Latest news with #soundtrack
CNA
3 days ago
- Entertainment
- CNA
Demon Slayer live concert to make Singapore debut in October
Get ready to experience Water Breathing in a whole new dimension this year. A live concert of the popular anime series Demon Slayer is set to make its debut in Singapore on Oct 18 at the Esplanade Theatre. The concert will feature the soundtrack from the first arc of Demon Slayer, Unwavering Resolve, brought to life on stage by an 18-piece orchestra as scenes are projected onto a full-size cinema screen.
Yahoo
3 days ago
- Entertainment
- Yahoo
Where Are the Blockbuster Soundtracks? The Screen Has Gone Dark for Hit Movie Albums Since ‘Wicked' & ‘Twisters'
For the eighth week in a row, not a single soundtrack appears in the top half of the Billboard 200. That's the longest such shutout since 2021, when the pandemic disrupted moviegoing and as a result, diminished the opportunities for hit soundtracks. For 13 consecutive weeks that year, from July 31 to Oct. 23, no soundtracks appeared in the top 100. Twisters: The Album is the highest-ranking soundtrack on this week's Billboard 200, but it's way down at No. 174. The album, which was led by Luke Combs' hit single 'Ain't No Love in Oklahoma,' debuted and peaked at No. 7 on the Billboard 200 last August and spent its first four weeks in the top 10. More from Billboard 'Twisters: The Album' Blows in at No. 7 on Billboard 200: How Does That Compare to 1996 'Twister' Soundtrack? Addison Rae Announces Dates For Debut 2025 Headlining World Tour How Brandon Lake Is Leading A Whole New Flock To 'What's Real And What's True' In Christian Music This is the album's 24th nonconsecutive week atop Top Soundtracks. That's the longest stay at No. 1 for a soundtrack in one release cycle since Barbie: The Album logged 33 weeks at No. 1 in 2023-24. Both of these soundtracks had long runs at No. 1 in part because there wasn't much fresh competition from hit soundtracks. For the past eight weeks, Twisters: The Album has headed Top Soundtracks without appearing in the top 100 on the Billboard 200. Likewise, for the last 10 weeks that Barbie: The Album headed Top Soundtracks, it did not appear in the top half of the Billboard 200. The soundtrack business is cyclical. Just as Wicked shook up the soundtrack scene in December when it entered the Billboard 200 at No. 2 (and spent its first eight weeks in the top 10), another hit soundtrack could appear soon and revive the fortunes of this venerable genre. Smurfs Movie Soundtrack (Music From & Inspired By) — which includes 'Friend of Mine,' Rihanna's first new song in three years — could break into the top 100 next week. If not, F1: The Album, featuring such artists as Don Toliver featuring Doja Cat, ROSÉ, Myke Towers and Tate McRae, is expected to be a smash after it is released on June 27. The album is being released by Atlantic Records and Apple Video Programming. Atlantic released several of the other top-selling soundtracks of recent years, including The Greatest Showman, Barbie: The Album and Twisters: The Album. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Four Decades of 'Madonna': A Look Back at the Queen of Pop's Debut Album on the Charts Chart Rewind: In 1990, Madonna Was in 'Vogue' Atop the Hot 100
The Independent
11-06-2025
- Entertainment
- The Independent
How Lewis Hamilton helped shape the F1 movie soundtrack
The upcoming Formula One film, "F1," starring Brad Pitt and Damson Idris, is set to feature a massive soundtrack, "F1 The Album," releasing alongside the movie on June 27. The album, spearheaded by Atlantic Records, the team behind the "Barbie" album, will include original music from a diverse array of artists such as Chris Stapleton, Blackpink's Rosé, and Tate McRae. Film producer Jerry Bruckheimer, director Joseph Kosinski, and Atlantic Records West Coast President Kevin Weaver collaborated to create a soundtrack that mirrors the intensity and global appeal of Formula One. Weaver noted that the selection of artists was driven by the film's narrative needs, aiming to find voices that best complemented specific moments in the movie. Kosinski emphasised the importance of reflecting the sport's global nature through the soundtrack, incorporating artists from around the world. Ferrari driver and seven-time World Champion Lewis Hamilton, who consulted on the film, reinforced this need for inclusivity. The soundtrack features a mix of genres, including pop, Afrobeat, electronic, and country, resulting in a collection of 17 tracks designed to appeal to a broad audience. Artists found inspiration in various ways, with some, like Rosé and Chris Stapleton, creating music in response to specific scenes. Ed Sheeran wrote "Drive," with John Mayer and Blake Slatkin, specifically for the film's end credits, inspired by lyrical prompts related to Pitt's character. DJ Tiësto, who also appears in the film, contributed "OMG!" featuring rapper Sexyy Red, blending dance music with high-energy racing vibes. Roddy Ricch, another contributor, sees his song "Underdog" as a motivational anthem about overcoming doubts and finishing the race of life. Kosinski hopes the soundtrack will introduce listeners to new artists and spark interest in Formula One.
Forbes
06-06-2025
- 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
06-06-2025
- 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.
