If it’s true that two heads are better than one, then hard-ass, high-tech action scoring might offer no better proof than Keith Power and Brian Tyler’s collaboration on “Criminal.”… It’s a score that might just mark the mostly distinctively offbeat score for two rhythmically aggressive musicians, fusing their talents to new heights of creatively futuristic adrenalin. – Daniel Schweiger, Film Music Magazine
Film music critic Daniel Schweiger sat down with co-composers Brian Tyler and Keith Power to talk about their latest scoring collaboration on the Ariel Vromen-directed feature film, Criminal. If you’ve never read a thing about the frequent music collaborators, then this is the interview to hear! Read the write up and listen to the full interview over at Film Music Magazine! Criminal (Original Motion Picture Soundtrack) is out Friday, April 15 on Lakeshore Records (pre-order here)!
Summit Entertainment and Millennium Films present CRIMINAL in theaters April 15!
“Richey’s embodies a bicycle as driven by Venus herself, full of peddling, uptempo rhythm, bell-ringing percussion and effortlessly gliding melody that knows just how to hit its sneaky, jokey bumps in the right fashion, while also playing some hurt hearts.” (Daniel Schweiger, AssignmentX) Read the full article at AssignmentX.
Craig Richey’s latest soundtrack album, Girl On A Bicycle, is about an Italian tour bus operator, Paolo (played by Vincenzo Amato) who proposes to his true love, Greta (played by Nora Tschirner). Due to a series of unfortunate and comical events, including a guilty conscience, Paolo ends up caring for a French girl, Cécile (played by Louise Monot), with whom he grew an infatuation and subsequently runs into with his tour bus. The fact that she is a single mother with two children only complicates the matter further.
Film music journalist Daniel Schweiger has selected Draft Day (scored by John Debney) as part of his April Soundtrack Picks shortlist at Film Music Magazine.
“But darned if Debney’s propulsive, ever-intensifying score doesn’t make you think that you’re listening to the music for the be-all end-all game, right down to the big pitch, sustained anticipation, and winning play of a soaring orchestra – here passed to the tune of millions of dollars.” Read the full article at Film Music Magazine.
Schweiger writes for the On The Score section at Film Music Magazine and has interviewed the top film composers in the business, including Stephen Endelman (Rob The Mob), Clint Mansell (Faster, Smokin’ Aces), Cliff Martinez (Drive), Brian Reitzell (Boss), Brian Tyler (Transformers Prime), and John Debney.