The #1 blog for music that fits in film, games, & shows. Curating cinematic sounds, soundtracks, and more.
Mary Knoblock’s Peach opens with “Mustang Clover,” and the album immediately feels close, damp, and emotional. The piano has a soft touch but a sharp taste in the notes. Her vocal enters almost right away, wet and atmospheric, pulling the song into a cinematic place before the strings arrive. When they do, they follow the…
karkinoma’s façades has the nervous energy of a record made after the polite version of life stopped working. Dimitri Turlotte made it alone in a home studio, writing, recording, producing, mixing, and mastering the album himself, and that solitude gives the music a strange pressure. Nothing here sounds social. Even the brighter songs seem to…
Michael J McEvoy composed and performed the score for White Gold, a short film by Luke Bradford. The film was built out of Bradford’s time documenting people living with albinism, and the story is framed around injustice, endurance, and faith. The soundtrack is released through Rezzonator Music as a standalone listen, not just a film…
Two-time Grammy–winning composer Carla Patullo is in the rare position of watching the same record open up twice. Last year Nomadica introduced itself as a dense, grief-struck collage for strings, choir, and voice, written in memory of her mother. Shortly after it picked up the Grammy for Best New Age, Ambient, or Chant Album, she…
Sometimes Julie have spent five records working as a full band, folding classic and alternative rock into a tight live setup. On Transition, singer-songwriter duo Monica Sorenson and Rick Walker zoom in on the most direct parts of that project: piano, voice, and a small circle of players from their San Diego orbit. It’s their…
David Kovacs writes from that place he describes in his own notes: stuck between a busy inner world and a loud outside one, trying to leave “realism” without losing the plot completely. The album pulls ideas from minimalist classical music, electroacoustic pieces, and modern opera, but it feels closer to a single long mood study:…
The Infernal Legion Ensemble writes the kind of orchestral music that sounds like it already belongs to a franchise. You can hear the Two Steps From Hell and modern trailer DNA in there, but the project sticks to old-school orchestration: full strings, brass, choir, and live-feeling drums, built like something that started on paper before…
Soek is the outlet for composer Grant Borland when he steps away from briefs and trailer work and writes for himself. Under his own name he scores ads, films and TV, but with Soek he pares things down to piano, a few electronic touches, and live strings from players in Croatia, giving him a small…
Steven Price’s score for The Running Man runs on a blend of synth work, electronic textures, rock-leaning energy, and orchestral writing. The album stays inside that mix from start to finish, shifting emphasis depending on the cue but never breaking away from that core palette. The synths are the most immediately recognizable part of the…
Bright Shining Lights is a New Jersey project built around cinematic rock. The band writes like they’re scoring a story instead of chasing a playlist slot. The Sun Is A Star is their second full-length, and it plays like one long arc: space, distance, isolation, contact. It’s built at home in a basement but it…