Universal Publishing Production Music teams up with drummer Kye Smith

“Punks on Speed” by Kye Smith and Michael Ferfoglia is out now on SpotifyiTunes and UPPM

LONDON, UK, June 2017: Universal Publishing Production Music (UPPM), the world’s leading production music company, has teamed up with masterful drummer Kye Smith for the release of “Punks on Speed”. In collaboration with Michael Ferfoglia, the new album is now available to stream and download on SpotifyiTunes and UPPM.

Drummer Kye Smith, became a YouTube sensation in 2013 after the world saw him burn through the entire back catalogue of Nirvana in just five minutes. Kye also honoured the likes of Blink-182, The Beatles and Foo Fighters in his 5 minute drum chronologies – shared on social media by Dave Grohl himself.

Originally from Australia, Kye’s notorious talent for drumming saw him travel to the USA to perform his famous The Beatles chronology live at Madison Square Garden during a New York Knicks halftime show in 2016. Kye is also the drummer and manager of punk rock band Local Resident Failure who are currently performing a season of gigs.

Michael, also a member of ‘Local Resident Failure’, has a strong background as a studio engineer and punk rock producer. A talented guitarist, he has previously composed music for high profile TV adverts in Australia and was instrumental in bringing Punks on Speed to life.

Now partnering with UPPM, the duo’s debut album for production music is part of the Bruton label and is the latest offering in its Burn series. The Bruton label delivers cutting edge contemporary sounds using a rich catalogue with over 40 years of heritage. Punks on Speed was mastered in the famous Metropolis Studios in London, features 12 tracks composed by Kye Smith and Michael Fergolia. The album boasts a balanced harmony of speed and precision, fulfilled with a lurking influence of Travis Barker and Tre’ Cool. With heavy guitar laden hooks backing the drumming skills, Punks on Speed is best suited to intense, fast paced and energetic style productions and for those who like their music turned up loud!

Craig Beck – Head of Production at UPPM says: “Kye and Michael have executed a refreshing new album which caters for both production and commercial use. Punks on Speed will take you on a journey through adolescence, evoking Green Day and NOFX nostalgia. It is the perfect album for listeners craving high tempo music and ideal for fast paced productions.”

Punks on Speed is now available to download  here and below:

Universal Publishing Production Music



Apple Music



Amazon Music Unlimited


——— ENDS ———

‘Punks on Speed’ – track list:

  1. Wise Up
  2. Wheels in Motion
  3. Power Slide
  4. Stay Gold
  5. Ska After Party
  6. Ignite the Fire
  7. Bottles and Rockets
  8. Chasing New Heights
  9. Thrasher
  10. Short View
  11. Gotta Live Hardcore
  12. Bucket List

Warner/Chappell Production Music Nominated!

NASHVILLE, TN (May 25, 2017) – Warner/Chappell Production Music, Warner Music Group’s production music arm, today announced its nomination in the PromaxBDA Local Awards’ Use of Original Music in a Promo category. 
The nominated piece, “The Ones for Texas,” was created in conjunction with KTVT-TV/CBS 11 in Dallas-Fort Worth.
Mark Agent, Warner/Chappell Production Music’s Director of Licensing, Local Television, stated, “I’m excited that this collaboration with KTVT is nominated for a Local Award, and proud to have been a part of a campaign that celebrates diversity and connects to its viewers’ Texas pride. To be nominated in a category that we’ve won with KTVT before is a thrill.”
Click the link below to view the nominated promotional video.

Warner/Chappell Production Music Appoints New Director of Licensing

Warner/Chappell Production Music today announced the appointment of Steve Swenson to Director of Licensing.  In this role, Steve will focus on developing the company’s licensing reach in sports, broadcast and corporate markets, and he will be based in Tampa, Florida.  Steve joins Warner/Chappell Production Music from HSN, where he oversaw audio strategy.
Congratulate him directly at steve.swenson@warnerchappellpm.com.

Steve Swenson

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, Gari 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 Emmys®, Tellys, ADDYs and Promax honors.
Warner/Chappell Production Music is a proud part of WarnerMusic Group, home to a collection of the best-known labels in the music industry, including Atlantic, Elektra, Fueled By Ramen, Rhino, 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.

Fired Earth Music interviews Jesper Kyd


 Jesper Kyd Headshot


An Interview with Jesper Kyd





             Including ‘Questions from Fans’


Hello Epic music fans, this is actually an older interview with composer Jesper Kyd regarding the release Legacy through Fired Earth Music. I hope you enjoy it!


This is your second trailer album with Fired Earth Music.  Ultimatum was released in 2011 and described as an album of ‘Radical Epics’, what can we expect from LEGACY?

The album consists of 10 tracks in an uplifting orchestral style. The music was performed by members of the Budapest Orchestra who worked with me on my last trailer album, Ultimatum.  Legacy also features several tracks recorded with vocals from Melissa Kaplan, the voice of the first four Assassin’s Creed games as well as Ultimatum‘s “Aphelion.”



Of the ten tracks on the album, which are the highlights for you?

My personal favorite tracks are Empyrean, Phantasm, Rainmaker and Freefall.



What was the direction and inspiration for this album?

I wanted to make emotional and dramatic cues that keep on building into an epic finish. “Let’s make them cry” was one of the tag lines I was working with.


What type of movies would these tracks complement?

I didn’t have any specific movies in mind. I was thinking more about female driven stories – love stories – tragic stories – stories where the character has to overcome immense odds – reflecting back on their life – filmic scenes that focus more on emotion and depth.



Great to hear Melissa Kaplan on this record, the voice behind Ezio’s Family from Assassin’s Creed and Aphelion from Ultimatum.  What’s the story? 

I really like her voice and working with her. I often write the vocal performance with Melissa in mind. We first met during The Chronicles of Spellborn soundtrack and shortly after I recorded her for Kane & Lynch.



How does writing for motion picture differ from writing for video games soundtracks?

Well, games are not a linear medium like film. Especially open world games, which are very different in a sense that you don’t know what the player is going to do next. So you have to keep these things in mind and often score for a wider range of possibilities. In games you are also free to score the music without having to hit certain beats, since there is no locked picture to score to.



We have to ask – do you play video games yourself and if so, which are your favourites?

Yes, I still play video games when I have the time. Some of my latest favorite titles are BioShock Infinite and Far Cry 3.



When it comes for writing for motion picture are there any dream titles that you would love to have written the score for?

No, not really. I don’t look at it like that. Some of my favorite movies are also my favorite soundtracks and I can’t imagine these movies without the soundtracks that they have.  That being said, I would love to score a huge sci-fi epic where I can fire up all my analog gear and experience working with orchestras and choirs, and bring it all together in one massive musical explosion.



What is next on the horizon for you?

I’m currently scoring the second season of the European live action TV series based on the “Heavy Metal” comic books called Metal Hurlant Chronicles. I am having a blast scoring this series. Each episode is completely different so every episode is like scoring a mini movie. I just finished the first episode of the new season, which is a Western starring Michael Biehn from Terminator, The Abyss and Aliens. I am also working on a couple of other video game projects I can’t talk about yet.



Questions from Fans:



Ana Salerno, São Paulo – Brazil


Does Jesper have any advice for young people that want to be composers? How to gain experience for example?


Hi Ana – I would try to work on short films or indie game projects. Experience is such an important part of the growth of a composer. Being able to talk to directors, game designers or producers will help you focus on creating a score with more impact.




Niranjan, Madurai, India


I’m working on a game design, and I’m doing it singlehandedly. What kind of software do you use to create and mix music?


Hi Niranjan – I use Cubase to create and mix my music. Then I record the music to Pro Tools. Best wishes for your project!





William McNamara, Gino Gladden


I often use your music for inspiration on minecraft builds and can go for hours just off of one song that inspires a city from what I get from the song. To put that much emotion into a song, there must be some epic inspiration!  Where does that come from?

Thank you William. It’s great to hear you play some of my music for inspiration. Well, often my own inspiration comes from the project itself. Other times I do a lot of research and try to come up with interesting ways of mixing music styles together to create something new and unique.



I hope you’ve enjoyed this interview! Epic listening!


Terrafall – Mirabilia

A group Terrafall released an album Mirabilia, available here on Spotify.

Terrafall is a coalition of three men located in southern Sweden. And much like other trailer music libraries, their focus is scoring musical themes with a cinematic touch, well suited for both games and movies.

I had a chance to listen to this album a few weeks ago. So how is the music? Overall, it sounds fairly decent. If you are an epic music diehard, then you likely wouldn’t mind more epic music. Be sure to follow Terrafall on Facebook for the latest news!


UPPM releases…

Universal Publishing Production Music release new album
‘The Alternative Indie’ by The Spacepilots

London, UK 16th February 2017: Universal Publishing Production Music (UPPM), the world’s largest selection of production music, today announces a new album ‘The Alternative Indie’, released exclusively on one of UPPM’s biggest labels ‘Atmosphere’.

Reacting to the demand for impactful storytelling music, The Alternative Indie was created by The Spacepilots, the moniker for a group of prolific writers and performers from commercial and production music backgrounds.

The Alternative Indie takes influence from Radiohead, Nick Cave and Apparat. Having previously performed as individuals with superstars such as Noel Gallagher, Sheryl Crow and Mick Jagger, The Spacepilots have now come together to compile their unique talents into one album.

Collectively, The Spacepilots have also worked with international brands including British Airways, Levis and Vodafone, as well as working with a diverse mix of artists including Noel Gallagher, Ed Sheeran, David Gilmour, Amy MacDonald and Paolo Nutini.

This new album has been designed for specific use in promotional material and film trailers, where sound and picture combine to form a dynamic creative sync.

Andrew Britton of The Spacepilots says:
“Our main intention was to create an album that we wanted to listen to, without the constraints of a specific brief, to create purely for our love of music and soundscape. Through our love of cinematography we naturally write with a visual narrative in mind.”

Craig Becks from Universal Publishing Production Music says:
“The changing landscape of music has opened opportunities for our composers to explore the impact of music within media which has limitless freedom. The Alternative Indie album is a perfect example of music capable of bringing the visuals to life and really impacts the way the audience enjoys the story. It is less about mimicking what is in the charts and more about focusing on the raw storytelling power of music.”

The Alternative Indie will be available for use in production via Universal Publishing Production Music here. It can also be enjoyed general listening via iTunes and Spotify.

Embed the video:



Trailer Music Track Meaning – The Priory of Sion by audiomachine

Today I’m going to look at a trailer music track title. The track is entitled Priory of Sion by audiomachine. It’s a short and energetic track and no doubt makes for good trailer use. But is that the end of the matter? A further examination of the title yields some rather interesting results.  It was an alleged secret society founded in the eleventh century that purportedly protects those who claim lineage from Jesus Christ and has been the subject matter of many novels and movies, most notably the Da Vinci Code.

Many have labeled it a hoax or the ramblings of conspiracy theorists. Is it really? Well, consider that despite the assertions that this group has existed for millenia, the existence was not revealed until 1967 with the publication L’Or de Rennes (‘The Gold of Rennes-le-Chateau’) by Gérard de Sède.  Much of this was further promulgated by an individual named Pierre Plantard for several decades. However he evidently admitted before an investigation that the whole Priory of Sion was a fraud and the documents he possessed were merely figments of his imagination.

So are we to read into any of this? Not in this case. However, I think that reflecting on titles for epic music tracks can and should stimulate us to do further research. In this way, even as we have listened to epic music, so hopefully we’ll be curious to investigate and to find out more about the world around us.


Mihail Doman | Composer

Mihail Doman is a composer from Bucharest, Romania. He writes neoclassical music, fusing orchestral and electronic elements inspired by Olafur Arnalds and Hans Zimmer. His First album, Arhythmology is a musical story of rebirth and new beginnings.

According to the website:

They’re released in apparent random order but at the end they all fit together as part of a puzzle. Arhythmology is a word that pays homage to something old and essential. It has long been thought that western music originated in the time of Pythagoras – the ancient mathematician. Traditionally, he is thought to have invented – or better said discovered – the ratios between the musical intervals. And for the people of those ancient times, Arhythmology was the name of the sacred science which included music, mathematics, physics, chemistry and the astronomy that we know today.

Very interesting indeed! If you want to find out more, please visit his official site.

Interview with End of Silence!

What is the end of silence? The beginning of noise-right well, all jokes aside, that is actually the name of the library that TMV will be speaking with today. End of Silence is headed by Christian Baczyk and Kevin Mantey who have been in the trailer music industry for several years now. They were excited to answer questions from Trailer Music Vibe. I now present this interview to follow. As always, you can follow them on Facebook and their website.


How did End Of Silence start?

Chris: We came up with the idea to create our own trailer-music production company during our very first meeting in October 2013.
It all started when I found this big YouTube channel called “Trailer Music World” which focuses on promoting well-known trailer-music publishing companies and composers but also skilled but yet unknown ones. Back then I simply decided to write a message and ask whether there would be any chance to get my own music promoted.  I literally had no idea whether I was good enough because I just started producing my first tracks which is why I was hoping for at least some feedback – even if it would be a rejection.
Once I found out that Kevin was the manager of this trailer channel I wrote him an extremely long email in broken English which contained all the motives of why I started writing this specific kind of music, what it meant to me and how I would like to inspire other people with it. This very specific music genre had a profound impact on my own personal development journey which is why I wanted to give something back to the world if you will.
It turned out that Kevin and I have a lot of common interests and would get along extremely well. It was even more surprising to find out that he is located in Germany as well which is why we decided to meet up after a couple of interesting online chats. He drove around 200 miles to visit me at my place and stay for a couple days.
Once he arrived in the evening we went for a walk and talked about a lot about different topics while enjoying some good, Bavarian beer.
During that walk we randomly came up with the idea to start our own trailer music company even though we had little to no expertise in terms of music production or business back then. In retrospect it was a ridiculous thought but since this very moment we have decided to work extremely hard and make this dream come true. And only a few years later it turned out to be the best decision we have ever made.

What are your current roles at End Of Silence?

Kevin: At the moment we are literally doing everything except producing the music and the digital artworks. Our current tasks include music-, mixing- and mastering supervision, meeting clients, analyzing trailers and tv-spots, licensing, accounting, social media management, organisation and project coordination.

However, we are expanding our team by Kai Rathsack (owner of “Epic Music World I” and “Epic Music World II”, two of the most popular Youtube channels for epic music) who is going to help us out by managing our social media platforms and co-coordinating several projects.

Managing your current amount of music and advising composers on music cues takes much time right?

Chris: We decided to only work with people who have a deep understanding of how trailer music works which is why major feedback usually is not needed. However, we are extremely picky when it comes to mixing and mastering to assure that the music quality is top-notch. All in all I would say that music supervision does not take too much time as long as you work with the very best people in the industry.

It seems like things have been quieter on the epic music front. Do you see the genre leveling off or is there still room for more growth?

Kevin: I guess by “epic music front” you mean the general public audience, right? I would actually say that it becomes more and more popular these days as more trailer-music production companies are willing to release their music catalogue to the public. Usually most trailer-music out there is only available for trailer supervisors and editors.
Due to the big growth of the epic music promotion network on Youtube more people are discovering this new specific genre. In case you are talking about the typical, classic epic music I would definitely agree with you – there has been a big decrease of demand for that kind of music. Trends change from time to time which makes this entire thing so exciting. After using typical, epic classic music for several years I guess trailer supervisors and editors were looking for something more modern and new. That’s when hybrid and sound design trailer music was born.

How has epic music influenced your life in general?

Chris: I always find myself listening to epic music produced by Thomas Bergersen, Paul Dinletir, Ivan Torrent or Mark Petrie whenever I am going through difficult times. It might sound a little bit strange and cheesy but every time I listen to this kind of music I start to feel like a hero from a movie that faces the choice between giving up or proceeding. It definitely had and still has a great empowering impact on my life. 

Kevin: Yeah, I agree with Chris. Epic music definitely channeled our drive to discover as many wonders and secrets of this extremely intriguing universe. I randomly started to ask myself extremely deep and profound questions about life which I have never done before. Those definitely had a huge impact on my own personal development. It also skyrocketed our motivation to become the best possible version of myself and helped me to find a strong purpose in life that I did not really have before.

How do you feel about the community of people supporting epic music?

Chris: What I personally noticed is that it is a very family-like community. There was a time when I decided to help out a good friend of mine whose father got diagnosed with multiple types of cancer. I immediately launched a crowdfunding campaign to help him out financially so that they could afford proper treatment and would have to worry a little bit less.
It was extremely heartwarming to experience how caring this community really is. People who did not know my friend or his father at all suddenly started to donate money which definitely helped to make a positive change. I am still very grateful for this support. I am definitely a big fan of this community and I hope that more and more people will become part of it over the time.

What is your outlook for the future for End Of Silence and epic music?

Kevin: We are currently working on two major compilation albums – our most innovative and complex products up to this point. There are plans for a second solo album by one of our core composers, Daniel Beijbom and another one by our friends from IMAScore. This will definitely keep us busy enough until the end of the year.
Besides that we are doing some custom scoring jobs for advertisements and events in Dubai and Switzerland, BMW and Hyundai being some of our recent customers.

Our goal is making EOS a well-known audio brand within the trailer, film- and videogame industry.
Last but not least we would love to set up a charity project as well.

Dwayne Ford Interview

Dwayne Ford is an Edmonton born music composer who has worked with the music industry’s top artists, including David Foster, Ronnie Hawkins, members of TOTO and countless others. He has received awards from the American Song Festival, Tokyo Song Festival, and six awards from SOCAN.

I asked Mr. Ford a few questions regarding his work and so on.

What could you tell us about where you get your inspiration to

compose your cues?

My inspiration (or lack thereof) comes from many different emotions. Mostly, sadness and the great mystery of life and death, the finality of it all and how profound it is. Epic music requires a serious subject matter and the unfortunate truth is that death, heroism, sacrifice, loss, love and other weighty emotions are the raw materials.

 Having listened to several of your recent compositions, I can tell
that there’s substance to them. It feels like that there are several
layers as opposed to just one pattern if you will. Could you comment
about this?

Sorry, I cannot answer that question for you accurately. My productions are organic – meaning I don’t usually know what is going to happen until I stumble across it. The layers are a basic part of orchestral arranging however so in some cases there may be literally 40 or 50 layers depending on the track count. Counterpoint melodies, variations on the theme, underlying ghost melodies all play a roll in developing density. So depending on what you are trying to accomplish there may be one layer or many.

Are there any upcoming projects that you can tell us about?

I am working on my fifth “epic” album at the moment. Rather slow going because this album must be different and better than the others if I am to survive the critics. I admit to being a perfectionist but there is no such thing in music. You must try however, to get as close as possible to perfection. The competition is fierce.

Do you listen much to other trailer music cues at all or not so much?

4. I do listen a lot to other composer’s epic music. I find it helps to give me production ideas. It also helps to avoid cloning other people’s work.

Any additional comments?

I would like to know your plans regarding the release of your book or video in which these comments may appear.

And to that last question Dwayne, the answer is publication in this article that is on TMV!


Thanks again for taking the time to interview. It’s always a pleasure to hear more from composers like yourself!


You can follow him on his website and Facebook page.