The #1 blog for music that fits in film, games, & shows. Curating cinematic sounds, soundtracks, and more.
Bright Shining Light’s SM-01 leaves the usual song frame behind. After The Sun Is A Star, the New Jersey band moves into a nine-part instrumental record shaped by film influence, piano, electronics, drones, and orchestral color. The band describes the project as music made without the filter of lyrics, and that choice gives the album…
Yulyseus’ Nothing Under Heaven is ambient music that asks for patience before it gives anything back. The album does not deal in hooks or obvious peaks. It works through warm pads, long tones, low movement, and small changes that become important because everything else is so still. “Veillands” gives the record its first real mass….
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…
Ivelisse Del Carmen’s “Before I’m Done” opens with organ-like pads giving the song a warm, suspended floor. The first feeling is stillness, but not safety. Her vocal enters slowly, emotional and exposed, with the kind of force that does not need volume right away. It sounds like someone returning to a room they once had…
John Arter’s “Homegirl” starts with acoustic guitar that pulls the song open immediately. The playing has a country tint, but the track still feels current, with Arter’s vocal stepping forward strong enough to give it personality right away. “Homegirl” is playful by design. The song looks at wanderlust through books, imagined travel, far-off places, and…
Uinu’s “Running” starts with chords that already feel haunted. The mood is not introduced slowly. It is there from the first seconds, with keys tracing a dark melody and wet, atmospheric vocals hanging above the track like fog over cold water. The song has a cinematic pop shape, but its power is in the way…
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…
AnnaBelle Swift’s “Belong” has the sound of someone stepping into a new room and deciding not to leave. There is a country-folk tint in the writing, with enough Americana color to give the song a warm, open feel. The percussion keeps a steady groove, alive but not crowded, while the strings bring a wider cinematic…
Pocket Lint is Mark Heffernan’s project, built around short songs as little exhibits. He’s using “Cyanometer” as a door into his next album, Wunderkammer, a cabinet-of-curiosities concept where each track is meant to feel like an object you stop in front of. Heffernan talks about Romantic-period poetry in the background of the larger idea, Shelley…
Mashal MN is a solo producer in Saitama, handling the writing, arrangement, and mix alone in Logic Pro. He talks about film-score scale and neo-classical influence in the same breath, pulling from names like Hans Zimmer, Ramin Djawadi, Ryuichi Sakamoto, Gustavo Santaolalla, and Erik Satie. The Solar Cycle Fragments 1 plays like a short set…