The #1 blog for music that fits in film, games, & shows. Curating cinematic sounds, soundtracks, and more.
With “California Fields,” Michellar isn’t just releasing a debut single. She’s letting people into her own complicated history with California. After more than two decades living in the state, she’s seen both its beauty and its breaking points. That tension comes through in every word and every note. The track was first written on acoustic…
The Curse of K.K. Hammond isn’t here to play nice blues. She’s here to summon ghosts, drag them through the dust, and walk them straight into the fire. With her latest single, Walk With Me Through the Fire, the UK-based slide guitarist and singer-songwriter digs even deeper into her signature blend of Delta blues and…
Stefano Palmonari doesn’t need a film to tell a story. His album The Inscrutable Judgment of the Aenigmatic Observer does that all on its own. Built entirely by him, from composition to production: this orchestral solo project feels like the soundtrack to a gothic story you haven’t read yet, but somehow already know. There’s something…
“House by the Lake” is a simple piano composition, but don’t let that fool you, it carries a lot of weight. It’s a song that feels more like a personal memory than a piece of music, something intimate and quiet. Ruus isn’t playing for grand effect; he’s playing for something real, something that hits close…
Nick Boeder’s track Falling Alone, from his EP The Time We Wasted, is an introspective look at heartache and healing. With understated instrumentation and raw, emotive lyrics, Boeder taps into the vulnerability of a lost relationship while signaling hope for moving forward. His minimalist style, paired with his haunting voice, invites listeners into a space…
This month’s Cinematic Giants Spotlight dives into five standout tracks that stretch across genres but share one thing: emotional honesty. From glitchy electronics to stripped-back piano to folk with teeth, each piece carries its own weight and mood. Whether you’re scoring a film in your head or just looking for something that actually makes you…
There’s a kind of stillness you don’t get often in collaborative work—especially not between two composers, on two continents, in two time zones, with one piano each. That’s the setup behind Mirror, a new release from Hilgrove Kenrick and Sam Watts, written and recorded in a single day for Piano Day 2025. And despite the…
James Shumway isn’t trying to reinvent the piano solo. He’s doing something harder: making it personal without turning it into a cliché. His latest piece, To the One I Love, is exactly what the title says—a love letter, but told through the keys. Shot in Aspen Grove, Utah, with Mount Timpanogos in the distance, the…
There’s something unshakably honest about ALIVE, the seventh full-length album from Toronto’s John Puchiele Ensemble. It doesn’t beg for attention or over-explain itself. Instead, it lets its presence settle in slowly—ambient, orchestral, and deeply personal. The album unfolds like a quiet conversation between strength and vulnerability. Some of the compositions are scored, while others lean…
“Frameworks” is a collection of four tracks that shows a clear mix of different influences, and it’s refreshing to hear how they all come together. The composer, producer, and guitarist behind this release brought in a few key collaborators to help shape the sound, including bass players Alex Burak and Matt Copson, who both bring…