Dedicated to reviews and news of music for film, TV and games

Monday, November 30, 2009


Me & Orson Welles
Music by Various Artists
DECCA 5323762 (EU)
17 Tracks 56:54 mins

The new film from Richard Linklater recounts the meeting of 17-year-old Richard Samuels (played by High School Musical's Zac Efron) and the young director Orson Welles (played remarkably by Christian McKay) in 1937, when the former applies for the role of Lucius in Broadway's first Shakespearan production, Julius Caesar.
The soundtrack album, released today, is a collection of numbers featured in the movie, with originals, featuring the likes of Benny Goodman, Louis Armstrong, County Basie, Ginger Rogers, The Mills Brothers, Fred Astaire and Tommy Dorsey; and new songs by Jools Holland, featuring vocals by Eddi Reader (incidentally, both make cameo appearances in the film).
The film's composer, Michael J. McEvoy, also has a couple of tracks on the album (not underscore, but new source cues, written in the style of the period); and there are a couple of bonus tracks by James Langton & his Solid Senders.
A nice collection of nostalgia, if that's your bag.

Thursday, November 26, 2009


The Red Canvas/Moving Images Suite
Music by James Peterson
MovieScore Media MMS09025
26 Tracks 65:27 mins

MovieScore Media have the nice habit of introducing me to new composers, the latest being James Peterson, whose score for the new fight movie from directors Kenneth Chamitoff and Adam Boster, The Red Canvas, has already won the award for "Best Feature Soundtrack" at the Action on Film International Film Festival, and I'm pleased to say that here we have a large orchestral score for a change, in the finest Hollywood film noir traditions.
The Red Canvas score features on the first 18 tracks of the album, the remaining 8 being given over to the same composer's Moving Images Suite, which is described as an "ode to film music."
But first, The Red Canvas, and, after a brooding opening the music of "Out of the Darkness builds into a huge dramatic piece of great power. The 60-piece string section really comes into its own in the emotional "Awaiting the News," followed by the initially powerful "Death and Resurrection I," before the strings re-enter, once more with emotion, continuing into "A Great Fighter," with a reprise of the emotional main theme from "Awaiting the News." "Jazz Cafe" introduces an urban interlude, complete with solo jazz trumpet, and string accompaniment, whilst "Grease Monkey Prelude" opens with flute over hushed strings, before taking a bigger, darker turn. This is followed by "Grease Monkey Brawl," an exciting and powerful piece of action writing, then another reprise of the main theme again in "Maria Cries; which continues in an epic Rozsa-like treatment in "Calling All Gladiators," and more noirish in "The Meeting."
"Death and Resurrection II" offers more noirish dramatics, before taking a sympathetic turn, with a mournful variation of the main theme playing out in "Bills and Tears." "Jungle Rumble" follows powerfully, all brass and percussion. "Prayer" sees the main theme rising to almost spiritual heights, continuing in increasingly dramatic mode in "A Not-So-Conjugal Visit." The final cue, "Ballet for Brawlers," is a tour-de-force of powerful action scoring, based largely on the opening theme, worth the price of the album alone.
I know some of my acquaintances are pretty unmoved by much of today's film scoring, considering it sub-standard to the music of so many Hollywood greats of yesteryear. Well, I would say to them, check this one out. They may well like what they hear.
The composer's Moving Images Suite begins with a flourish with the "Moving Images Fanfare," which is followed by the breezy "The Sorcerer," which reminds somewhat of the great Jerry Goldsmith's theme from "The First Great Train Robbery." "Americana" offers traditional brassy nobility, whilst the largely minor-keyed "A Quirky Machine" reminds a little of John Williams' "March of the Ewoks." "Moonlit Desert Chase" flows busily, but is rather a restrained affair for a chase, though it does have its moments. After all this business, it's nice to take a step back with "Pastorale," the lengthiest and loveliest track of the suite, which is followed by "Transylvania: 1955" which, after a low-key, eerie opening, erupts into menacing, Gothic-styled, action.
The suite concludes with the "Epilogue," which reprises the "Americana" theme, before ending in a flurry, with a variation on the opening fanfare.
An enjoyable concert piece then, much lighter fare than the score that accompanies it on this album, but which makes for a nice contrast. If his work is able to remain grounded in the past like this, I really look forward to hearing more from this composer in the future.
Got to for samples and details as to where to obtain the album on CD, or as a download, if you prefer. You can also find a trailer for The Red Canvas there.

Thursday, November 19, 2009


Music by Richard Marvin
Costa Communications Advance CD
12 Tracks 38:43 mins

The composer's publicists, Costa Communications, kindly sent me this advance copy of Richard Marvin's score for Jonathan Mostow's sci-fi thriller Surrogates, which stars Bruce Willis. The composer worked on Mostow's previous films, the best known probably being U-571, and here combines 120 musicians plus electronics to create a score that commences with the darkly propulsive "Drive to Club" and continues with murky goings-on in "Cam's Apt/Greer's Apt."
The pacy and dramatic "Warrant/Foot Chase" follows, with some effectively chilling dissonance at its centre.
Other tracks of note include the somewhat poignant piano and strings of "I Want You;" the powerful conclusion of "Stone's Headache," with its growling brass; the fateful "Operation Prophet," with its pounding percussion; a welcome reprise of the opening theme in "Gotta See Your Boss;" and "Shift Enter," where things come to a powerful and dramatic head.
Marvin's music can also be heard on the new CBS series Three Rivers.
Surrogates is available on CD from Lakeshore Records and can also be downloaded from iTunes.

Wednesday, November 18, 2009


Night of the Creeps
Music by Barry DeVorzon
La-La Land Records LLLCD 1107 (US)
26 Tracks 71:26 mins

La-La Land Records certainly know how to cater for the cult cinema audience, one of their latest presentations being the premiere release of Barry DeVorzon's synth score to Fred Decker's 1986 comic horror Night Of The Creeps, another alien invasion story, in which the would-be-conquerors of the Earth use slug-like organisms to attack the brains of their hosts and turn them into zombies.
As usual with these releases, the album is beautifully turned out, with many colour stills from the film, plus an extensive essay by Daniel Schweiger, and bonus tracks that include songs, new and old, used in the film, including The Platters' "Smoke Gets in your Eyes," as well as a near 9-minute interview with the composer, who also contributes to the booklet notes.
As for the score, Dekker didn't have the budget to go with the symphonic approach he imagined when writing and directing the film so, mindful of the impact electronic scores were making at the time, followed that path, hiring DeVorzon to produce the music synthetically. Well, you know I'm not a lover of synth scores and the results seem terribly dated now, but the suspenseful and threatening droning is effective enough, I suppose, and there is some light relief with a nice little romantic theme present in "I'm Your Bud" and "Will You Go With Me?" as well as some beat-driven source in "What's The Tux For?" And, once more the film's fans are catered for by the inclusion of the slithery effects for the alien slugs in a number of the tracks like "The Bathroom Stall," which is later presented minus their presence.
This limited edition of 200 units can be sampled and ordered from

From Top Dollar PR:-

Music Composed by Jesper Kyd, Sascha Dikiciyan,
Cris Velasco, Raison Varner and Tim Larkin


Sumthing Else Music Works, through its licensing relationship with Gearbox Software, LLC, proudly presents the Borderlands Original Soundtrack featuring the original musical score from the highly acclaimed video game Borderlands(TM). Developed by Gearbox Software, Borderlands(TM) delivers this year's most explosive and entertaining role-playing shooter (RPS) by combining the most addictive gaming elements found in action-packed first-person shooters with the deep character development of role-playing games (RPG). The album includes
music from the game composed by Jesper Kyd, Sascha Dikiciyan, Cris Velasco and Raison
Varner as well as bonus music tracks by these artists and Tim Larkin. The Borderlands
Original Soundtrack is released on December 8th to retail outlets through Sumthing
Else Music Works, and will be available for digital download on Sumthing
Digital and iTunes®.

"The Borderlands soundtrack was a tremendous collaborative effort between Cris Velasco
and Sascha Dikiciyan, Jesper Kyd and myself," said Borderlands Audio Director Raison
Varner. "From the very beginning we wanted to provide a score to Borderlands(TM)
that would stand out as unique and fresh. Borderlands spits attitude from the opening
scene until the end of the game and we needed to match that energy. I hope that
listeners will enjoy the mix of ethnic instrumentation, heavy electronic influences
and driving beats that help keep Borderlands(TM) in your face all the way through!"

Borderlands OST Tracklisting:
1. Prelude (Jesper Kyd)
2. Welcome To Fyrestone (Jesper Kyd)
3. Enter Skag Gully (Raison Varner)
4. Fighting Off The Skags (Raison Varner)
5. Removing The Bandit Threat (Sascha Dikiciyan and Cris Velasco)
6. Traversing The Deep (Raison Varner)
7. Fighting Sledge's Minions (Sascha Dikiciyan and Cris Velasco)
8. Welcome to The Bunker (Sascha Dikiciyan and Cris Velasco)
9. Smoking Out The Bunker (Sascha Dikiciyan and Cris Velasco)
10. Burning Rubber and Shooting Bullets (Sascha Dikiciyan and Cris Velasco)
11. The Junkyard Vista (Jesper Kyd)
12. Welcome to The Trash Coast (Raison Varner)
13. The Rakkhive Emerges (Raison Varner)
14. Assaulting Krom's Canyon (Raison Varner)
15. Battling Krom's Minions (Raison Varner)
16. Fighting Krom and His Gun (Sascha Dikiciyan and Cris Velasco)
17. Trash The Bandits (Sascha Dikiciyan and Cris Velasco)
18. Trash The Bandits Some More (Sascha Dikiciyan and Cris Velasco)
19. Welcome To The Wastelands (Jesper Kyd)
20. Traveling To The Vault (Raison Varner)
21. Destroying the Destroyer (Raison Varner)
22. Bonus - Bring Your Guns (Jesper Kyd)
23. Bonus - Borderlands (Sascha Dikiciyan and Cris Velasco)
24. Bonus - The Old New Haven (Tim Larkin)
25. Bonus - Exploring the Mine (Tim Larkin)
26. Bonus - Exploring Overlook (Sascha Dikiciyan and Cris Velasco)
27. Bonus - The Threat At Overlook (Sascha Dikiciyan and Cris Velasco)

Featuring extensive co-op integration that seamlessly blends the single-player and
multiplayer experiences, Borderlands(TM) allows players to freely join or leave
each other's games at any time for collaborative mayhem or the freedom to choose
to play in full single-player mode to experience the world on their own. Borderlands(TM)
also includes a groundbreaking weapon generation system that offers a near infinite
variety of weapons to the player. Borderlands(TM) combines these features with addictive
non-stop action to form a breakthrough experience that challenges the conventions
of modern shooters and RPGs.

For more information on Borderlands, please visit

For more information on Sumthing Else Music Works and its complete catalog of video
game soundtracks, please visit and

Monday, November 16, 2009


The Soloist
Music by Dario Marianelli (after Beethoven)
DECCA 178 9282
15 Tracks 47:51 mins

Based on a true story, director Joe Wright's latest sees an LA journalist's attempts to aid a homeless, mentally ill, Julliard-trained cellist, and stars Jamie Foxx and Robert Downey Jr.
The music is credited to Dario Marianelli, but consists largely of his adaptations of the works of Beethoven. Of course, the composer has integrated classical pieces in his work for Wright before, but at least then original score enthusiasts had some of his own themes to cling on to. Here, however, there's nothing really for them to appreciate, save for the skill of Marianelli's adaptations which, it has to be said, are entirely appropriate in the context of the film's plot and lead character.
Of course, if you are swept up by the film's plot, this album will make for an excellent memento, but as a stand-alone item, classical fans will most probably already have the Beethoven originals, and original film score fans will most likely give it a miss, unless they are inspired enough by the use of the music in the film to use it as an intro to the work of the great composer.
Whatever, it should be said that the music is performed most excellently by the Los Angeles Philharmonic and Cellist Ben Hong and, in closing, I would point you in the direction of, where you can find absorbing interviews with both composer Marianelli and director Wright on the film's music.

Sunday, November 15, 2009


Music by Christian Henson
MovieScore Media MMS-09023
21 Tracks 48:19 mins

Released to UK cinemas last month, this Christopher Smith-directed horror-thriller, stars Home & Away's Melissa George and features music by Christian Henson, who previously wrote the Ivor Novello Award nominated score for Smith's Severance.
Henson mixes orchestral and electronic elements together and, as the album boldly states on the cover, features the voice of Dot Allison. In fact, it's Allison's efforts that prevent this score from being just another run-of-the-mill contemporary genre effort, for there's a good dose of the usual uninspired mystery, suspense and brooding menace, but sometimes enhanced by Allison's vocals, solo, or possibly processed to double as choir, to lift things a notch or two. Of course, there are the usual action moments, the composer letting loose with some pretty intense electronics, percussion and voices at times.
The opening "Lullaby," a dreamy piece, opening with just solo piano and Allison's vocal, is pretty nice however, at least to start with, before the rest of the orchestra enter to give things a much darker, mysterious feel; and there's more lightness with the tinkly piano of "Let Her Go." "Lullaby" is briefly reprised at the beginning of "Returning Home," things then taking a more cacophonous turn, before a gentle conclusion, with "The Driver" ending things on an initially dreamy note with piano and voices, before intensifying to close.
Go to for samples, to view the official film trailer, and for details of how to purchase your copy on CD or as a download.

Friday, November 13, 2009


Sorry for the shortage of reviews this week - I've been up to my eyes in earning a living, but hopefully will be back on track in the next few days. In the meantime, here's a news item from Costa Communications just in:-

Juno Composer Mateo Messina Presents

"Symphony of the Superhero"

Proceeds Benefit Seattle Children’s Hospital

(Seattle, WA) – Grammy Award-winning composer, and founder/chair of The Symphony Guild, Mateo Messina, along with DJ Cut Chemist (Ozomatli/Jurassic 5), violinist Lili Haydn, NW Symphony Orchestra, NW Chorale, Bells of the Sound, NW Boychoir, Batucada Brazilian Collective, John Curley and more joined together to create “Symphony of the Superhero.” All proceeds from this concert benefit uncompensated care of Seattle Children’s Hospital.

Although he has not attained the mythical proportions of a Greek or Roman god, and is not “faster than a speeding bullet,” “Juno” composer (and Seattle native) Mateo Messina, is, in his own way, a superhero. He would be embarrassed to be labeled in such a way, but to the children whose lives he has changed through music at Seattle Children’s Hospital, he has a power greater than that of most mortals. For more than a decade, Messina has written a new symphony every year, which he performs at Benaroya Hall to raise money for families with children in the hospital.

Messina’s connection with the hospital began when the daughter of a friend passed away from a brain tumor. Not long after, in 1997, he started playing the piano in the hospital’s playroom. While there, several children joined in on piano duets and sang along. Messina returned the next week. And the next. And the week after that. He began writing checks from the proceeds of his concerts to help raise money for the hospital. He formalized his contributions five years later, creating The Symphony Guild. The Symphony Guild has since raised money for Uncompensated Care at Seattle Children’s Hospital. It allows families in need of assistance to get care for their hospitalized children, whether they are insured or not. Last year, his concert raised nearly $200,000. The funds raised each year places the Symphony Guild on the “Top 25 Fundraising Guilds” list at the hospital. Although Messina's music career has taken him to Hollywood California, he continues to play for the children during his monthly visits to his hometown of Seattle.

Seattle Children’s Hospital is ranked as one of the best children's hospitals in the country by U.S. News & World Report magazine, Children’s serves as the pediatric referral center for Washington, Alaska, Montana and Idaho. Children’s is a private nonprofit providing excellent patient care with compassion and respect, and conducting cutting-edge pediatric research. Since they opened their doors in 1907, they have maintained their founding promise: to provide needed medical care to all children in their four-state region – regardless of a family's ability to pay. The need for such uncompensated care has risen dramatically in recent years. In 2001, they provided $24.9 million in uncompensated care. In 2008, the sum topped $86 million, and they expect to provide more than $100 million in uncompensated care in 2009 to families in need and to cover Medicaid payment shortfalls. For more info on Seattle Children’s Hospital please visit

Tuesday, November 10, 2009


Child's Play
Music by Joe Renzetti
La-La Land Records LLLCD 1108 (US)
14 Tracks 64:56 mins

For fans of the Chucky franchise, this limited edition release from La-La Land Records will be a treat, featuring as it does Joe Renzetti's synth score for the film that began it all back in 1988, Child's Play, together with three bonus tracks that include "The Chucky Song," written by Renzetti and Simon Stakes, which is an interesting little oddity that was composed for the end credits, but which the film's producers hated and was therefore unused.
Of course, being largely a synth score, the music has limited appeal for this writer. Much of its drones on endlessly, but we do have some pretty furious action moments along the way, the composer employing metallic percussion to enhance his writing. In the midst of this mix of drones and savagery, however, Renzetti actually comes up with a pretty nice "End Credits" theme, with a kind of tinkling music box theme, overlain with wordless vocals.
The accompanying booklet is a real collectors item too, with plenty of stills and Brian Satterwhite's detailed notes, including a cue-by-cue guide to the music.
Go to for samples and to order your copy of the CD, but hurry, there are only 1200 available!

Saturday, November 07, 2009


Music by Michl Britsch
MovieScore Media MMS09024
19 Tracks 71:08 mins

Regular visitors will known that I always like to promote the work of composers hitherto unknown to me, but they will also know that I am largely a fan of melodious music. It is therefore very difficult for me to recommend this new release of Michl Britsch's score for the recent sci-fi/horror Pandorum. The film itself has not been critically well received and certainly Britsch's efforts couldn't have helped.
Likened to Alien, the film could perhaps have done with a Jerry Goldsmith, who did so much for that classic (even if his music was not presented as originally intended). Instead, what we get can hardly be called music, to my ears at least. Mostly I would describe this mix of synths, orchestra, electric guitars and percussion as noise, which becomes very tiresome over this lengthy disc. Granted, there are some pulse-pounding, percussive moments, but these are not worth sitting through the rest for. But don't take my word for it, check out the samples at, and if you like your music challenging in the extreme, this may just float your boat. You can of course also find details there of how to purchase the CD. The album has also been made available for download from German soundtrack label Konigskinder Music, who collaborated with MovieScore Media on this release.

Thursday, November 05, 2009


Space: 1999: Year 2
Music by Derek Wadsworth
Silva Screen Records SILCD1223 (UK)
21 Tracks 79:29 mins

Year 1 of Gerry Anderson's predominantly live-action sci-fi series Space: 1999 was a bit of a hotch-potch in terms of the underscore. Anderson regular Barry Gray of course provided much of the music, but other composers worked on the show and some music was used from other areas. This proved to be not only the last time Gray worked for Anderson, but also the last time he composed for film or TV; for a new American producer, brought in by the network, was charged with re-vamping the show, including adding an intriguing new alien character, Maya (played by Catherine Schell), to the cast, and Derek Wadsworth, largely known for his arranging and conducting work in the pop field, was brought on board to compose the music in a new, more contemporary style.
For its seventh Anderson release, Silva Screen has issued a CD of highlights from Year 2 of the show, which first aired in September 1976 and, whilst we wait, seemingly in vein, for Barry Gray's splendid music for Stingray, it is this that I turn my attention to.
If anything, Wadsworth's new main theme for the show is even more propulsive than Gray's original, really getting things off to a bang. And there's plenty of pacy action scoring throughout t subsequent tracks, with his mix of orchestra, synths and rhythm section. At other times, there are lighter moments, like the easy-going pop of "We're All Aliens," "Make Me a Pretty Noise," "Alpha Ahoy!" and "Sore Loser;" the loungy "The Exiles Emerge;" the ethereal "Garden of Vega;" plus a fair spattering of tension and suspense; and even some jazz, delivered smokily in "The Emporium," and at breakneck speed in "Seduction." Some of the tracks are suites from the various episodes, which of course makes for much variety within each offering.
An entertaining, if somewhat dated, listening experience then.
The accompanying booklet is of the usual high quality, with notes from the composer, who sadly died last year, making this something of a tribute to a man of few scores, this show being his legacy, as far as screen music followers are concerned.
Go to for samples and to order your copy of the CD, or download tracks.

From Costa Communications:

Robert Anthony Navarro’s Original Music in Fast & Furious Fuels Audience Demand for Song Not Previously Available on Soundtrack

Now Available Exclusively on iTunes

Los Angeles, CA- Composer/songwriter Robert Anthony Navarro’s original song “Clown Posse” is featured in the 2009 action film Fast & Furious but was not on the spring 2009 soundtrack. His track has since garnered tens of thousands of YouTube hits and now, by popular demand is available exclusively on iTunes. The song is still not officially on the soundtrack but due to the advent of downloading, consumers can experience music heard in films. Robert Navarro explains “through social networking sites like Youtube, I have been able to reach an audience and interact with a new fan base outside of film, TV, or videogames; just a few years ago this wouldn’t have been possible”

This year, Navarro’s music is featured on a top selling video game, blockbuster movies, and the Super Bowl’s most popular commercial spot. He has written over 1500 tracks for projects and the APM Music library (subsidiary of EMI and UMG). As a songwriter, Robert Anthony Navarro has collaborated on pop songs with legendary Academy Award winning lyricist Hal David. He recently co-wrote music for the thriller “For Sale By Owner” starring Kris Kristopherson. Navarro also scored the documentary “The Recess Ends,” with Takeshi Furukawa. In addition to composing in all mediums, Navarro collaborates as a singer and voiceover talent on the popular Bioware videogame “Dragon Age: Origins.”

Navarro has reinvented the recording artist by circumventing the traditional record label. He celebrates alternative, punk and metal music for “Big Fish,” an audio loop project he produced with mixing engineer Jim T. Hill (Mad Men, The Sixth Sense) and Gary Ferguson (drummer for Stevie Nicks and Gary Moore). The audio clips are available to create unique loop compositions.

Robert Anthony Navarro was born in New York to a Latin entertainer and a Playboy Bunny, and he is the Godson of Latin music legend Tito Puente. Navarro studied both rock and classical guitar and later attended Cal State Northridge to study Music Theory. He eventually began singing on various CD projects, as well as producing, recording and composing CDs.

Monday, November 02, 2009


Van de Velde: Die Vollkommene Ehe/Das Leben zu Zweit
Music by the Peter Thomas Sound Orchester
All Score Media ASM 029/CSC 004
24 tracks 42:28 mins

The swinging sixties was a time for discovery and the new permissive society in turn spawned the sex education movie, with Germany leading the way, introducing more nudity to the cinema screens than had ever been seen before. Two of these films were adapted from a 40-year-old book by Dutch gynecologist Theodoor Hendrick van de Velde. To use their English-language titles, 1968's The Perfect Marriage and the following year's Every Night of the Week.
The scores for these films were provided by the dependable Peter Thomas and his "Sound Orchester." Some of his tracks from the first film were released on an extremely rare Canadian soundtrack LP, but the remainder of the score, plus the music for Every Night of the Week has only just come to light and so this is premiered here.
Rather than presenting the music in film order, the tracks are integrated, presumably to make for a more satisfying listening experience, but which is not ideal for purists. And it should be said that these are not film scores, in the dramatic sense, rather a series of easy listening tracks to provide a fun accompaniment, rather than anything remotely sleazy or, by contrast, cold and scientific.
The CD gets under way with the catchy "Natascha (End Title)," with its Edda-like wordless female vocal and welcome trombone solos (whatever happened to them - they used to be standard fare in the '60s - now the instrument, whilst a vital part of the orchestra, is seldom heard on its own). The poppy, uptempo "Love Sequence" follows, again with vocal contributions, as are standard, either solo, or in combinations throughout this disc. More uptempo pop follows in "Love Maker" and "Embrace." "Gisela's Seduction" slows things down considerably, with "Teach Me, Teacher" offering the kind of music often found in seductive scenes from Italian movies, composed by the likes of Morricone et al. "Big Love" has a more ethereal quality, with solo flute and harp added to the heavenly voices. A different, lighter arrangement of "Natascha (Main Theme)" follows, and then "The World's History" unfolds with the addition of harpsichord. A beat track follows in the form of "Cin-Cin-Mon Marie: Nu" and then we have a jazzy source-style track "Lord Esquir's Party Tune." The brief "Hurdy-Gurdy" follows, with its somewhat off-key organ solo.
The sprightly "The Grand Day" leads into the breezy "Love Bureau" and somewhat light-hearted "First, First Love," followed by the seductive guitars of "Eternal Song." "Love" is a soft, romantic, flute-lead piece, with the somewhat disjointed "Girl and Teacher" following. We enter a world of smoky jazz with "Shaker," followed by the easy confidence of "Playboy."
More easy-going erotica follows in "Tivoli," complete with female voices and yes, more trombone solos, contrasting with the purposeful brass of "Rookies." "Coitude Melanchodelic" is almost as spaced-out as its title suggests; the album closing on a brief variation on "Here Comes the Bride" for "The Marriage."
Whilst this album will probably not appeal to serious film score fans, especially of the Hollywood style, if you like European film music of the sixties, or maybe if you're a James Last fan, this will very likely appeal to you. It's undeniably a very tuneful and infectious little disc.
Accompanying the CD is a colourful, tastefully done booklet, featuring stills from the film, plus notes on the films and the sex education movie genre in general. Go to for samples and to order your copy.


Assassin's Creed II Original Soundtrack available November 16th

Los Angeles - November 2nd, 2009 - Award-winning composer Jesper Kyd has created
an epic soundtrack for Assassin's Creed II, the sequel to the fastest-selling new
IP in video game history. Following his atmospheric score for the original Assassin's
Creed, Kyd takes the music in an adventurous new direction and crafts an immensely
diverse, melodic and progressive musical pallete featuring acoustic and symphonic
orchestrations with emotional depth and diversity. The original score was recorded
with A-List musicians and a Hollywood orchestra and choir at the world-renowned
Capitol Studios. The Assassin's Creed II Original Soundtrack will be available for
digital download from popular music stores on November 16th.

Assassin's Creed IIfeatures a new hero, Ezio Auditore da Firenze, a young Italian
noble, and a new era, the Renaissance. The game tells an epic story of family, vengeance
and conspiracy set in the pristine, yet brutal, backdrop of a Renaissance Italy.
Ezio befriends Leonardo da Vinci, takes on Florence's most powerful families and
ventures throughout the canals of Venice where he learns to become a master assassin.
The music propels the action, captures the allure and mystery of the story and immerses
players in the breathtakingly detailed settings.

Patrice Desilets, Creative Director at Ubisoft: "Jesper Kyd's score for Assassin's
Creed II brings players into the Italian Renaissance by providing a true sense of
depth for the poignant moments, while also giving a jolt of adrenaline to the action-packed
sequences. We are thrilled to have Jesper Kyd back with us in making Assassin's
Creed IIan epic title on all levels."

Jesper Kyd: "We created a unique musical identity for Assassin's Creed IIthat reflects
the character and story of Ezio and elevated the music, both in terms of creativity
and live production, to a whole new level."

Assassin's Creed II is the product of over two years of intensive development by
the original creative team behind the Assassin's Creed brand. Assassin's Creed
II is scheduled to launch on November 17th, 2009 for the PLAYSTATION® 3 computer
entertainment system, the Xbox 360® video game and entertainment system from Microsoft
and the PC. For more information about Assassin's Creed II, please visit

About Ubisoft:
Ubisoft is a leading producer, publisher and distributor of interactive entertainment
products worldwide and has grown considerably through a strong and diversified line-up
of products and partnerships. Ubisoft has teams in 28 countries and distributes
games in more than 55 countries around the globe. It is committed to delivering
high-quality, cutting-edge video game titles to consumers. For the 2008-09 fiscal
year, Ubisoft generated sales of 1.058 billion euros. To learn more, please visit

© 2007-2009 Ubisoft Entertainment. All Rights Reserved. Assassin's Creed, Ubisoft, and the Ubisoft logo are trademarks of Ubisoft Entertainment in the U.S.
and/or other countries.