one mission at a time. The franchise includes a book series, game, soundtracks, and merchandise, forming a fully immersive, cross-platform experience. For interviews, press inquiries, or review materials, visit the contact page at
The Sun
20-05-2025
- Entertainment
- The Sun
Greatest movie soundtrack revealed and it's beaten Titanic – can you guess what it is?
THE Lion King has been crowned the greatest movie soundtrack of all time – beating Saturday Night Fever and Titanic to the top spot. The 1994 Disney classic roared into first place, with The Greatest Showman and The Sound of Music rounding out the top five, according to a poll of 2,000 Brits. 6 6 6 Other beloved soundtracks to feature high on the list include Top Gun, the Star Wars franchise, The Bodyguard, Pulp Fiction, and The Lord of the Rings trilogy. Fans also gave credit to the magical music of the Harry Potter films, the retro-inspired playlists of Guardians of the Galaxy, and the gritty hits of Trainspotting. The research, commissioned by Dolby Laboratories to mark its 60th anniversary, revealed the vital role music plays in the enjoyment of a film – with 79 per cent saying the soundtrack significantly enhances the viewing experience. And 76 per cent agreed a film is more likely to be seen as a classic if it features music that stays with you long after the credits roll. A memorable melody was voted the most important element of an iconic soundtrack (41 per cent), followed by a catchy chorus (26 per cent) and a lively rhythm (24 per cent). Others said it's crucial that the songs are well known (19 per cent), while some love a climactic crescendo (12 per cent). Nick Watson, technical director, content relations of Dolby: 'Sound has always been the invisible thread that binds a film's emotion, tension, and excitement. 'Some sounds and soundtracks are just as iconic as the visuals - they're instantly recognisable and deeply emotional. 'We've spent the past 60 years pushing the boundaries of audio, so audiences don't just watch a movie - they really feel it. 'We often say we 'watch' a film, but in reality, we listen just as much. Trailer for The Titanic 'A great soundtrack can elevate even the most modest production, drawing the audience in and heightening every emotion. 'On the other hand, poor sound can distract and diminish even the most visually stunning scenes.' It emerged movie soundtracks continue to resonate beyond the cinema, with 25 per cent saying they enjoy listening to them while relaxing at home. A further 19 per cent tune in while driving, and 16 per cent even put them on while tackling household chores. 6 6 Four in 10 have discovered a new artist or band after hearing them in a film, while one in five have attended a live concert dedicated to a movie score. The research also found that 75 per cent believe immersive sound is important when watching a film, whether at home or in the cinema. More than a third (36 per cent) say it adds to the suspense and tension of a scene, while 35 per cent think the overall sound is essential in bringing the movie world to life. Others said it makes action scenes more thrilling (33 per cent), the film more dynamic (31 per cent), and enhances the emotional impact of the storytelling (32 per cent). When asked which film sounds have left the most lasting impression, the iconic 'dun-dun, dun-dun' from Jaws topped the list (38 per cent), followed by the haunting whistle from The Good, the Bad and the Ugly (20 per cent). TOP 20 MOVIE SOUNDTRACKS 1. The Lion King 2. Saturday Night Fever 3. Titanic 4. The Greatest Showman 5. The Sound of Music 6. Top Gun (any) 7. Star Wars (any) 8. The Bodyguard 9. Pulp Fiction 10. The Lord of the Rings trilogy 11. Harry Potter (any) 12. Guardians of the Galaxy (any) 13. Trainspotting 14. Gladiator 15. Rocky (any) 16. Moana 17. Indiana Jones (any) 18. Shrek (any) 19. A Star Is Born (2018) 20. Jurassic Park The lightsaber hum from Star Wars (19 per cent) and the screeching shower scene from Psycho also featured among the most memorable. Nick Watson, technical director, content relations of Dolby, added: 'The most unforgettable moments in film are often tied to sound – whether it's a simple musical motif or a carefully crafted effect. 'The best sounds spark the viewers' imagination, giving the freedom of interpretation. 'The suspenseful 'dun-dun' in Jaws is the perfect example. 'Many sounds become part of the story, like the crack of Indiana Jones' whip, or the hum of a lightsabre. 'They're cues, characters, and emotional anchors all in one. That's the power of sound and it's what drives everything we do.' TOP 10 CINEMATIC SOUNDS 1. Jaws theme 2. Whistle from The Good, the Bad, and the Ugly 3. Humming of lightsabres from Star Wars 4. The shower scream in Psycho 5. The E.T. phone home sound 6. The T. rex roar from Jurassic Park 7. The Star Trek transporter sound 8. Indiana Jones whip crack 9. Ghost Buster proton pack firing 10. The DeLorean time travel sound from Back to the Future 6
Yahoo
18-05-2025
- Entertainment
- Yahoo
REVIEW: The Best of Bond, Lighthouse, Poole
Music is nothing if not about emotion, emotional responses and experience. That's as true of the enduring phenomenon of the James Bond soundtracks and theme songs as of anything else, perhaps even more so because what they evoke and represent is so multi layered and complex. I imagine all those at the sell out performance of the Bournemouth Symphony Orchestra's Best of Bond might have felt much the same. The iconic pieces of music from the likes of Paul McCartney, Tom Jones, Louis Armstong, Matt Monroe, Shirley Bassey, Adele, Carly Simon, Tina Turner, Billie Eilish and Gladys Knight and more, take us not only to a particular film or films, but also to our own life and times, experiences, memories and emotions. A spectacular evening spanning seven decades (with the understated but hugely entertaining maestro, David Arnold at the podium) began of course with the ubiquitous 'James Bond Theme' composed by Monty Norman for the very first film in 1962, Dr No. Throughout, West End soloist Jacinta Whyte with her raw vocal power did a superb job in the challenging role of being everyone from Bassey (Goldfinger) to Adele (Skyfall), Garbage (The World is Not Enough), Knight (Licence to Kill) and even Sam Smith (The Writing's on the Wall from Spectre). She was also Dusty Springfield with The Look of Love from the 1967 parody Casino Royale, joking: 'The old ones are the best.' Listening to pieces without the vocals allows more opportunity to appreciate just how beautiful and intricate they actually are, particularly You Only Live Twice, From Russia with Love, We Have All the Time in the World and the underrated Moonraker. There was plenty of the all action drama, from Thunderball to The Living Daylights and The Man with the Golden Gun. The legend John Barry's evocative chase scene score from 'Russia' also made an appearance. Barry would go on to compose the soundtracks to eleven Bond films. After a piece from the score of The Spy Who Loved Me by the American composer Marvin Hamlisch, Arnold suggested it could stand comparison with the likes Shostakovich and told the audience: 'It is really is that good and people dismiss film music is trite and not being artistic enough. Well I think Hamlisch shows that's not the case.' Such an incredibly diverse set of songs and themes gave every musician in every section a chance to play their part. The soaring brass, haunting woodwind, stunning strings and big, dramatic percussion. The Best of Bond was also the best of the world-class BSO. Nobody Does it Better? Undoubtedly. Licence to Thrill. You bet.
