Impact Music completes “Extraction”

EXTRACTION-for-the-web (1)

“Trailer music” library Impact Music has released their first  brand-new volume here in March 2013 and it goes by the name of Extraction.  The chief producer composer and producer on this album was none other than Serge Colbert. One of the key differences between this new release and their debut album The Cinemaster Series  is that the music contains more elements of innovative and modern styles.

The album represents a venture and continued effort to meld and graft older styles of trailer music into the newer styles of today. This is seen for example in a track such as Sentinel, where there’s a great dose of electronica through the cue. The classic sound of guitar and orchestral strings helps to build the anticipation on the part of the listener. There’s also evidence of the influence of dubstep. The choir still finds its way into this new unique sound in the final waning seconds.

Serge Colbert answered a few of my questions regarding this latest release.

The album cover for Extraction seems to give the impression of a person trying to extract themself out of a certain mold. How did you feel that fits the collection of cues on this release?

We wanted the artwork for this release to best symbolize the spirit in which the whole album was conceived: an organic creature -representing the orchestra- extracting itself from a metallic egg in a digital world-represented by strong electronica and dub elements. (inspired from the painting “Geopoliticus Child Watching the Birth of the New Man” by Salvador Dali.
Extraction has been a very hard and ambitious project.The idea is how to have a full orchestra and strong dub elements living together in a perfect harmony?
The answer is in this very strong album.
Could you describe the process of blending in various elements such as electronica, orchestra and even dub-step?
We spent days,weeks and months trying to fit ,to the best of our ability, the perfect blend of all of those elements.This album is not at all like, let’s use a bunch of dub loops and add a big choir or an orchestra on top of it. It is how,in the writing, all those elements stand up without sacrificing the integrity of an orchestra for example.
We have been interviewing music editors at prestigious trailer houses in Los Angeles. We have gotten their comments and ideas into action. If we extract the electronica/dub, it is a strong track that lives by itself perfectly well.If we extract the classical part of it, we discover a great orchestral cue.And if we mix it all together, we have total fusion.
Any additional comments?
We would like to thank Greg Townley, co-producer, that has done a marvelous job and our team of composers who created or contributed in writing those 3300 tracks on pro tools; Dylan Parker, Matthew Adam and Jean Paul Newman.

You can contact Impact Music here  for more information about their releases and other questions you may have.

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Epic out!

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