Angelo Badalamenti Picture taken by Kris Dewitte

Angelo Badalamenti's edgy, left of center sound is unmistakable as it breathes its own air. Angelo's career was launched to new heights after he scored David Lynch's film, Blue Velvet. This collaboration would evolve in to an enduring relationship. While Angelo's music speaks for itself, paired with David Lynch's vision it is like comparing strawberries and champagne. By themselves, they are wonderful but together they are sublime. Examples of this "perfect" marriage are: Blue Velvet, Twin Peaks, Wild At Heart, Lost Highway, The Straight Story, and Mulholland Drive.  All of these scores have received nominations, awards or positive recognition. Angelo has done some other amazing and notable works such as The Torch Theme for the Barcelona Summer Olympics in 1992 and a suite for James Lipton's Inside The Actors Studio. I have selected four other more recent scores to review which you will see below.  Angelo's latest work  is for the upcoming film 44 Inch Chest starring John Hurt and Tom Wilkinson. My Warmest Regards to Angelo Badalamenti and Jim Bruening.

The Edge of Love Angelo Badalamenti	The Wicker Man Angelo Badalamenti	Dark Water Angelo Badalamenti	A Very Long Engagement Angelo Badalamenti
The Edge of Love is another dramatic love story that takes place during WWII and which is much like A Very Long Engagement, where the mood is full of passion and despair. The music is more complex in this film as it takes a few turns. While the dominant themes are played by haunting strings, there are seductive jazzy moments played by a saxophone and brass, and a sultry theme that is played on an acoustic guitar. Vera's Theme is a wonderful jazz piece that reminds me of being in a dim lit lounge. Another stunning track that is in this similar vein is Careless Talk, beautifully sung by Beth Rowley. This is a richly intoxicating score that shows the versatility of Angelo Badalamenti.	The Wicker Man is a dark mystery/suspense thriller that gave Angelo Badalamenti a richly complex canvass to work with. While the minor key theme's are not new to Angelo, the instrumentation is what sets this score apart from some of the other films in this likeness- if I dare make a comparison. This is a unique work in that there are many different colors, such as an abstract or surreal painting. An instrument that stands out as being unique is the Dulcimer which is woven in to the haunting string arrangements. There are also some ethnic electronic percussion and synth elements that richly intensifies the mysteriousness of this story. The occasional thump of the brass will give you chills. This is a brilliant eerie work. One might hear a slight influence of the late master, Jerry Goldsmith at times, which I love a great deal in this style of film.	Angelo Badalamenti is no stranger to the dark and mysterious with his music and Dark Water is a perfect example of Angelo's mastery of this genre. The pulsating electronic rhythms, pounding brass, brooding woodwinds and eerie strings all envelop each-other in to one of the creepiest suspenseful scores I have heard. The tension that builds in Angelo's music is what made this film a classic horror/thriller. The sparce use of the flute is chilling. The desolate piano will send shivers up your spine. The ebb and flow of the strings will leave your heart pounding, wondering what waits around the corner. This is haunting music at it's finest and as a stand alone listen, it is captivating.	A Very Long Engagement is an epic love story that takes place during WWI.  Angelo Badalamenti wrote a heartbreaking, powerful score that grips the soul. The passionate main theme is played  by the arrangement of sorrowful strings. Throughout the score there are ambient and mysterious synthetic elements  and subtle militant undertones with a solo horn, brooding brass and quiet snare drums. There are heightened orchestral moments that depict hope but the dominant emotion is love and sorrow. This is a stunning and mesmerizing score.

Tyler Bates

Tyler Bates has earned himself a name for composing scores to the dark, bizarre and unusual cult/horror films as you will read about below with a few highlighted scores that I have chosen.  This is generally speaking although I know he is capable of doing other styles like he shows in his score to Mario Van Peebles film Baadasssss, for example. There are some delicate piano motifs as well as some hip and jazzy urban rhythm cues that are blended in to an ominous ethereal atmosphere. I believe that most, if not all film composers like to be considered versatile and I believe this may be true for them even though they are not always allowed to show this side when they are tied to several successful scores in one genre.  It seems that the cult/horror genre especially latches on to specific talents like it has happened in the past to composer Christopher Young but after being pigeon-holed for so long, he was able to break free as I believe will happen to Tyler if he so desires.  I think his gargantuan epic score to 300 will play a key role in exposing his versatile abilities.  Tyler has a  unique pallet of sounds and an individual approach to scoring for films that I am certain will bring him a successful and an enduring career. Please click on the Tyler Bates image to be linked to his website for more details and up coming events. My warmest thanks to Tyler Bates and Lisa.

300 Tyler Bates	Slither Tyler Bates	Get Carter Tyler Bates	The Devil's Rejects Tyler Bates	Dawn of the Dead Tyler Bates
300 is a powerhouse epic score that you will never forget. In fact, I can't think of anyone better to do the music for this film than Tyler Bates.  Not only is the music larger than life but it is authentic to the period blended with Tyler's distinctive style which cannot be mistaken giving this score a richly original listening experience. It is without a doubt my favorite score of his thus far and although this may be premature to say it certainly stands out to me as one of the best scores of the year at this point. The only thing that keeps this score from an Oscar worthy performance is the lack of memorable themes like we hear in Howard Shore's Lord of the Rings for example. I think this film calls for it given its magnitude. Nevertheless, I am sure there was a reason for this and I certainly don't want to discourage you from giving this score a few listens because it is incredible. In the likeness of Hans Zimmer's Gladiator, there are electronic instrumentation, choir performed in the likeness of Carl Orff's Carmina Burana, solo voice, a huge orchestra, ethnic sounds, tribal percussion, surreal synth textures... Need I say more? Run out and get this score and be prepared to have your hair blown back. To give you an idea, with my state of the art sound system, I literally felt my hair follicles move and my insides shake.  It is an outstanding score!	Slither is a creepy score that functions on several levels. It has a tongue-in-cheek  like quality at times where the music almost goes over the top with blasting brass and pounding percussion and then it winds down to a more serious role with the screeching strings, in the likeness of Bernard Herrmann's Psycho.  There are a couple cues that are so far fetched like you are listening to the music of one of the low budget horrors or sci-fi thrillers where you might see a group of teenage girls hanging out on a Saturday night. You know what I mean... they go out to talk and laugh and check out the boys behind their parents backs. Then it is theater time and although they know this guy will come around the corner with a chainsaw at this specific time they ultimately to get the lights scared out of them as the popcorn goes flying in the air. Well for me, this is the music for Slither in a nutshell. It is scary, fun and entertaining all at the same time.	Let's take a breather from the dark world for a minute and listen to this incredibly awesome, hip and once again unique score to Get Carter. This one flew under the radar for me but luckily it was brought to my attention which I am grateful because now I can share my thoughts with you in hopes that you will take my word for it that it is well worth the buy.  I think it holds merit in many areas. It is trendy and stylish, rhythmic and at times thematic and once again it is orchestrated out of the norm although this time not in its entirety. The Main titles really stand out with the jazzy rhythms layered with a hammered dulcimer.  Having not seen the film, I am not sure what the use of this instrument was intended for but for me it creates a sensual atmosphere. From here it moves into this  beautiful, somber theme played on the cello.  Then it evolves in to a suspense combination of sounds from  jazzy riffs to rock elements which are textured with an ambient and dramatic atmosphere  performed on synthesizers.	For all you free spirited listeners who like dancing in the fields, smelling the roses and eating tofu, The Devil's Rejects is not for you! No kidding, right?  I think this music would even scare Alfred Hitchcock out of his skin. This is as bizarre as you are going to get for a film score but in the same breath, if you can actually sit down and listen to this score, it is extremely innovative and interesting. I actually found myself hypnotized by the conglomerate invention of ethereal sounds created from distorted horns, percussions and sounds that I don't even know how to describe. I envision opening these massive doors into Satin's throne. It must have taken a lot of gutts to stand up to this challenge and who better than Tyler Bates  to deliver a profoundly chilling and dimented score? It was done extremely well  if you can see past the subject matter and really listen to what has been conceived. To be honest, it is not my cup of tea even though I concider myself open minded. That being said, I am happy I gave this music a chance because it was brilliantly done.	Dawn of the Dead is a slightly more conventional, almost thematic and a more refined approach to this genre but along the same lines as The Devil's Rejects in terms of inventive and distorted sounds. I think the later score had a less restricted idea as a whole and of course an entirely different canvass to work on really but nevertheless, Tyler Bates proves himself to be completely original, using the orchestra to its limits in terms of bending their sounds and using the instrumentation like an abstract painting. I view Tyler as the Salvador Dali of film music and his score to Dawn of the Dead is a great example of my theory. It takes that dark path as the other films of this likeness have but the music is just off from the contemporary giving the listener/viewer a new perspective and ultimately a new experience. Tyler has set the foundation for a unique way of scoring these kind of films which soon won't be so unique anymore as I feel many will follow in his footsteps. He is a pioneer and I expect this will continue.

Bruce Broughton

Bruce Broughton

Multi award nominated and winning  composer Bruce Broughton has had one of the most prolific careers working in the business today from composing music for television (Quincy, JAG) to the Motion Picture (Silverado, Tombstone) as well as other projects from his game score Heart of Darkness to numerous concert works. While he has obviously earned his place in the industry I feel he has been singled out from the "A List" catagory. Anyone who knows Bruce Broughton's work will surely agree when you look at his long list of credits. I am not meaning to suggest that his work to these many great films were insignificant but you don't see any blockbusters like Superman or Star Wars to his credits which I feel Mr. Broughton would be well suited for.  I use John Williams' scores as an example because Bruce Broughton has a lot of the same traits in his music and he has the talent thematically and orchestrally to provide a memorable signature to them like John Williams has done. While this is voicing my opinion and is not your standard introduction to a composer I feel compelled to share my highest regards for one of the greatest talents in the business and although you may not have seen or heard of some of the movies he has worked on, buy the music anyway. You simply can't go wrong. Highlighting five of his scores barely touches the tip of the iceberg and the ones I have chosen aren't limited to his best work as I consider the bulk of his music to be top notch and all equally recommended. Click on Bruce Broughton's image where you will be linked to his official website for the latest news, filmography, soundclips and anything else you might want to know.  My sincerest appreciation and thanks to Lisa Edmondson and Bruce Broughton

Young Sherlock Holmes Bruce Broughton	Roughing It Bruce Broughton	Carried Away Bruce Broughton	The Boy Who Could Fly Bruce Broughton	The Ballad of Lucy Whipple Bruce Broughton
This is undoubtedly Bruce Broughton's most sought after work to date and which is extremely difficult to find. When you do find it, be prepared to pay top dollar. My hopes is that one of the record labels out there would find it lucrative to produce this monumental score. Young Sherlock Holmes encompasses all of Mr. Broughton's strengths orchestrally and thematically which was rightfully recognized by receiving a Grammy nomination.  This only being second to his first major motion picture score for  Lawrence Kasdan's film, Silverado, which earned him an Oscar nomination. So with an already colorful background in television Mr. Broughton spans his career further to the big screen with great success. Young Sherlock Holmesis a great example of what Bruce Broughton brings to a moving image. To sum this score up, it is well over an hour of music recorded on 2 CD's that is classically driven, spanning from mystery and suspense to adventure and romance. It is a must have for any film music enthusiast.	Bruce Broughton delivers one of his finest performances in this homey symphonic landscape based on the writings of one of America's greatest icons, Mark Twain. The music is a straight forward Americana score built on several themes and orchestrated in the likeness of Aaron Copland's Billy the Kid, for example. The music plays several roles- at times with a comedic flair and in other moments it is suspenseful and adventurous and at other times it is sentimental. This score has epic qualities which Mr. Broughton seems most in his element, creating a vividly colorful illustrated picture musically. The recording is performed superbly by the Sinfonia of London with over an hour of pure listening pleasure. It is interesting because in most cases, because a score is set to a film with varying styles, it does not always make for a steady stand alone listen but in the case of most Bruce Broughton  scores, the entire CD can be enjoyed from beginning to end such as this great work.	Carried Away is an intimate, emotionally driven score that opens with a heartbreaking theme performed on oboe and strings. This is a story about love and relationships in which Bruce Broughton quietly captures the heart with these achingly beautiful and romantic themes. The way that the warmth of the oboe and clarinet is played, it touches the spirit as the delicate playing of the harp and strings enhance this almost mystical emotion. The music gracefully depicts this enchanting story.  The cues with the desolate entrance of the piano played in minor key is simply breathtaking. This somber  and captivating score displays a side of Bruce Broughton that we are not all that familiar with but it is eloquently done showing us just how versatile and in touch with life he really is.	The Boy Who Could Fly opens with an innocent heart warming melodic theme with sweeping strings, flutes, strumming guitar and harp which sets the tone for a picturesque backdrop to this inspiring fantastical story. The music quickly moves into the adventurous mode with a bold symphonic sound. The score bounces back and fourth from these two characteristics, mirroring the stories flow between reality and fantasy. Bruce Broughton molds the entire score around one theme, performed in several variations making this sweet music memorable and uplifting. It is one of those CD's you could listen to over and over as you gaze out your window on a sunny morning just daydreaming. This is a case where a great film and score get lost in the shuffle but it is truly a gem. I am not sure if it was timing or what have you but I feel it deserves recognition right next to ET and some of the other great films of the era.	The Ballad of Lucy Whiple is a lovely folk based score that takes place during the times of the gold rush. Bruce Broughton utilizes the instrumentation to accurately represent the period with a tin whistle, fiddle, dulcimer and guitars, which are performed by the well respected guitarist,  George Doering. The music is somewhat simplistic and often light hearted. It reminds us of the more care-free days when things seemed so much more family oriented and not not so consumed with the hustle and bustle of the routines of life where we tend to forget what it is all about. The music conjures up these peaceful and serene images, playing a strong role in telling this story. In this case, Mr. Broughton's score serves as  a backdrop, setting the tone to the film's surroundings. It also serves as another enriching stand alone listen as well.

Mark Isham

Mark Isham is one of the most prolific and versatile composers working today. Already released for 2007 are the  films Freedom Writers and Next.  Following these two scores for this year will be Gracie (opening June 1st) and in the Fall will be  In The Valley of Elah, directed by Paul Haggis (Crash) and Reservation Road. Then already set for 2008 will be the highly anticipated Pride and Glory.  For this multi award winning composer and renowned trumpet player, Mark Isham's  career continues to blossom with success and with each project we get a new and original sound. His talents  seem endless and his biggest strength is his richly unique and authentic sound set to film with a chameleon like ability. Mark's music never imposes itself on a picture but rather enhances the story and enriches the movie-going experience. Mark has been able to secure several enduring relationships with filmmakers such as Irwin Winkler, Robert Redford, Wayne Kramer and Paul Haggis, whom I believe will develop into one of the greatest collaborations in film today. No matter what genre or who Mark is working with, he gives 110% of himself and in my humble opinion, it is obvious. I am proud to say that I am a faithful follower of his career and I believe that you will be too when you listen to some of his works like the ones I have highlighted below. Also, see my exclusive and introspective interview with Mark in my book "Inside Film Music: Composers Speak". You can also find out more information and the latest news at www.Markisham@Isham.com. My warmest thanks to Mark Isham and Rachel Weston. Coming soon!  Mark Isham Part II- with more reviews as well as Featured composers Jeff Danna, Bruce Broughton and Tyler Bates.

Crash Mark Isham	The Black Dahlia Mark Isham	Life As A House Mark Isham	Racing Stripes Mark Isham	Running Scared Mark Isham
Mark Isham's music for the Academy Award winning film Crash is absolutely stunning! Crash was masterfully crafted in every aspect by Paul Haggis including the brilliantly written complex story of lives  intertwined. For me, I can say this is one of the most profoundly moving and thought provoking films I have ever seen. In fact, I left the theater speachless, absorbing every emotion and consuming every lesson learned from this life changing story. I am purposely being vague because I encourage you to see the film and experience this for yourself. Everyone is different but I guarentee you will walk away with a greater appreciation for life, no matter who you are. In fact, I am ceratin that you wont be able to see this film just once. It is an amazing film! Mark Isham's contributions to this film is nothing short of inspiring and astounding. Even the ethereal synth soundscapes which serves as the underscore for mood and atmosphere are captivating. This is one of the most gripping and emotional connections I have ever had with a film score and largely because of the angelic voice that is added- it makes the soul take flight.	The Black Dahlia is a sultry mysterious listen that is mixed with tense orchestral moments along with the sentimental and seductive jazzy flavors, which Mark Isham is no stranger to while also performing the trumpet solos himself in this score. The Black Dahlia is based on the true story about lust, obsession, greed and the brutal murder of a young Hollywood scarlet, Betty Ann Short (The Black Dahlia) in 1947 which captured and stunned the nation. The slaying was so horrific that the graphic details and images were kept from the public and to this day, the mystery of this murder has never been uncovered. To sit back and listen to this music by itself, one might hear the influence of the late Jerry Goldsmith's work in L.A. Confidential, for example. What makes this score especially wonderful is its ability to transport you back to the 1940's with such finesse and style that you almost don't even realize it until you really analyze the music. This is, without a doubt one of Mark Isham's greatest achievements which deserves full attention.	Mark Isham's score to Life As A House is fresh,  unique and inventive. The heartfelt and melodic themes pull you in to the story with a warm feel that is  inspiring.  This music perfectly personifies the picture giving it a heartbeat. There is a wide range of color that consists of mainly orchestral instrumentation and light piano motifs with some electronic sounds to add texture. When combined in this genre,  an authentic sound is created to this wonderfully inspirational film directed by Irwin Winkler, whom Mark Isham has collaborated with in The Net and At First Sight. In this film it is both tragic and uplifting. The main lesson to be taken from this movie is not to get caught up in life, missing what is real and the moments that bring you joy. It is a powerful story in which the main character, Kevin Kline is dying and has very little time to make up for his mistakes with his family and work and his passions that he never followed through with. Everything hits him all at once but how he handles this is miraculous and in the end, I believe that you too will not live life the same. With Mark Isham's original and moving score and this captivating story we can experience the essence of life and learn from it.	Racing Stripes is one of those wonderful scores that is both uplifting and exciting. Mark Isham utilizes the full orchestra with his unique sound, blending a largely Americana score with splashes of African tribal rhythms and voice along with some upbeat jazzy cues. Although this film doesn't fit the epic mold exactly, a good portion of the score could easily be placed in this category, especially in the race scenes, where the orchestra comes alive in gigantic proportions. Mark's music takes a giant leap out of the box, not conforming to just one style and not even hinting to any specific influences. This is a truly original, fun and inspiring score that gets repeated listens in my house because of it's uniqueness and myriad of sounds. Mark Isham continues to prove that he can not be pigeon-holed and his ability to constantly reinvent himself again and again, makes him one of the greatest talents in the business today.	There are two musical elements to this violent and dark story for Wayne Kramer's (The Cooler) film Running Scared. Although this storyline may not be new to Mark Isham  so to speak, what he delivers to this picture is! As an artist it might be daunting to invent a unique atmosphere to an inner city thriller that often calls for an ethereal, dark and brooding underscore with heavy percussion but Mark does it and seemingly he does so with ease. Yes, there are those Atonal moments which are used to heighten the drama of these violent or macabre scenes but there is also a desolate, heart gripping theme, performed on guitar by Peter Maunu, that is extremely potent with emotion and which is woven in throughout this dark and somewhat claustrophobic score with a completely inventive style. What I have come to realize is that Mark is able to separate his creativity from past experiences and make a score unique to the canvass in front of him, never repeating himself and that is what separates this score and Mark's career from the vast majority.

Jeff Danna

Jeff Danna

The Canadian born composer Jeff Danna found his road to music at an early age where he studied piano and a little later the guitar, where he ultimately found his true passion. He began to play the guitar professionally at age fifteen but this was suddenly halted by an unfortunate hand injury that cost him his performance career. Jeff soon overcame this obstacle by realizing that he had a dream far greater to achieve and this lead him to writing music for film. He now resides near Los Angeles where he is actively persuing his career in film. He has shown himself to be a talented and versatile film composer in almost every genre, climbing his way to the top with high profile credits to his name such as Resident Evil: Apocalypse and most recently, Silent Hill  and Fracture, starring Anthony Hopkins which was co-composed with his brother, Mychael Danna. He has also recently worked with Richard Attenborough on his latest film Closing The Ring. Coming soon is the official web page for Jeff Danna, where you will be able to learn more about him and keep up to date with the latest news. www.jeffdanna.com. You will also find an insightful interview with Jeff in my book "Inside Film Music: Composers Speak".  Go to my home page for more information and where you can purchase the book. I recently had the opportunity to speak with Jeff, which you can soon view in the interview section of this website. Many thanks to Ray Costa and Tom Kidd.

The Kid Stays In The Picture Jeff Danna	The Gospel of John Jeff Danna	Resident Evil Jeff Danna	Tideland Jeff and Mychael Danna	Green Dragon Jeff & Mychael Danna
This is the story of the renowned film producer and studio executive Robert Evans, who became the first actor to ever run a film studio. With a failed marriage to Ali MacGraw, corruption, drugs and scandals, Robert's career came to an end in the early eighties, almost three decades later from his rise to success. Jeff Danna's work is intricately woven around Robert Evens life giving the music a nostalgic experience. There are reoccurring themes that tie the film together but in the same breathe evolving as time progresses. In essence the melodramatic and acoustic score revolves around the main theme but within that circle are various cells carrying their own identity, tying the whole story together like pieces of a puzzle.	The Gospel of John is an emotionally potent score that does not fit in the traditional mold of a biblical film. Jeff Danna's music is both thought provoking and spiritually connected. One might argue the whole theory of being an inspired work but I truly believe this the case because this is no ordinary score in terms of having a presence about it that carries vivid imagery on a spiritual level. Perhaps this is in the eye of the beholder, but I have personally connected to this brilliantly written score that gracefully flows to our ears. There is nothing calculated about this listening experience. In terms of reviewing the music to the film, I can't think of a better marriage. From the Western instrumentation and voices to the delicate sweeping melodies, I feel this music is perfect.	Although I don't think anyone can say that they have experienced this, the first thought that comes to mind when listening to this score is being swept up in the middle of a tornado. Everything from the mysteriously distorted electronics to the ominous sounds of the full orchestra swallows you up. It is a powerhouse score with a dark tone in which Jeff Danna unleashes the fury. Being a Sci-Fi thriller, there is a lot of room for experimental sounds, synthesized textures and abstract instrumentation and Jeff utilizes all these aspects to their full capabilities. Known to be a predominantly acoustic and melodic composer, Jeff takes a giant leap into the seemingly unknown, creating a score that would lead people to believe that he had been writing this kind of music all of his life.	The haunting and mystical music  envelops the artistic portrayal of a little girl's bizarre and dysfunctional upbringing. In fact, a comparison that I can make  is that the director, Terry Gilliam visualizes this film in the likeness of how director, Tim Burton might whom is widely known for seeing and portraying life far left of center. The music takes on a similar approach as well where  Jeff and Mychael Danna pay a slight tribute to Danny Elfman's signature style, whom  immediately found his niche as a master storyteller through music for some of these  somewhat off and dreamlike pictures- especially with his longtime collaboration with director Tim Burton. Nevertheless, this is not to say that this isn't an original film or score for that matter. In fact Tideland  is some of the most creative, original and captivating story telling  ever set to a motion picture. The young actress Jodelle Ferland does and amazing job capturing the spirit of the film as does veteran actor, Jeff Bridges. It is a spellbinding tale.	Green Dragon is a deeply emotional and powerful film about the lives of two children in a Vietnamese refugee camp which takes place in 1975.  The music mirrors this inspiring story with richly sentimental and heartfelt themes. For me, I find this score to be the most introspective and soul searching work that either Jeff or Mychael have done to date. The music is intensely passionate and gripping. The score is scored predominantly for strings and piano, voice and percussion layered with native Vietnamese instrumentation such as the Dan Bao, Dan Tranh and Dan Kim Hua as well as flutes and recorders which are all performed by Vietnamese musicians. One of the things that I know about Jeff and Mychael Danna is that they strive to be accurate to their surroundings down to every last detail. This takes a lot of effort and research to find the right instrumentation and musicians to play them as well as having the ability to be able to write the music for them. This speaks volumes about their passion for what they do.  Their artistry to this film is especially amazing.

Debbie Wiseman

Debbie Wiseman

The work of Debbie Wiseman is nothing short of captivating, regardless of what genre she is composing for. To judge a book by its cover, I would predict a soft or wistful sound that would delicately flow from her pen but to my amazement, my discovery of her style is quite the opposite. Debbie composes with a tremendous power and a purest sense of emotion. Her often achingly beautiful music with lush orchestrations can be appreciated like a symphony or a ballet when listened to alone and when her music is attached to a film, a whole new dimension is added. Her music becomes the soul of the film. Below, I have highlighted five scores that will surely capture your interest. Click on the images to purchase them.   Please visit the official Debbie Wiseman website for the latest news and samples of her music @ http://www.debbiewiseman.co.uk/. My warmest thanks to Ms. Wiseman and Tom Wharmby.

Coming soon: Featured composer will be Mark Isham (Eight Below,Crash.)

Wilde Debbie Wiseman	Arsene Lupin Debbie Wiseman	Lighthouse Debbie Wiseman	Haunted Debbie Wiseman	Middletown Debbie Wiseman
Wilde is a sweeping, Victorian period romantic  score in which Debbie Wiseman uses several variations of the main theme to tell the story. This theme represents the passion of a the world renowned literary master Oscar Wilde who was conflicted with his sexuality and later imprisoned for his flamboyant behavior at the time. From then on, Oscar encountered  moments of temptation which he could not resist- he let his obsessions get the best of him. The Music reflects this heavy, almost claustrophobic  energy that is bottled up inside of Oscar and which never truly sees the light of day. This is a beautiful, sultry theme with the underlying tone of sadness and despair which can be heard with the somber playing of the gliding strings and the deep brass. It is heightened with moments of crashing symbols and rumbling timpani but for the most part, the music stays confined within itself.	Arsene Lupin is an edgy and mysterious score in which Debbie Wiseman uses the full pallet of the orchestra and choir to convey many different emotions. It is a roller-coaster ride. The are solos throughout from the cold entrance of the flute to the to the militant snare drums, to the desolate trumpet, each telling a different story. What stands out particularly is the heightened moments of the bold and pounding brass layered with the chanting chorus which gets your adrenaline going as if set to a superhero film amidst an action scene. What is interesting too is how each cue will wind up and down like a heartbeat, where from one moment to the next you don't know what awaits. Moments of darkness to suspense to romance- each blended together artistically to create another captivating listen. This is a brilliantly crafted, classically driven score that is sure to impress the listener of Debbie Wiseman's versatility and expertise with the colors of the orchestra.	The brooding strings, pulsing horns and hollow percussion send chills up your spine as the nightmare unravels. The prison ship Hyperion has set sail to Marshalsea Prison located on a isolated island. This unsettling journey is heightened by the violent sea as the orchestra builds with intense ferocity and then winds down as evil lurks around the corner. Death is imminent. As the Hyperion collides into Gehenna Rocks, the music unleashes the fury. This is a haunting and heavy listen in which Debbie Wiseman hints the inspiration of the late Jerry Goldsmith with the percussion and yet still maintaining her own identity with her unique style that marries the film beautifully.	Eerie strings and flutes open the score which then flows right in to a beautiful melancholy themeon the piano played angelically by Debbie Wiseman. This is a story in which worlds collide from reality to the unknown. The main character blames himself for the death of his twin sister when she drown at an early age. He is haunted by these painful memories, unable to accept this loss and the music parallels this experience on an emotional level. The overall feel of the score flows from the heartwarming and sweeping melodies to the ethereal strings, woodwinds and choir creating a chilling and mysterious atmosphere. What is unique is when the two sounds are blended together, where the music symbolizes the battle between light and dark within the main character, neither one over powering the other. It is like a marriage of the two opposite worlds.	Intense and hauntingly beautiful are the best words to describe this score. The solo violin, superbly played by Jack Liebeck captures the soul of the film with intensity. This is undoubtedly one of the most heartfelt, gripping and original scores that I have heard in years in which I return to often for inspiration. You are almost smothered with this intoxicating richness of sounds from the rhythmic strings, ominous brass, desolate piano and sparse plucking of the harp as the shrill violin comes over the top with a moving theme that takes your breath away. When the music stops playing, you are left alone in the quiet as if you are brought back to reality. Believe me, you will hit play again and again because this score takes you on a spiritual journey.

Ryan Shore

Ryan Shore Composer Ryan Shore is one of the most sought after film composers in the business today. Ryan has offered a unique voice to every collaboration that he has been a part of, not secluding himself to just one genre. This speaks volumes about his diverse abilities. Below are a few highlighted scores. I encourage you to have a listen for yourself. You can sample some of Ryan's work at www.ryanshore.com and you can read the fascinating interview in my book "Inside Film Music: Composers Speak" where Ryan discusses his philosophy and approach to scoring a film. He also discusses, in the beginning of the book, the terms and techniques of scoring for a motion picture.

Vulgar Ryan Shore Just when you thought you loved clowns... Although I am not here to critique the movie, let's just say it's not for everyone, to put it lightly. I don't think I need to go in to depth with a storyline because the title says it all. The score however, is an achievement in it's own. As this perverse story unfolds, Ryan's score marries the film with edgy improvisational jazz motifs that become dissonant and tense at times. A way I like to describe the sound is a musical meltdown. It begins with an air of a lighthearted marrygoround and later to an upbeat rhythm which soon becomes discombobulated with abstract sounds and dischord harmonies. Although this isn't a score I come back to often for repeated listens while I relax, I will compliment the fact that this music is what film music is all about. It is the guts of a film; the emotion that brews within the characters mind that the viewer can not experience without music.	Shadowplay Ryan Shore Shadowplay is a claymation short, directed and animated by Dan Blank. This is an intensely emotional multi-layered story about a boy who discovers his fate in the aftermath of the bombing of Hiroshima. It was said that from the intense light of the explosion, the shadows of the people were imprinted on the walls and buildings, capturing the atrocity like a photo negative. Ryan's intimate score encompasses this devastation and story of survival with a heartfelt theme composed mainly of native instruments such as the Koto, Shakuhachi and Japanese percussion. This music, much like the story itself, will leave its mark on the mind and soul.	Headspace Ryan Shore The music to this psychological horror envelopes this dark tale with a hauntingly beautiful theme composed for a desolate piano and accented with strings, flutes and electronic elements which bring to the score a mystical element. The music is heavy and deep, transporting you from reality into the ominous unknown. That is what this movie is about. It delves in to the psyche of the characters, reliving haunting memories with nightmares and being uncertain of what is real and what might be conjured up in the mind. Ryan also incoorparates a Gregorian Chant that he composed himself and a  jazz cue, much in the likeness of what we hear in the score for Vulgar. The jazz element strays a bit from the rest of the score, giving the listener a breather if you are enjoying the score as a stand alone listen. The CD then concludes with a beautiful performance of Ave Maria (Bach/Gounod) which was arranged/adapted/orchestrated and conducted by Ryan Shore. Without this piece, I am not sure I would listen to this score right before bedtime.	Prime Ryan Shore Prime is a romantic comedy where lives intertwine and relationships become complicated. Ryan's score however, is quite the opposite. The nature of the music is heartwarming, composed mainly for piano, strings, and solo guitar playing the main melody.There is a ballad like feel in the main theme with the wispy symbols and a rhythmic base line on the piano as the acoustic guitar glides over the top. The music does not play a comedic role but rather a subliminal emotion that goes on within the characters.	Rex Steele Ryan Shore Rex Steele: Nazi Smasher is an animated short that takes place during World War II, as Rex Steele takes on the Germans, "Nazi smashing." This is a superhero tale where Ryan Shore takes the orchestra to extreme heights. Rex's Americana theme comes out in full force, symbols crashing, horns blaring, timpani rumbling...With a very limited budget, Ryan did not stop at a small ensemble or a synthesized orchestra. What he did instead was create a larger than life sound with full orchestra and choir. There are two main themes. The first being Rex's bright, bombastic and thrilling motif while the second represented the Nazis with an ominous brooding orchestra and choir. An extraordinary work in my humble opinion, which went on to win the Student Academy Award for animation.