This week, I had the pleasure of listening to the ultra-talented Ben Webb, a performer whom I’d never heard of before, but whose music instantly reminded me of several other artists. Webb’s music is dynamic, multi-faceted, and speaks of people’s many transitions through life.
(I wrote this back when the Oscars were happening… yeah.)
I have always, and will always be a fan of music composed by Thomas Newman. I own a number of his impressive film scores, several of them Oscar nominated or winning and all of them gorgeous in their own right. Little Women, Phenomenon, The Horse Whisperer, Meet Joe Black, American Beauty, The Green Mile, Finding Nemo, Best Exotic Marigold Hotel, The Help, Skyfall…(and let’s not forget TV show Six Feet Under and Miniseries Angels in America)! And now, the dramatic and emotional score for the Oscar nominated film, Bridge of Spies.
When I grew up, I was one of the Trekkies. I loved anything and everything Star Trek but I had a respect for Star Wars and the world and characters that George Lucas had created. This year brought the series back to life with the latest (and greatest) in the Star Wars story, The Force Awakens. Having not watched The Empire Strikes Back or Return of the Jedi, I was missing pieces of the story and worried I wouldn’t be able to follow it. Thankfully, The Force Awakens was easy to follow, had a collection of fantastic characters and locations, and a plot that kept me guessing what was going to happen next. Most of all, I was impressed by John Williams new score. There were many times while watching where I was actually drawn to listen closer to his compositions and found them stunning and beautiful.
It’s the end of 2015 and with that revelation, I’ve decided to go through and list some of my favorites of the year starting with music! For long time subscribers to the blog, you’ll know that I have done a weekly blog for music that is inspirational to writers. It’s most often music that I’ve found from video game soundtracks or ambient/instrumental composers. This year, I wanted to list my top five favorites that I’ve listened to while writing. (Note: these are my personal choices and they’ve all been released in 2015. If it wasn’t released this year, it doesn’t make the list!)
#10: Dying Light Original Soundtrack by Pawel Blaszczak
Why: As a big fan of Blaszczak’s soundtracks for “Dead Island” and its sequel, I was extremely excited to hear what he’d be doing with “Dying Light”. The soundtrack for “Dying Light” is a perfect mixture of thoughtful isolation, of tension and terror. It differs from the Dead Island soundtracks by incorporating a bit more synthesizer into it, making it feel a bit more technical and almost CSI-like. Several of the tracks were very similar which doesn’t lead to much variety. Thing is: that consistency makes it a PERFECT soundtrack to listen to while working on any police procedural, detective story, or crime drama. It’s also great for any urban paranormal stories you might be working on. Track picks:Horizon, Invitation, Demolition, Now They Are Coming, Praise the Sunlight, Breakdown
Undertale was something that honestly passed me by at first. I missed the initial hype about this game. I am so, so glad that I didn’t let it slip by completely. Undertale tells the story of a human falling down a hole into another realm ruled by monsters. After a feud several years prior, monsters were banished underground by humans and have been searching for a way to pass through the barrier. The human naturally also wants to find a way through it to get back home and so embarks on a journey to get there, encountering oodles of odd characters along the way.
How would you capture the depth of the ocean in your writing? How would you creatively sculpt its darkness, its mystery, its vastness, and its beauty into words? How would you even go about composing such a piece? Everything about John Luther Adams “Become Ocean” does this. There is a natural grace, a gentle ambiance, and an escalating reverence that perfectly captures how mankind loves, venerates, disrespects, and is in awe of the ocean. But the song isn’t just about what the ocean is; it is about becoming it. It’s about transforming and transporting.
I was lucky enough to have been introduced to “Becoming Ocean” through the Discover Weekly playlist in Spotify, an online music program. The playlist updates weekly, introducing you to 30 new songs each Monday. Last week was when I was graced with “Becoming Ocean”. It is a collaborative effort of composer John Luther Adams, Ludovic Morlot, and the Seattle Symphony Orchestra.
Two weeks ago, I came to the somewhat depressing decision that I needed to rewrite my book (again) from the beginning. And shortly after starting the rewrite, I stopped and started the rewrite again. I’ve probably done this ten or so times with this book. But now, I really feel like I’m in the right place with it. The Wild Dark has been a difficult write for me in many ways that I thought Memento Mori (my latest release) was. The Wild Dark deals most importantly with friendship, loyalty, humanity, depression, and loss. The protagonist longs for a simpler life, a way to lose herself in ordinary routines so that she doesn’t have to face the death of her best friend and failed relationship with her fiance. This all happens in the wake of a supernatural event that brings a strange transformation to the world she knows and loves.
Like all of my stories, I have a playlist of songs that I listen to when working. For this particular story, I have two: one featuring music with lyrics and one without. The without list is long and from the very beginning, has featured music by respected composer James Newton Howard. The most featured of his music is from M. Night Shyamalan’s The Village Soundtrack, which (in my opinion) has some of the most beautiful music ever composed. The undulating violins and contemplative, tranquil piano effectively take you inside a world filled with characters who wish to live simpler lives, characters who are innocent and have trouble even conceiving wickedness. They are terrorized by legendary creatures that live in the woods around their bucolic village, creatures who have decided that the peaceful truce they’ve shared for many years is now void. The Village is not so much a horror film as it is a romantic one and that is reflected in every track that Howard wrote. Just like The Village, The Wild Dark is more about the love and bond between two friends and where that takes them than it is about the apocalyptic events surrounding them. Today, I’ll be sharing a few songs from Howard’s soundtrack along with what I see when I listen to them.
Some of you probably caught my Horror-FAVE Friday blog featuring Lisa: The Painful RPG and all the things about it that make it an outstanding game. I briefly touched on the music composed by the game’s creator, Austin Jorgensen, or as he prefers to call himself, Widdly 2 Diddly. There is a very eclectic mix of tunes in Lisa that call for more atmospheric, scene-setting pieces, as well as outright pumped up beats. Since the game contains a lot of RPG battles, there’s a fair amount of dubstep, hiphoppy, rap, and rock type pieces and even some that are a bit more undefinable. The premise of the game revolves around Brad, who is living in a post-apocalyptic land called Olathe with some of his childhood friends. All of the women and children of the world have vanished in something known as the Flash. Brad happens upon a baby girl who he names Buddy and takes it upon himself to raise her and protect her. When she’s taken from him, he vows to get her back using any means necessary. Thus begins his humorous, depressing, hopeful, and often depraved journey.
So, this man is one of my favorite musicians. Ever. Ever since I discovered City and Colour a couple years ago, I’ve been playing his music non-stop. City and Colour is the recording name for ultra-talented musician Dallas Green who has had his hand in a few other projects as a singer-songwriter and guitarist. One of his more recent ventures is with singer-songwriter (and badass) P!nk with their duo, You + Me. City and Colour is a blend of soft pastel acoustic romance (“The Girl”), bright electric pop (“Thirst”), intense and fiery passion (“Woman”), and cool and dark folk (“Nowhere, Texas”). I’ve been listening to him a lot while working on the sequel to “Night Time, Dotted Line” as well as working on “The Wild Dark”. Both books, though vastly different, have been inspired in parts by City and Colour’s very diverse styling. I’m always a fan of someone who can and does branch out uniquely and successfully in their genre, someone who really tries not to write the same song over and over again. It’s the reason why City and Colour is one of my absolute favorites to listen to no matter what project I’m working on. Today, I’m going to share a few of City and Colour’s songs with you and write what I see when I listen to them. Enjoy!
In my opinion, the most moving of music is always the music that contains no lyrics. Unless they are vague, lyrics tend to force a certain set of images into one’s mind when listening to a song. They set a theme, they set a story, and a character and really put walls up. They box in your ideas for what this song could be about and who it’s written for. Instrumental music is freer. There’s no male or female vocalist, there is no particular story being told other than the one the instruments tell, and you can feel anything from pain to pleasure as you listen. While I’ve had inspiration from a handful of songs with lyrics while working on books, I primarily listen to instrumental, soundtrack, or ambient music and can dive into a story so much deeper this way. As of late while working on my apocalyptic novel, The Wild Dark, I have fallen in love with a particular composer who I had not had the pleasure of listening to before: the wonderful Arvo Pärt.