Kenny Mac – Rise and Fall

Meet composer Kenny Mac, who has released a mini-album Rise and Fall, which is actually the first of four in a series, known as “The Rebirth Series”. There’s five tracks total on the release, but three are over three minutes long, with the title track “Rise and Fall” being just over eight mintues in length. All of these tracks were written and composed by Kenny Mac.

rThe artwork is illustrative of a phoenix, a bird associated with the theme of rebirth and so on.

Rise and Fall starts with a certain emotional tone and then explores other facets of emotion throughout the rest of the track.  The female vocals also help to bring this out even more.

You can purchase the album on BandCamp and also follow Kenny Mac at http://www.kennymaconline.com

The Hit House releases two albums and an interview with

Los Angeles, CA, April 25, 2016 – Top custom music and sound design company The Hit House has released two brand new albums concurrently this week: “RE:ACTION RISE” and “RE:ACTION DRONES.” The albums, created and produced by composers Scott Lee Miller, Dan Diaz, William Hunt and Martyn Corbet, are the latest releases from The Hit House’s extremely successful RE:ACTION production library series.

Scott Lee Miller gladly answered a few questions regarding the new releases:

What was your favorite part of this new RISE and DRONES project?

Tackling RE:ACTION RISE and RE:ACTION DRONES was an interesting challenge, because we are all such melody driven composers. This release was much more focused on the build and the rise, so there were times I was definitely scratching my head! In the end, everyone had such a unique perspective on what makes a track rise and rise and rise to a climax, and now we have two amazingly well-rounded releases.
How do you come up with your ideas for entries within the RE:ACTION library series?

We do a lot of custom music so we get to see (and hear) what the trends are long before the trailers come out. This gives us really strong insight into where the industry is headed. We have a strong philosophy that we won’t take on a project unless we know we can do it well. For RE:ACTION RISE we had long discussions about about the concept, we composed some ideas, then listened to them together and discussed direction again. From the beginning they felt really interesting and new; we got very excited and started writing up a storm!

How long did it take you to create these two new albums?

We have been fortunate enough to be working on multiple custom projects, so these were written when we had free time. Like all music, some almost wrote themselves while some have their labor pains. As a team we share our works in all stages so we can hear what the other composers are doing. This allows us to rework tracks to make one holistic and well-thought out body of work. These compositions need to sit side by side and share a common design within a specific album release. We all feed off each other which makes it a nice creative process where we push ourselves to write better.

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“Rise” contains an extremely innovative and exciting collection of continuously building music cues that are perfect for film, video game, and commercial advertising. “Drones” features richly creative and expansive sound beds, each one available in all musical keys.

Pulling the listener close with hypnotic soundscapes in preparation for a launch into the stratosphere, the music from the new albums soars like never before with eponymously titled tracks such as: “Propellant,” “Hyperbolic,” “Thruster,” “Propulsion,” Countdown,” “Combustion,” “Launch” and “Ejection,” to name just a few jet-fueled action titles.

According to Sally House, Executive Producer and Co-Founder of The Hit House, numerous tracks from recent RE:ACTION albums have been successfully placed within high-profile action, comedy and animated movie trailers, as well as many commercials. These placements have included:

“The Jungle Book”

“The Finest Hours”

“Gods of Egypt”

“Patient Zero”

“Grimsby”

“The Peanuts Movie”

“Fantastic Four”

“The Road Chip”

Commercials:

Jaguar, Comcast and Lexus

About The Hit House:

A premier, multi-award winning, custom music and sound design company in Los Angeles, recent work from The Hit House has been used in national and global television campaigns for such major brand clients as Netflix, Google, Playstation, Lexus, Jaguar, Jell-O, Porsche, HBO, Honda, Toyota, and The Ritz Carlton, to name some.

In the area of motion picture marketing, music from The Hit House was most recently being featured within the campaign for the smash hit film “The Jungle Book,” and in upcoming campaigns for “The Angry Birds Movie,” “Ghostbusters,” “Ben-Hur” and “Suicide Squad.” The Hit House’s music has also been heard within trailers promoting the other feature films “Zootopia,” “Elvis & Nixon,” “The Boss,” “Triple 9,” “Burnt,” “Dirty Grandpa,” “Where to Invade Next,” “Kung Fu Panda 3,” “Jem and the Holograms,” “Pan,” “Creed,” “Alvin and the Chipmunks: The Road Chip,” “Minions,” “Million Dollar Arm,” “Anchorman 2,” “Spy,” “Ted 2,” “Pixels,” “Ricki and the Flash,” “Godzilla,” “Big Hero 6,” “Book of Life,” “Frozen,” “Thor: The Dark World” and “Iron Man 3,” among others.

SourceAudio News

0c8c128b-0f4f-4575-b7a4-9a8faa242e48Los Angeles, CA, March 3, 2016 – SourceAudio, a prominent B2B technology platform for music publishers, labels, broadcasters, production companies and creative marketing agencies, has named Douglas Reed as the company’s new Executive Vice President, Business Development, Radio and Library Services. Reed will be based in Philadelphia, PA. For the past 22 years, Reed had been a Vice President/Creative Director with Premiere Networks. The announcement was made by Daniel Korobkin, Co-Founder & President, Sales, SourceAudio.
At Premiere, in partnership with SourceAudio, Reed created the hugely successful Alpha Libraries for Radio service, which collects over 825,000 tracks from over 200 libraries, including production music beds, sound effects and imaging elements.  In addition to managing Alpha Libraries, Reed will continue to manage Premiere’s production websites as well as its venerable Essential Radio production library, as a smaller, “entry-level” subset of SourceAudio’s enormous Alpha Libraries collection.
Concurrent with his hiring, Reed now serves as the liaison between SourceAudio and Premiere Networks, as part of the newly expanded and growing relationship between the two companies.
Regarding today’s announcement, Andrew Harding, Co-Founder, SourceAudio, said, “We have worked very closely with Doug for years now, and he’s a perfect and natural fit for our team. The future of our radio business is in excellent hands with such an experienced industry veteran running point for us. His impact has been immediate, and we’re positioned for even more exciting growth in 2016.”
Adds Reed, “It’s great to officially join the team with whom I’ve shared a brain for so long.  SourceAudio’s amazing technology gives me a chance to do exciting things for two industries that I love – radio and production music. There’s incredible stuff coming down the road, and I’m excited to be a part of it.”


ABOUT DOUGLAS REED:

For the 22 years prior to joining SourceAudio, Reed had been Vice President/Creative Director of the BRG Music Works Division of Premiere Networks. While with Premiere, the industry vet developed dozens of music libraries and imaging products for the company, including Essential Radio, All Media Music, Extreme Cuts, Pyramid, Incredible Country, King Size Radio, Cookin’ Country, Club Q, Ultimate Urban and many others. Reed was also instrumental in helping Premiere’s production products move to web-based delivery. Premiere Networks, a subsidiary of iHeartMedia, syndicates 90 radio programs and services to more than 5,500 radio affiliations and reaches over 245 million listeners monthly.


ABOUT SOURCEAUDIO:

 

Based in Los Angeles, CA, SourceAudio is a cloud based sync licensing white label B2B technology platform for music publishers and administrators, labels, broadcasters, production companies, and creative agencies. The company’s clients utilize SourceAudio’s services to manage, search, distribute and monetize their audio assets.

 

Iconic brands across the media landscape leverage SourceAudio’s industry leading music search, distribution, licensing, monitoring, and management capabilities to generate revenue, enhance creative, and maximize efficiencies. SourceAudio’s network-based approach for buyer, publisher, and sub-publisher connectivity in one cloud based ecosystem is revolutionizing the music-for-commercial media supply chain.

 

SourceAudio’s clients include virtually every major media company and notable music production company in the United States. Music publishers, composers & administrators, indie labels, advertising and creative marketing agencies, broadcast networks, production companies, movie studios and radio broad-casters all use the services of SourceAudio.

SourceAudio is also a network and marketplace for music licensing buyers and sellers. With SourceAudio, clients get the best of both worlds: a powerful, premium music website plus the opportunity to be included in many exciting sales and distribution programs the company makes available to members on its network. Music sellers can reach new buyers and music buyers can have access to the best new music, features, and tools in the business.

For more information, please see: http://www.sourceaudio.com

 

The Hit House at SXSW Music

THE HIT HOUSE EXECUTIVE PRODUCER SALLY HOUSE TO BE

FEATURED PANELIST DURING SXSW MUSIC IN FILM TRACK SESSION

“COVERS & REMIXES & CUSTOMS: ALL YOU NEED TO KNOW”

IN AUSTIN, TEXAS, MARCH 17

ed56ccfd-1cf4-405f-886d-ac5970a31ecdLos Angeles, CA, March 2, 2016 – Sally House, Executive Producer and Owner of top original music production company The Hit House, will be a featured Panelist during a 2016 SXSW “Music in Film” track session. House will appear on the panel entitled “Covers & Remixes & Customs: All You Need to Know,” which will take place at the Austin, TX, Convention Center, on Thursday, March 17th.

Joining House on the session will be Angel Mendoza, Music Supervisor, The AV Squad; Anny Colvin, Head of Music Supervision, Vibe Creative; Bobby Gumm, VP/Music, Trailer Park; and Shauna Krikorian, Owner, MediaHorse. For more info about this session, please see: http://schedule.sxsw.com/2016/events/event_PP47218

The panel is described as follows: “It’s a brave new motion picture advertising world out there, with so many more ways to get music to work in this environment. This panel will have a vigorous discussion about the pros and cons of covers, remixes, custom tracks, and of course enhancements to existing tracks, giving insight into the time, effort and creativity that goes into creating outstanding music for movie trailers.”

ABOUT SALLY HOUSE & THE HIT HOUSE:

Sally House is Owner and Executive Producer of the multi-award winning, LA-based music production company The Hit House, renowned for bringing creativity to each and every project they touch through custom music and sound design. Recent work from The Hit House has been used in national and global television campaigns for major brand clients, blockbuster motion pictures, and hit videogames.

Among recent projects to which The Hit House contributed original music are campaigns for such top clients as Netflix, Google, Playstation, Lexus, Jell-O, Porsche, HBO, Honda, and The Ritz Carlton; motion picture campaigns for the recent films “Spotlight,” “Creed,” “Pan,” “Our Brand is Crisis,” and “Alvin and the Chipmunk Road Chip;” the upcoming film “Jungle Book 2016;” the recent films “Minions,” “Spy,” “Ted 2,” “Pixels,” “Ricki and the Flash,” “Godzilla,” “Big Hero 6,” “Book of Life,” “Frozen,” “Thor: The Dark World,” and “Iron Man 3,” among many others.

A native of South Africa, Sally House brings her vast marketing and branding experience to The Hit House. She started her career in advertising at Ogilvy & Mather, before transitioning to the client side as Director of Marketing for Kenwood USA and VP of Marketing for Clarion Corporation.

In her role as leader of The Hit House, Sally initiated the creation of the company’s highly successful FUNNY BONE, OFF THE RECORD, RE:ACTION, and SPHERES production music libraries. Tracks from these libraries have been used in a long list of movie trailers, television shows, and commercials.

During the past three years, Sally and The Hit House have been featured in numerous entertainment and music industry media outlets, including Variety, the Los Angeles Business Journal, The Agency Post, Adotas, SHOOT, Pro Sound News, POST Magazine, PostPerspective, MIX Magazine, Below the Line News, WDVentito, Markee Magazine, Creative Planet, Digital Pro Sound, Creative Cow, Trailer Music News, Music Supervision Central, and many others.

In addition, Sally is a noted panelist and guest speaker, and has appeared at such industry gatherings as NAMM, the Sync Summits in Los Angeles and London, the Production Music Conference, the Music Business Association’s Annual Conference, and others. Hear more at: www.thehithouse.com

And please visit the company’s social media sites:
https://www.facebook.com/thehithousemusic
https://twitter.com/HitHouseMusic
https://www.youtube.com/user/TheHitHouseMusic

Interview with composer Ryan Shore

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Meet a Grammy and Emmy award-nominatinated composer by the name of Ryan Shore, who’s done some recent music work RL Stine’s “Monsterville” and “Scooby Doo’s Wrestlemania Mystery,” both of which were released on DVD and soundtrack earlier this year, and Disney XD’s “Penn Zero: Part-Time Hero,” which is currently airing.

He was willing to go into a bit about his music background and a few other aspects. Read on to find out more!

What inspired you to begin composing?

I first took up music at age 11 by playing the saxophone. During the next 6 years, I loved exploring all the different musical styles the saxophone would normally play — such as jazz, latin, rock, pop, and a little bit of classical. After high school, I was accepted to the Berklee College of Music and needed to choose a major, so I chose film scoring based on inspiration from my uncle Howard’s composing. However, while I was at Berklee, I only composed a very small amount of music, as I was really focused on playing the instruments. I would say most people who knew me back at Berklee probably knew me as an instrumentalist, since I was playing in so many ensembles, recording sessions, and concerts. However, while I was doing all the playing, I was finding there were so many styles and sounds I wanted to explore, and many of those styles and sounds wouldn’t necessarily have a place in them for the saxophone. As a result, I felt I could more readily explore them by focusing on composing for them. So between the inspiration from Howard’s music, and my curiosity to explore new sounds and genres outside of the saxophone, they were my main inspirations to begin composing.
What was the most challenging aspect of creating scores for the various projects?

Because I began learning music on the saxophone, I was very used to often playing melody lines, and also, because the saxophone is not multi-phonic instrument (meaning it can only play one note at a time), I hadn’t yet delved into all the additional facets of music which are important for composition — such as arranging, layered writing, chord voicing, percussion, etc. So when I first began to compose music for projects, I think at first my biggest challenge compositionally was learning how to fully realize all the sounds and styles I had churning in my mind into actual performances and recordings. Once I had written a body of music in different styles, then those aspects became more second nature.

Then the other challenging aspect is being able to translate the filmmaker’s direction into music. Coincidentally, that’s also among the most enjoyable parts of the process, since I love collaborating and understanding all the nuances of the stories, and then translating them into music.
Did you begin with a general idea of how you wanted the music to flow for each project ?

Nearly every project begins with a discussion between the composer and the filmmakers. Often times, the filmmakers will have specific ideas for how they’d like the music to sound and the role they’d like the music to play within the project. Therefore, I always begin each project by talking with and listening to the filmmakers as much as possible. Once I’m clear on the intended music direction, then I usually begin by improvising music ideas based on my feelings for the story. Then once I find some ideas which seem to resonate, I delve further into those ideas and continue to hone them until I feel they’re ready for the filmmakers to hear. From there, once they have heard them, we’ll continue our discussion, and I continue to write more and hone the ideas even further until we arrive at the final music.

SourceAudio creates new Industry Standard

SOURCEAUDIO ANNOUNCES LAUNCH OF “SOURCEAUDIO DETECT”:


UNIQUE SERVICE REPRESENTS NEW INDUSTRY STANDARD

FOR TRACKING MUSIC USAGE WITHIN AUDIO-VISUAL PRODUCTIONS

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Los Angeles, CA, Feb. 16, 2016 – SourceAudio, a prominent B2B technology platform for music publishers, labels, broadcasters, production companies and creative marketing agencies, has announced the launch of its newest service, “SourceAudio Detect.” The announcement was made by Geoffrey Grotz, SourceAudio’s Co-Founder/CEO.

 

SourceAudio Detect uses a unique, robust and inaudible digital identity (watermark) that is redundantly embedded directly into a piece of audio itself. It is different from other fingerprinting-based monitoring solutions in that there is never any guesswork or doubt about the track identity because a truly unique code is woven into the fabric of each file that travels with it indefinitely. That code will only reference the true identity given to the track by its owner or authorized licensor.

 

Regarding the launch of this new company service, Hunter Williams, Executive Vice President, IP and Business Development, SourceAudio, said, “Our Beta testing of SourceAudio Detect had been a huge success, and right at launch, we already have close to 3 million tracks watermarked via this new service.”

 

He adds, “In addition to its unprecedented accuracy and reliability, SourceAudio Detect is the first solution of its kind to be able to determine if music is part of a show or a commercial (eg. ad, promo, movie trailer) on TV.  We’ve also taken great pains to conform our detection reports to the reporting standards of the three U.S. performing rights organizations (ASCAP, BMI and SESAC,) to ensure that the data can be useful to their survey and distribution methods. Our mission remains to take the pain and uncertainty out of royalty accounting for all stakeholders in the licensing and distribution supply chain.”

 

Currently, SourceAudio Detect monitors 80 of the most-watched national broadcast and cable networks in the U.S., and is on target to hit 110 by early March. Monitoring in other local U.S., foreign, and other media markets is slated to start later this year. Visit http://www.sourceaudio.com/detect/ or contact a SourceAudio representative for more information.

 

ABOUT SOURCEAUDIO:

 

Based in Los Angeles, CA, SourceAudio is a cloud based sync licensing white label B2B technology platform for music publishers and administrators, labels, broadcasters, production companies, and creative agencies. The company’s clients utilize SourceAudio’s services to manage, search, distribute and monetize their audio assets.

 

Iconic brands across the media landscape leverage SourceAudio’s industry leading music search, distribution, licensing, monitoring, and management capabilities to generate revenue, enhance creative, and maximize efficiencies. SourceAudio’s network-based approach for buyer, publisher, and sub-publisher connectivity in one cloud based ecosystem is revolutionizing the music-for-commercial media supply chain.

 

SourceAudio’s clients include virtually every major media company and notable music production company in the United States. Music publishers, composers & administrators, indie labels, advertising and creative marketing agencies, broadcast networks, production companies, movie studios and radio broad-casters all use the services of SourceAudio.

SourceAudio is also a network and marketplace for music licensing buyers and sellers. With SourceAudio, clients get the best of both worlds: a powerful, premium music website plus the opportunity to be included in many exciting sales and distribution programs the company makes available to members on its network. Music sellers can reach new buyers and music buyers can have access to the best new music, features, and tools in the business.

For more information, please see: http://www.sourceaudio.com

 

SourceAudio Company Contact:
Hunter Williams

EVP/IP & Business Development

615.406.9290

Hunter@sourceaudio.com

 

 

Media Contact for SourceAudio:

Dan Harary

Asbury PR Agency

Beverly Hills, CA

310/859-1831

dan@asburypr.com

Manhattan Production Music Establishes First-Ever Los Angeles Office and Names Long Time Production Music Executive Andrew Robbins, Senior Director Of Film/TV Music

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New York City and Los Angeles, January 21, 2016 – Based in New York City, Manhattan Production Music (MPM,) an industry leader in providing music to entertainment, broadcas
ting, advertising, and multi-media clients, has established its first-ever Los Angeles office. Concurrently, the comcddc313f-62c7-4c2b-b866-63fe50e05472pany has named Andrew Robbins as its new Senior Director of Film/TV Music.

Based in MPM’s new Los Angeles office, Robbins will be responsible for utilizing his long-standing relationships within the entertainment, broadcasting, and media industries to present and place MPM Music’s extensive music and song catalogs within feature films, movie trailers, TV shows, TV promos, videogames, commercials, and multi-media projects. MPM Music’s offerings include over 28,000 tracks across nine libraries, and several indie labels and artists worth of one–stop, hassle-free, licensable songs, trailer music, program/underscore and other post-audio elements.

MPM has placed its music in films such as “Race: The Jesse Owens Story” and “Dirty Grandpa,” in trailers promoting such hit films as “Trainwreck,” in such top TV shows as “Madame Secretary,” “Silicon Valley” and “The Big Bang Theory,” and in commercials for such major brands as AT&T and Toyota.

“Andrew is a highly regarded and well-respected executive within our specialized universe of production music,” said Norman Chesky, CEO/Founder, Manhattan Production Music. “He has established hundreds of strong relationships with key producers, editors and music supervisors, and will surely become a key representative of our music catalog across all media platforms. We welcome him to the team.”

“I can’t think of a better opportunity for someone with my history in the production music industry than to become part of the elite MPM team,” adds Andrew Robbins. “This versatile company offers dozens of truly amazing, one-stop licensing music libraries, songs from the multi-Grammy Award winning Chesky record label, and top notch custom scoring services. They are a real triple threat. I look forward to introducing their remarkable music products to my client base across Hollywood, Los Angeles, and beyond. ”

ABOUT ANDREW ROBBINS:
Prior to joining MPM Music, Robbins served as Director, Film/TV Music both at MusicBox (2007-2015) and at Megatrax (1997 -2007,) where his prolific sales, work ethic, and insight into the needs of each company’s clientele greatly aided in the growth of those two prominent production music library companies. During that time, he enjoyed such successes as multiple music placements within the Best Picture Oscar winning film “Crash.” His other music placements within feature films include “Mr. and Mrs. Smith,” “Stigmata,” “Memento,” “Bad Santa,” and “Big Fish.” His placements within TV programs includes “Switched at Birth,” “Pawn Stars,” “Nashville,” “The Mentalist,” and “American Restoration,” to name a few.

During the course of his career, Robbins has also been responsible for well over 29,000 additional music placements in feature films, network & cable television programs, feature film trailers, and within commercials for such top brands as Buick and KMART.

ABOUT MANHATTAN PRODUCTION MUSIC/CHESKY RECORDS:

Manhattan Production Music continues to be an industry leader, committed to providing its clients with a music source experience with great ease of use, optimal sound and superb music choices for all their production needs. MPM’s sister company, Chesky Records, is a multi-Grammy Award winning and world renowned audiophile label specializing in jazz, world, and classical recordings, and represents an important part of the MPM package.

It is this access to some of the finest producers, engineers, and musicians in the world that makes the Manhattan Production Music library sound like music you would want to take home.

MPM has placed its music in films such as “Race: The Jesse Owens Story” and “Dirty Grandpa,” in trailers promoting such hit films as “Trainwreck,” in such top TV shows as “Madame Secretary,” “Silicon Valley” and “The Big Bang Theory,” and in commercials for such major brands as AT&T and Toyota.

For more information, please visit: http://www.mpmmusic.com/ and on Facebook please see: https://www.facebook.com/manhattanprodmusic/?fref=ts

 

Media Contact:

Dan Harary

The Asbury PR Agency

Beverly Hills, CA

310/859-1831

dan@asburypr.com

Imagine Music – Nucleus

Russian trailer music company “Imagine Music” has released what is termed as organic hybrid tracks in their fourth album The Nucleus.

nuclIf you’re interested in licensing this music, please see Imagine Music’s official site. You can also sample a preview of the tracks below, particularly Massive Darkness and Exhaustion.

 

Production Music nominated for Golden Globes awards!

Music from Multiple Warner/Chappell Production Music And

Non-Stop Trailers’ Catalogs Appears Within–Or in Promotional Media For–

18 Golden Globe® Award Nominated Films, Trailers & TV Shows

Including Mad Max: Fury Road, The Martian, Spotlight, Spy, The

Hateful Eight, Crazy Ex-Girlfriend, Orange is the New Black, And Others

 

3a447448-8a0d-455f-851d-7181a8a007e4Los Angeles, CA, December 10, 2015 — Warner/Chappell Production Music today announced that music from several of its catalogs appears within, or in promotional media for, 18 films, trailers and/or TV shows which have just been nominated for a total of 35 Golden Globe® Awards for 2016. These include:

** Music from the Warner/Chappell Production Music catalog “Pedigree Cuts” was featured within the feature films and TV shows “99 Homes,” “Crazy Ex-Girlfriend” and “Blunt Talk,” respectively.

** Music from the catalogs “Full Tilt,” “Cute Music,” “RSM,” “Ear Drum,” “Non-Stop Premiere,” “615 Platinum Series” and “Elephant Music & Sound Design” was featured within movie trailers promoting the films “Mad Max: Fury Road,” “Spotlight,” “Inside Out,” “The Big Short,” “Spy,” “Trumbo,” “Steve Jobs,” “Concussion,” “The Martian,” “The Good Dinosaur,” “Trainwreck” and others.

 

** Music from the Warner/Chappell Production Music catalog “Full Tilt” and “Elephant Music & Sound Design” was featured within promotional TV spots for the Netflix series “Narcos” and “Orange is the New Black.”

Randy Wachtler, President & CEO, Warner/Chappell Production Music, said, “We are pleased to have played a musical role within, or promoting, 18 Golden Globe® Award-nominated projects this year – tying a company record.”

David MacMahon Mount, Warner/Chappell Production Music VP, Business Development, adds, “We are extremely proud to be featured in so many amazing movies, TV shows and trailers again this year. It speaks volumes to our incredible songwriters, composers and dedicated licensing team.”

Said David Epstein, Director of Licensing – Trailers for Warner/Chappell Production Music, “We at Non-Stop Trailers are thrilled for all of our clients who have been nominated and wish them the best of luck. Congrats to all the trailer houses we’ve partnered with on these outstanding – and now Golden Globe® Award nominated projects!”

The Hollywood Foreign Press will announce the winners of the 2016 Golden Globe® Awards during a live event on January 10th, 2016, at the Beverly Hilton Hotel in Beverly Hills, CA. Ricky Gervais will return for his third time as host.

About Warner/Chappell Production Music:

 

Warner/Chappell Production Music is a worldwide leader within the production music industry, with over 35 years of experience and success. It unites many of the most successful and respected independent brands in production music, including 615 Music, Non-Stop Music, Groove Addicts, V – The Production Library, and many others. The brands comprising Warner/Chappell Production Music have been the recipients of many industry awards, including multiple Emmy®, Telly, ADDY and Promax honors.

Warner/Chappell Production Music is a proud part of Warner Music Group, home to a collection of the best-known labels in the music industry, including AtlanticElektraFueled By RamenRhino, and Roadrunner, as well as Warner/Chappell Music, one of the world’s leading music publishers, with a catalog of more than one million copyrights worldwide. Please see:www.warnerchappellpm.com

 

About Non-Stop Trailers:

 

Non-Stop Trailers is Warner/Chappell Production Music’s film trailer division, a worldwide leader in music and sound design specifically tailored to motion picture and video game advertising campaigns. Comprised of cutting-edge, boutique collections of music composed and producer specifically for trailers, including world-renowned brands like Full Tilt, Xtortion Audio and Glory Oath + Blood, Non-Stop Trailers has music featured in hundreds of well-known campaigns.

 

COMPANY CONTACT:

Ben Short, Marketing Coordinator

Warner/Chappell Production Music

ben.short@warnerchappellpm.com

615/687-6868

 

MEDIA CONTACT:
Dan Harary

Asbury PR Agency

Beverly Hills, CA

310/859-1831

dan@asburypr.com

Interview with Composer Ilan Eshkeri

Here is a very special interview with composer Ilan Eshkeri, who was willing to answer some questions regarding his musical background and work for his latest project Shaun the Sheep.

Abbey Road Photoshoot

Abbey Road Photoshoot

Of note here to mention, per information provided by Ashley Moore of Krakower Poling PR,the  film’s writer/directors, Mark Burton & Richard Starzak, made a risky move by not adding any dialog to the film. Ilan’s music plays its own character in the film and brings the emotion that is meant to be portrayed through talking, instead through music.
Can you tell us about yourself?

I’m half French, I love skiing, surfing and cooking, and I have Synaesthesia meaning, for me, specific sounds relate to specific colours.

What inspired you to pursue composing?

Ever since I was little learning violin from 4 years old, I saw colours and stories in my mind when I played and listened to music. I always loved reading, and studied literature at university, so narrative and music has always been a passion for me.
What’s your favorite aspect to composing?

I love the moment when a group of random notes come together and suddenly stop being random and start to mean something. They become greater than the sum of their parts. I don’t know how it happens but that is the moment of pure creativity, when a tune is born. It never stops being exciting and extraordinary to me.
How did you approach creating the score for Shaun the Sheep?

I decided to take the emotion seriously. It would have been easy to think they’re just sheep and write fun tongue-in-cheek stuff for them, but the situations they find themselves are serious and epic. They [the sheep] deserved big grown-up emotions. I also think it’s wrong to patronize the audience, so the score is every bit as emotionally dramatic as any other film I’ve ever done.
– Any additional thoughts?

Tonight I’m going to see Lang Lang in concert. I worked with him once and I wrote music for him. He really is extraordinary, not just because of his skill as a musician, but there’s just something magnetic about him when he plays. I can’t wait to see him again, even if this time I won’t be standing next to him.

Sounds great Ilan! We appreciate the time taken to interview with TMV. Thanks also go to Ashley Moore of Krakower Poling PR for also helping to make this happen!