Film and TV
On The Crown, music that tells the tale of an evolving age (PRI)
The music for Season Two hits a darker tone, reflected in a bigger and more menacing orchestral sound. Co-composer Lorne Balfe says that’s because the characters have matured. “The queen is now a reigning monarch instead of a young girl given this position,” Balfe says. “It’s a different journey for them and that’s why the music evolves.”
How Artists Like D.R.A.M. and Neil Young Collaborated For Netflix’s Bright Soundtrack (Billboard)
Netflix’s hotly anticipated feature Bright, out Dec. 22, follows two police officers in a dystopian Los Angeles where humans coexist — and clash — with magical “Orcs,” to the sounds of ultra-contemporary pop. Atlantic Records’ Kevin Weaver and director David Ayer (Suicide Squad) crafted a 13-song soundtrack with new music from Camila Cabello, Snoop Dogg, Neil Young and more.
Out of tune: the big star songs that were rejected for movie soundtracks (The Guardian)
As Sufjan Stevens reveals his unused song for I, Tonya, here’s a look back at other artists, from Bruce Springsteen to Frank Ocean, who failed to make the final cut.
The 10 Best Music Moments on TV in 2017 (Pitchfork)
The recent overload of TV on streaming platforms might be overwhelming for viewers, but it’s been a godsend for the music supervision renaissance that has coalesced over the last few years. New series like She’s Gotta Have It, Claws, and Big Little Lies wove prominently placed songs into the fabric of episodes this year. Second-season shows like Master of None, Insecure, and Better Things continued to impress with soundtracks that evolved to fit ambitious new storylines.
Scott Vener: Music’s First Responder (Forbes)
While you might not know his name, chances are that you know his work. His claim to fame was as the music supervisor on the HBO series Entourage but he’s also worked on several TV shows, like Ballers and How To Make It In America, films like Dope, and dozens of TV commercials.
Call Me by Your Name Spurs Biggest Streaming Week Ever for The Psychedelic Furs (Billboard)
The Psychedelic Furs’ classic 1982 song “Love My Way” claims its biggest streaming week ever, largely thanks to its placement in the new movie Call Me by Your Name.
Examining David Fincher’s keen, thoughtful use of pop music in film (AV Club)
As this video essay from The Discarded Image shows, David Fincher gets it. His dark, formal work in film probably isn’t the first body of work one might consider when it comes to merging pop with film, but this is the same guy who directed Madonna’s “Express Yourself” video and closed out Fight Club with the Pixies’ “Where Is My Mind?”
Grammy Nominations: Can Game of Thrones, Baby Driver Run Over La La Land in Film/TV Music Categories? (Variety)
La La Land may feel like old awards news, but it still has one last chance to get called out — correctly — at an awards podium. The music from the film is nominated in all three of the Grammys’ Visual Media categories — only the third time in the last 10 years that Grammy voters cited the same film for compilation soundtrack, score and song.
Soap opera: Michael Nyman composes score for washing machine film (Guardian)
It is either taking slow cinema to the next level or is a PR spin too far: a London cinema will next week screen a 66-minute film of a 40-degree wash cycle, complete with score by Michael Nyman.
I Wrote That: Blue Planet II – Jacob Shea and David Fleming (M Magazine)
Blue Planet II is the BBC One hit wildlife series. Scored by Oscar winner Hans Zimmer, David Fleming and Jacob Shea (pictured left-to-right, below) for Bleeding Fingers Music, it’s the UK’s most-watched TV show of 2017 so far. Pulling in an audience of 14.1 million for its first episode, its emotive score brings the marvel of the planet’s oceans to life. Here, Jacob and David tell us how they soundtracked the action…
Original film songs stir up a wide variety of emotions (LA Times)
The Oscar race for original song has opened into a wide, varied and competitive field. Memorable empowerment anthems (“This Is Me,” “Jump,” “If I Dare”) run side-by-side with rousing calls to action (“Stand Up for Something,” “It Ain’t Fair”) and a departed rock hero’s keening tribute to those lost in genocide. There’s a layered love song with multiple meanings (“Remember Me”) and a Bacharach-esque, aching longing for days gone by (“You Shouldn’t Look at Me That Way”).
Peaky Blinders, Blue Planet, Stranger Things and Taboo: How some of the best TV scores of 2017 were made (Independent)
The Independent spoke with the people responsible for the music that featured in some of the biggest onscreen moments of the year: from the dark drama of Stranger Things to the jaw-dropping scenes in Blue Planet II.
How “Way Down We Go” by Kaleo Became TV’s Most Ubiquitous Soundtrack (TV Guide)
To date, the moody blues track has been featured in TV shows including (but not limited to) Blindspot, The Blacklist, Lucifer, Supergirl, Grey’s Anatomy, The Vampire Diaries, Riverdale, Training Day, Suits, Teen Wolf, The Night Shift and Underground, as well as trailers/promos for The Good Fight, Quantico, Orange Is the New Black, Empire, The Leftovers and Logan, among others.
How music supervisor Alexandra Patsavas makes unknown artists mainstream on TV shows (CBC)
Crossing unknown artists over to the mainstream through television is something Patsavas has become known for. She curates the music for those big on-screen moments. She’s been the music supervisor on shows like Grey’s Anatomy, Mad Men and, most recently, Riverdale. Along the way, she has helped bands like The Fray, Snow Patrol and Tegan and Sara get big international exposure.
The amazing classic synth and experimental moments on children’s TV (cdm)
Before it reverted to Internet age-blandness, American kids’ TV enjoyed a golden age of music, scored by oddball indie composers and legends alike. And, wow, it could even teach you about synthesis.
“Soundtracks are coming back again, there’s some hope in it”: Inside the rise and rise of TV soundtracks in 2017 (Music Week)
Music Week looks at how some of the most celebrated shows are also breaking boundaries and having a positive impact on the music business.
Farewell: Top TV Shows for Music Discovery that Ended in 2017 (Tunefind)
We have a lot of fun stuff to cover as we look back at highlights of film and TV music during 2017. But we’ll start off on a bit of a sad note: A look back at some TV music powerhouse shows that aired their final episode this year. These shows are Tunefind fan favorites that have helped us discover thousands of new songs and artists over the past decade.
The top 5 video game scores of 2017 (Classic FM)
Jessica Curry is presenter of High Score on Classic FM and a Bafta Award-winning composer in her own right. Here are her top 5 video game soundtracks of the year – and one personal highlight.
The Norwood Suite‘s creator on composing the game’s soundtrack and standing out from the crowd (PC Gamer)
Released earlier this year, The Norwood Suite is a quirky first-person adventure game that draws from the likes of Twin Peaks, Gone Home and Dear Esther. Developed by professional jazz musician Greg Heffernan (otherwise known as Cosmo D), its soundtrack pulls on the creator’s professional expertise.
Meet the Seattle composer who scored the latest Call of Duty blockbuster video game (Geek Wire)
A video game changed the life of Wilbert Roget, II. Roget was raised in Philadelphia, and began receiving classical piano training at the age of 4. Gaming was not part of his childhood, until one day he saw a TV ad for Final Fantasy VII, which was released when Roget was in middle school.
Stay a While and Listen; An Interview with Diablo Composer Matthew Uelmen (Dread Central)
The man behind the first and second game in the series, Uelmen’s music has been recognized as some of the most important and memorable in video game history.
Songs for Screens: Country Superstar Songwriter Natalie Hemby Steps Out; Sia Brings Holiday Cheer to JCPenney (Variety)
Natalie Hemby has written for many of country music’s biggest stars – including hits for Little Big Town, Lady Antebellum, and Miranda Lambert’s 2015 ACM Song of the Year award-winning “Automatic.” But for her long-awaited solo-artist debut “Puxico,” which is already ranking high on 2017 year-end lists, Hemby took a low-key approach.
Songs for Screens: Parson James on New Single ‘Only You’; How Google Pixel Honored Late Soulman Charles Bradley (Variety)
Parson James’ music has reached some of the country’s biggest platforms in the past two years, from American Idol and Grey’s Anatomy to festivals like Coachella and Lollapalooza, as a solo artist and through his mega-streamed collab with Norwegian DJ Kygo, “Stole The Show” (which has racked up more than 500 million streams on Spotify alone). But for his latest single, “Only You,” the 24-year-old South Carolina native has his sights set on Meryl Streep.
Sync Story: Inside Elbow’s John Lewis placement (Music Week)
It’s the big one. This year, John Lewis’ fabled Christmas ad finds Elbow covering The Beatles’ Golden Slumbers in a touching film directed by Michel Gondry. “We work on the campaign for a long time,” says Abi Leland, director, Leland Music. “A lot of time is spent making sure we find the perfect song. We’re then reliant on an artist bringing integrity and their own style.
Sync Story: Inside Yazoo’s Boots placement (Music Week)
The team behind Boots’ 2017 Christmas ad sought to tap into the sentiment of Only You, the song Vince Clarke and Alison Moyet recorded together as Yazoo in 1982. Here, it soundtracks an ad that tells the story of the bond between two sisters. “Only You is one of those songs I have wanted to sync for a long time,” says Dan Neale, managing director of supervisors Native Music.
UK Top Shazamed Ads: November 28 | December 05 (The Drum)
The Drum’s Shazam chart is based on the number of times each ad has been Shazamed over the past week using the music identification app. Here are the charts from the last couple of weeks
The most Shazamed ads of the week (US): November 20 – November 26 | November 27 – December 03 (Clio)
Every week, Clios.com, in partnership with Shazam, rounds up the most Shazamed ads of the previous week. These are the top spots from November 20th to December 3rd.
Business and Legal
Sync From The Other Side – Can Placements Support New Talent In Today’s Industry? (Synchblog)
What role does sync licensing play in keeping new talent afloat in the music industry? Liam Reay, Sync Manager at indie music publisher Wipe Out Music, takes a look at sync from the other (artist’s) side.
‘The mentality has shifted’: Kobalt’s Jeannette Perez on the state of play in sync (Music Week)
Jeannette Perez is Kobalt’s president of global sync and brand partnerships, previously not one of Kobalt’s stronger areas of operation. But the exec, previously at Sony Music, says her division has finalised 11,000 sync licences in the last 12 months, including nine high profile slots at the 2017 Super Bowl.
Sony/ATV Announces Consultancy With Jay Landers for Film and Theater Projects (Variety)
Sony/ATV Music Publishing has announced an exclusive consultancy with music industry veteran Jay Landers and his Lighthouse Company that will see him mining Sony/ATV’s catalog of songs and develop motion picture and theatrical projects.
ASCAP Appoints Stephanie Ruyle, Formerly of Viacom and Pivot, as Head of Licensing (Variety)
Stephanie Ruyle, formerly an exec VP of distribution and affiliate relations for Participant Media’s millennial television venture Pivot and a 17-year veteran of Viacom previously, has been named exec VP and head of licensing for ASCAP, the American Society of Composer, Authors and Publishers.
Learn All About Syncs with MusicTank’s New eBook ‘Unlocking the Sync’ (M Magazine)
Calling all independent music makers and corporate music users: now’s your chance to learn everything there is to know about music syncs with MusicTank’s free eBook, Unlocking the Sync. The music industry information hub has partnered up with award-winning music consultancy, Record-Play to produce the definitive guide on music synchronisation and brands.
Cathy Heller – Building a Career with Sync Licensing (Making It with Chris G)
In this conversation, you’ll learn what types of songs have the most success in sync licensing, common themes and genres that have the most success, how to get a sync licensing agent, and much more. In this episode, she also shares her meticulous researching and note-taking skills, that have helped develop her wisdom and understanding of what works best in the world of sync licensing.
5 Dos & Don’ts: Making First Contact With A Music Supervisor (Output)
Here’s a quick guide of the best & worst practices for artists to win a music supervisor’s ear and get their music discovered from the seasoned professionals behind “Music Supervision: The Complete Guide to Selecting Music for Movies, TV, Games & New Media.”
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