Justin Bieber finds his ‘Purpose’: Album Review | Infinite8music

Justin Bieber has never found a way to truly express him until his latest album, Purpose, released on 13 Nov 2015. When the outside world seems to constantly scrutinize this young, talented and successful musician who came onto the scene in his early teens, the attention centered towards his personal life never seems to end. However, Justin has found a way to truly speak up and escape from all the controversy with his spectacular new album.

Purpose delivers tracks with mesmerizing vocals and captivating instrumentals. The choice of who Justin worked with on this album seems to have payed off as he previously expressed that in is earlier years he didn’t have a 100% input on his projects. Working with the likes of Skrillex and Blood who produced hits such as Where are you Now, I’ll show you and Sorry was a wise choice. Skrillex is a music producer that brings an electronic radio commercial sound that matches Justin vocals perfectly.

Every song on this album is pure perfection with catchy and emotional storytelling cores at the heart. The Purpose movement is currently available on Youtube.

Infinite 8 review: 5 out 5 stars (Infinite Timeless)

Deadpool Movie to be Scored by Mad Max: Fury Road Composer Junkie XL

Tom Holkenborg aka Junkie XL.

Tom Holkenborg, aka Junkie XL is the most sought-after film composer at the moment. He has delivered great scores for many movies including 2015 Mad Max: Fury Road

Fans have recently heard Holkenborg’s music during Mad Max: Fury Road, as well as co-compositions with Hans Zimmer on The Amazing Spider-Man 2, Man of Steel and The Dark Knight Rises. He will also provide the Batman-specific pieces of music for Batman v Superman: Dawn of Justice.

Based upon Marvel Comics’ most unconventional anti-hero, Deadpool tells the origin story of former Special Forces operative turned mercenary Wade Wilson, who after being subjected to a rogue experiment that leaves him with accelerated healing powers, adopts the alter ego Deadpool. Armed with his new abilities and a dark, twisted sense of humor, Deadpool hunts down the man who nearly destroyed his life.

Ryan Reynolds stars as the title character alongside T.J. Miller as Weasel, Gina Carano as Angel Dust, Brianna Hildebrand as Negasonic Teenage Warhead, Morena Baccarin as Copycat and Ed Skrein as Ajax. The film will also feature the mutant Colossus, though Daniel Cudmore has confirmed he will not appear as the character. Reynolds has also expressed a desire that Hugh Jackman might cameo as Wolverine, though it remains unconfirmed as to whether or not he will actually appear.

Tim Miller is directing the movie from a script by Zombieland writers Rhett Reese and Paul Wernick. Confirmed to be rated R, Deadpool is scheduled for a release on February 12, 2016.

Sam Smith Spectre theme Writing’s On The Wall

Sam Smith stars in the video for Writing’s On The Wall

Sam Smith’s video for the new James Bond theme Writing’s On The Wall has today been released.

Smith penned the song for the latest Bond installment, Spectre, and stars in the Luke Monaghan directed video. The cinematic music is absolutely beautiful and echoes very well with the dark Bond portrayed by Daniel Craig. If this is a sign of things to come, lets hope Thomas Newman’s Spectre score will deliver a memorable theme for James bond.

Meet ‘Man from UNCLE’ Music Composer Daniel Pemberton

Daniel Pemberton in Abbey road studio

Fans of director Guy Ritchie movies know that music plays a huge part in the experience of the story. In the 2015 summer blockbuster The Man from UNCLE, theatergoers will hear one of the best scores and a slick and sexy soundtrack to help move the spy thriller along. Daniel Pemberton is the man responsible for the soundscape to capture the action, humor and story of the film, and we were lucky enough to speak with the talented composer in a brand new, exclusive interview! Keep reading to learn about Pemberton’s score, his work on the upcoming Steve Jobs project and more!

How did you get involved in The Man from UNCLE?

I had some meetings in L.A., and I had a meeting at Warner Brothers, and they mentioned the film. I was like, “That sounds great!” They asked me to put a show reel together. So I did this show reel of some of my music, but it was one of those show reels where you go, “[sigh] it’s not that good … I can send you a better one…I can do better music than this.” It was a lot of weird music I’d done for TV rather than film stuff. Basically, Guy listened to it and liked it, and he said it was the only show reel he liked because everything else sounded exactly the same. He said he’d heard every Hollywood composer’s show reel and he couldn’t tell them apart. So I had a meeting with him and they offered me the film like, “do you want to do it?” and I was like” Yep! [laughs]” and it just went from there. That was the beginning of the crazy journey of doing The Man from UNCLE.

How involved was Guy Ritchie with the music?

If you do a Guy Ritchie film…every Guy Ritchie film, the music is such an important part of how he makes movies. He really knows the importance of music and how much power it can bring to a film. For composers, it’s very exciting and very daunting as well because you have nowhere to hide with what you write. Everything you do is going to be up front. It’s got to be rally bold, it’s got to be really strong and it’s got to kind of feel unique, otherwise Guy won’t like it.

You work with the editor, an amazing editor called James Herbert who is brilliant and also very good with music as well – so I’ll work with him and he’ll come up ideas, I’ll come up with ideas , we’ll throw them around and try and make something happen. Then Guy will see it and tell you whether he likes it or not, and you work like that. You kind of work alongside him, keep coming up with new ideas and try and get Guy excited! Eventually he gets excited and it goes in the movie, then you have another one to do, and so on. Eventually, after a lot of work, you get somewhere where you have this really cool movie that just has all these awesome music scenes.

Guy doesn’t like anything that’s like a kind of “filler” piece of music. Every single piece has got to be like a standout track and he wants you to “reinvent the wheel” every time, so it’s hard work but the end result I think is really good.

Your score is full of wild percussion and other elements. What were your influences for this score?

The influence for that [percussion] is the phrase “put some mad bongos on it,” which was used every time we got stuck with a scene. We were like “Oh, just put some mad bongos on it.” It became this like joke, catchphrase in the edit.

Percussion is a big part of the score and that was like the logical conclusion. That big scene at the end, we just got hold of every piece of percussion we could in London. That piece is crazy. It goes in and out of time, a kind of decent into chaos, and then comes back together. We’ve even got a Hungarian milk churn on it. Everything from like huge bongos, little bongos-tiny bongos make an awesome noise that’s what I learned. The smaller the bongo, the cooler the noise. Guy, a big guy, was playing these tiny joke bongos, for kids, and they sound amazing.

With that, basically, Guy is always trying to surprise the viewers, keep them excited and that’s what we tried to do with that queue. We tried to score that scene very differently a number of different ways, but they all felt quite conventional. When you watch a film, you want to be surprised, like “what the hell is this?” because it makes you pay attention. IF you’re watching something and you’re like “oh, I know what’s happening here, it’s a chase…here’s some chase music,” it’s like well why go and see a movie? Because if you know what you’re going to get, it’s not very exciting. If you go to a film and it’s a surprise, then it’s always going to be exciting.

What was the process like, working with and/or around the songs in the film from the 1960s?

It was great! There’s really great tracks in this film. I love it when you have great tracks to sit alongside and sort of compliment what you’re doing and you try to compliment what they’re doing. We even worked with some of them. There’s a scene where Napoleon Solo drives a truck off of [a dock]… so for that instance, that was a great track by an old Italian guy called [Peppino Gagliardi], a brilliant track (“Che Vuole Questa Musica Stasera”), but it wasn’t doing enough for the scene. They wanted it to kind of have this climax, which the song didn’t have, halfway through it. So I ended up writing a whole string part for the song that we recorded and put on top of the song to give that scene a bit more of a push. So, you would get involved in the score like that, which no one would know. You watch the film, you’ll never notice this string part, but if you see it again you’ll spot it.

Like I said, music is such a big part of Guy’s films, so you get involved in every aspect.

How did get involved in the Steve Jobs movie?

[Director] Danny Boyle really liked my score for The Counselor, which is a film I did with Ridley Scott. He really liked it and was familiar with quite a lot of my work on British television. I had a meeting with him and pretty much at the end they were like, “okay, we want you to do it!” and I was like “oh, oaky, cool! Really? Great! [laughs].”

It’s so weird, because I’ve ended up working with these huge directors, Ridley Scott, Guy Ritchie and Danny Boyle, all of whom, music plays a really big part in their films. It’s quite weird-it’s great! It’s very exciting but it’s also very scary because each of those directors have such good musical legacies and you’ve got to really step up when you do one of their movies. You can’t just phone it in, you’ve got to do the best score you can.

Considering the project lost two stars and even a director before moving into production, was there any hesitation on your end before signing on?

Oh, no. When you read the script you were like “this is going to be brilliant.” The script is phenomenal. No. No hesitation for one second. Danny Boyle is one of the greatest directors, not only in Britain but in the world and the script is from one of the greatest script writers in the world [Aaron Sorkin]. I think all the other stuff is all based around- I mean, it depends how far into the hacked emails you’ve read – I think everyone involved in this project wanted to do this project.

The thing about this film is that it’s not a mainstream film in a number of ways. It’s more like a piece of theater. The concept behind how the story’s told is very original, very different and it’s going to be challenging in that aspect for mainstream audiences. That was the problem, I think, studios had and I think what Danny’s doing to it is incredibly novel and incredibly exciting and I look forward to you seeing it.

Daniel Pemberton

Are there any other projects you’re working on in the future?

No, not at the moment – everything else I’ll keep secret [laughs].

When I work on a film, I get really, really involved in it. It takes over my life so I can’t do that many at the same time. Man from UNCLE was about a year. Steve Jobs I’ve been on since January, probably working on it every day. I get really involved with the edit and work very closely alongside filmmakers. So it’s very tiring but I hope it means you get a more unique score.

Tyler Bates to score ‘Guardians Of The Galaxy: Vol. 2

Composer Tyler Bates in studio

Tyler Bates scored James Gunn’s “Guardians of the Galaxy.” (Photo : Twitter/@tyler_bates)

“Salem” music composer Tyler Bates is set to be on board and be in charge in the soundtrack of James Gunn’s “Guardians of the Galaxy: Vol. 2.”
According to Collider, Bates stands as the second composer to score a direct film sequel in Marvel’s Cinematic Universe, with Henry Jackman as first, scoring Joe Russo and Anthony Russo’s “Captain America: The Winter Soldier” and the upcoming “Captain America: Civil War.” Bates scores have been remarkable to fans, in addition to Peter Quill’s “Volume 1” mixtape.

Bates wrote some scores in advance for Gunn’s “Guardians of the Galaxy,” so that the director could shoot some scenes that synergize with the music. Hence, it is possible that the music composer will do the same in Gunn’s film sequel, as per Cinema Blend.

Aside from scoring Gunn’s “Guardians of the Galaxy” last year, Bates is also known to compose the music for Zack Snyder’s action fantasy film “300” and “Sucker Punch,” and Chad Stahelski and David Leitch’s action thriller “John Wick.” He is set to score Emilio Estevez’s drama film “The Public” and Greg McLean’s horror thriller “The Belko Experiment.”

In addition to Bates’ music in Gunn’s sequel, fans will see the comeback of Kraglin, Yondu, and Nebula, along with a possible storyline involving Quill and his father, who was not central in Gunn’s “guardians of the Galaxy.”

“Guardians of the Galaxy: Vol. 2” stars Chris Pratt, Zoe Saldana, Dave Bautista, Bradley Cooper (voice), Vin Diesel (voice), Karen Gillan, Michael Rooker, and Sean Gunn, among others.
Gunn’s “Guardians of the Galaxy: Vol. 2” is set to hit the big screen on May 5, 2017

Read more: http://en.yibada.com/articles/56529/20150824/guardians-galaxy-vol-2-film-update-salem-composer-tyler-bates.htm#ixzz3jr3eGXEA

Tyler Bates

via ‘Guardians Of The Galaxy: Vol. 2’ Film Update: ‘Salem’ Composer Tyler Bates Returns To James Gunn’s Film Sequel : Entertainment : Yibada.

Use classical music in films to avoid boring stuff: AR Rahman

He has spent over two decades in Bollywood as a music composer and singer. During his journey, he has bagged prestigious honours, including multiple National Awards and even two Academy Awards. But meet AR Rahman, and you are taken aback by his humility and calm demeanour. Post the launch of his new band, NAFS, HT caught up with the composer-turned-scriptwriter to discuss Bollywood music, the use of technology in film music, and much more.

In an earlier interview, you’d mentioned that there is a dearth of good music in Bollywood today. Has your opinion changed?
There’s some good and passionate stuff happening. I only think that classical music, which is something very important, is being left out. Understanding and implementing it in mainstream movies is challenging, and people are not able to take up that challenge. Because of that, a lot of boring stuff is happening. I think if music makers keep that challenge in mind, work can get better. That’s what I always try to do.

When one listens to your tracks, it’s not difficult to make out that they are your compositions. Do you fear becoming predictable?
I think predictable is not the right word; it is identification. Usually, I don’t like to be predictable. That’s what has made me survive for so long. I think identity is very important.

You have been keeping a low profile on the Bollywood music front.
I have been busy developing a lot of film scripts, so unfortunately, I had to make some sacrifices on that front. My first script for a Bollywood film is in the pre-production stage, and [we are] casting [for it]. It’s taken us four years to reach here. As far as Bollywood music is concerned, I am currently busy with the soundtrack of Imtiaz Ali’s film.

Read: Edward Maya wants to work with Priyanka Chopra, AR Rahman

Tell us about your new band, NAFS?
It took us a year-and-a-half to finish work on the band, which will be operated by Qyuki. It comprises nine members — eight vocalists and one bassist. We want to make this a performance band, and turn it into an ambassador of Indian music at international festivals. The aim is to spread our music. The members of the band can sing in western genres, as well as Hindustani and Carnatic music. There is a lot of emphasis on Indian classical. The band may also perform at a mall or a railway station.

Do you think the excessive use of technology in film music affects the musical growth of an artiste?
Yes, I agree with that. That’s why I am focusing more on live performances. However, I think technology is just a tool. It is the convenience and laziness of humans that leads to irritation. I think composers should be concerned about what they are putting out. When I make music, I take more time to remove things from my compositions. I listen to a song at least 100 times to remove what’s irritating and unnecessary. That is very important.

OK Kanmani audio: How AR Rahman, Mani Ratnam make magical music

Has your process of making music changed over the years?
It’s become more complicated now. That’s because I want to live with my songs all my life. I want to be proud of my work. Whether people like it or not, it’s been my formula.

Who are your favourite young singers?
There are many upcoming singers and independent artistes. I keep promoting them by putting up their works on Facebook. Among the current lot in Bollywood, I like Amit Trivedi and Sneha Khanwalkar (composers).

Jurassic World composer Michael Giacchino

Jurassic World

For those of you who are so far unaware, Michael Giacchino has composed the score for Jurassic World. Michael has described how much of a challenge scoring the film was as he tried to pay homage to John Williams who scored the first Jurassic Park film in 1993. However, from the music that we’ve heard so far, its clear that Jurassic World will have a beautiful sound to capture the audience.

The oscar winning composer has scored in movies like Star Trek, Up, Tomorrow Land and the Incredibles to name the least.

Interstellar Movie and Soundtrack

Interstellar is a movie that continuously grows on you as time transcends from one dimension to the other through space-time. After watching interstellar last night, I can conclude that this film is ambitious in every aspect and an unforgettable cinematic experience that will leave you captured by a gravitational black hole of memorable thoughts and questions but also a touch of true inspiration and appreciation of human survival and intelligence.

Interstellar directed by Christopher Nolan and Music by Hans Zimmer

Christopher Nolan and Hans Zimmer have given us a decade of visual and auditory heaven that only existed beyond the realms of imagination and theory. The great duo who teamed up with physicist Kip Thorne (who is master in the study of Einstein’s laws of relativity and produced the film), brought about a film firmly grounded in real science.

To bring the film to life, a human sound was needed, and this is where Hans Zimmer truly shines by making use of beautiful air and ambient sounds from instruments such as church pipe organs. This is in my opinion, another classic film and soundtrack that is yet to be fully appreciated, but only time will tell.

You can also find out how the movie was able to use real sounds for SFX.

Hans Zimmer justifies the ambitious quality of sound on interstellar.

Leah Picket reviews the Interstellar Soundtrack

Our Review: Interstellar has a great sound track and story (4 out 5 stars)

Batman vs Superman score

Hans in his studio

Hans Zimmer confirmed that he would score Batman v Superman: Dawn of Justice, when he revealed that he’d be spending some time in Detroit to work on it with director Zack Snyder. Zimmer has revealed that he will now take a dual approach to a film featuring two big superhero names.

“I’m going to be working with Junkie XL, who really is a great friend,” Zimmer told Spinoff Online. “He just finished the Mad Max score. I said to him, ‘You take care of Batman. I’ll do the other guy.’ And Zack loved that idea. It’s a way out.”The approach is fairly interesting. Since Zimmer composed the score for the last three Batman films, it would appear he plans to handle the Superman pieces of the score, while Dutch composer Junkie XL takes on the Batman portion. Junkie XL also composed some of the music for the last Superman film, Man of Steel, with Hans Zimmer.

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