Have you ever found yourself wanting a metric ton of DAI music? Have you ever thought to yourself, aw man, DAI’s soundtrack was 15 hours shorter than I wanted it to be? If that sounds like you, then this is a link for you.
I’ve ripped all the music from this game - that is, all the ambient snippets of music that you hear while running around in the world, and all the music that happens in cutscenes - and it turns out there’s 16 hours (1.6 gigs) of it.
“American Gods” is the new Starz series based on the Neil Gaiman novel of the same name. It’s scored by Brian Reitzell, who’s worked on Sofia Coppola’s Lost in Translation, Marie Antoinette, and The Bling Ring. Today, Milan Records has announced the “American Gods” soundtrack, which is out digitally June 16. The soundtrack includes Reitzell’s score, as well as collaborations with Mark Lanegan, Blondie’s Debbie Harry, and Garbage’s Shirley Manson. Below, listen to a new song from the soundtrack, “Queen of the Bored” featuring Manson. Scroll down for the full tracklist.
Prior to “Queen of the Bored,” Milan shared three offerings from the “American Gods” soundtrack: Reitzell’s “Main Title Theme,” Reitzell and Lanegan’s Lead Belly cover “In the Pines,” and their rendition of “St. James Infirmary Blues,” a song popularized by Louis Armstrong.
01 Main Title Theme 02 Out of Time 03 Gumball 04 In the Pines [ft. Mark Lanegan] 05 Shopping 06 Bilquis Gets to Work 07 Salim Waits 08 Salim and Jinn 09 St. James Infirmary Blues [ft. Mark Lanegan] 10 Queen of the Bored [ft. Shirley Manson] 11 Laura’s Affair 12 Nunnyunnini 13 Media Bowie 14 Wednesday Heals Shadow 15 Vulcan 16 I Put a Spell on You [ft. Mark Lanegan] 17 Essie Accused 18 Bilquis Orgy 19 Tehran 1978 [ft. Debbie Harry and Shirley Manson] 20 There Here Finale
The Attack on Titan Season 2 Original soundtrack tracklist is officially online! (x)
It counts a total of 33 tracks, of which 11 tracks are newly composed pieces, whilst the other 22 return from previous SnK releases.
This collection includes: the entirety of the 2nd S1 ost disc released with the 4th s1 bluray volume, safe for the piano track playing during the Hange/Nick scene atop the wall in ep 26. It also includes both complete recap movie soundtracks, as well as the new vocal tracks released as part of Sawano’s [nZk] vocal platform (Yamanaiame/Yamanaiame fmv/theDOGS/the Reluctant heroes modv/So ist es immer). None of the s1 disc 1 tracks are featured, and the SnKTen exhibition tracks are lacking as well.
2Volt is featured twice \o/ (thanks @leapingtitan for pointing that out)
The new additions to the soundtrack are
Barricades (vocal yosh;mpi;gemie), the track used in the 2nd PV that came out late May.
APETITAN, the Beast titan theme heard in PV 1 and the first 4 episodes.
YouSeeBIGGIRL/T:T (vocal Gemie) a vocal track possibly centered around Historia or Ymir perhaps?
son2seaVer, no vocals here.
Call of Silence (vocal Gemie)
ERENthe? I can’t quite make out the character used there, but it could possibly be
座 which is part of “coordinate”, that’s really just a wild guess though. EDIT: @fuku-shuu confirmed that the character is
標, referring to “coordinate” (at least I got the meaning right ashkd), thanks!
attack?D, no vocals here eiher
AOTs2M 1-4 –most likely the new atmospheric/background/piano tracks, some of which have already made an appearance in the episodes.
Overall, out of the 7 new bgms, we’ve heard already 4: APETITAN, Barricades, the Counterattack Mankind remix and the Vogel im Käfig remix, which presumably leaves us one instrumental, and two vocal tracks to discover (and perhaps some more background stuff)
If I were an award-giving body but thank goodness I’m not
ROMANTIC DOCTOR, TEACHER KIM Awards: 1. Best Intro Scene / Opening Credits Award 2. Most Realistic Medical Drama in K-Drama History—Squirting Blood And All Award 3. Best Open-Mouthed Kiss With Epic Background Music Award 4. Most Daring Move Award: Kiss In The First Episode – Kang Dong-Joo + Yoon Seo Jung In The Supplies Room 5. Most Daring Line In Any Drama Award: “I Like you, sunbae. I want to sleep with you.” 6. Most Fast-Paced Drama Every Damn Episode Is Worth It Award 7. Best Wrapped – Up Ending in K-Drama Award 8. Best Squad Walk Scene Award
SCARLET HEART: RYEO Awards: 1. Favorite Fusion Saguek – Fantasy Drama of 2016 Award 2. Freaking Tearjerker Drama of the Year Award 3. Drama With The Most Subbed Versions In K-Drama History Award 4. Best Fandom Award 5. Drama With The Most Close-Up Views Award 6. Drama With The Most Ridiculously Obvious Editing Mistakes But Who Cares Award 7. Drama With The Best Couple “Spot” Award 8. Best Soundtrack Including The Instrumentals Award
GOBLIN Awards: 1. Drama With The Most Slo-Mo Scenes Ever Award 2. Snail Turtle Sloth Award: Story Development 3. Drama With The Most Cars Destroyed Award 4. Unique Plot Awards 5. Breathtaking Cinematography Award
DESCENDANTS OF THE SUN Awards: 1. Drama With The Most Disasters Award 2. Best Unplanned Confession Award 3. Most Military Equipment Being Abused Award
HWARANG: THE BEGINNING Awards: 1. Drama With The Most Beautiful Youth Cast Award 2. Best Shower Scene Award (4-in-1) 3. Most Beautiful King of Fusion Saguek Award: Sam Maek Jong 4. Most DIVIDED Fandom Award 5. Most ‘Eye-candy’ Cast In A Fusion Saguek Drama Award 6. Multi-talented Female Character Award: Kim Ah Ro 7. Fast-Learner Male Character Award: Dog Bird/ Sun Woo 8. Youngest Old Person Character Award: Pa Oh, The Forever 22 9. Best OTP Of The Year Award: Sae Ro (Gae Sae and Ah Ro) 10. Most Kissy Male Lead Ever And We Love It Award: Dog Bird
CHEESE IN THE TRAP Awards: 1. Best Second Male Lead Scene Stealer Award 2. Creepiest Male Lead But He Is Hot AF Award
SECRET GARDEN Award: 1. Most Creative Kiss Award: Kissing Off Froth From SO Lips 2. Longest Kiss In Front Of People In A Party Award: 40 Seconds Special Awards: “Adorable Crybaby Of The Year Award:” Hwarang: The Beginning (Ah Ro/Go Ara) Another Miss Oh (Oh Hae-Young/Seo Hyun-Jin)
“Most Lovable Villains:” Joseon Gunman (Choi Won-shin/ Yu Oh-Seong) The K2 (Choi Yoo Jin/Song Yoon Ah) Scholar Who Walks The Night (Gwi/Lee Soo-Hyuk)
“Best Office Setting:” She Was Pretty (THE MOST Magazine) The Witch’s Romance (THE TROUBLEMAKER Magazine)
Wondrous indeed is this rendition of Oasis classic Wonderwall turned in by none other than Los Angeles chanteuse, Zella Day. Her rustic and pastoral cover is included in the soundtrack for a new ABC television series named When We Rise, which I know nothing about, but I’ll surely look up now that I’ve slow swayed to Zella Day’s beautifully crackling tune. Zella Day’s is cozy haunting and snugly melancholic, a thorough transformation from the original.
On this day in music history: May 27, 1985 - “Into The Groove” by Madonna is released. Written and produced by Madonna and Stephen Bray, it is the ninth single release for the pop music superstar. By early 1984, Madonna’s career finally begins to take flight as her self titled debut album gains momentum off of the strength of the singles “Holiday” and “Borderline”. While living in the Alphabet City area of the East Village in Manhattan, she sees a handsome young Puerto Rican man on the fire escape of the apartment building across from hers. That encounter inspires one of her best known and loved songs. Madonna finishes writing what becomes “Into The Groove” with her former Breakfast Club band mate, drummer Steve Bray. Club DJ Mark Kamins, producer of her debut single “Everybody”, asks Madonna if she can write a song for a female teenage vocalist he’s discovered named Cheyne (“Call Me Mr. Telephone”, “Private Joy”). She offers him “Into The Groove” which Kamins feels is a hit upon hearing it. A short time later, Madonna lands the title role in director Susan Seidelman’s “Desperately Seeking Susan” (co-starring Rosanna Arquette and Aidan Quinn). Seidelman asks Madonna if she will contribute a song to the films soundtrack for a night club scene filmed at Danceteria in New York. She plays the director the rough demo for “Groove”, which the director loves immediately. Madonna and Steve Bray re-record the song at Sigma Sound Studios in New York for inclusion in the film. Kamins is upset when he finds out that the singer has taken the song back without telling him, causing a rift between the two. By the time “Susan” hits theaters in late March of 1985, Madonna’s music career is on fire with three singles on the chart simultaneously. Fearing overexposure, there are no plans to issue “Into The Groove” as single, and it is not included on the soundtrack album. However, a music video featuring the song is released to help promote the film. Radio stations take the audio from the video and begin playing it on the air. The public’s reaction to the song is immediately positive and forces Madonna’s label Sire Records to release it. Not wanting it to be in direct chart competition with “Angel”, “Groove” is placed on the B-side of the 12" single for “Angel”. Since it is not initially released as a 7" single in the US, it isn’t eligible to chart on the Billboard Hot 100, though that does not stop it from becoming a huge radio smash. The 12" sells over a million copies domestically, becoming one of only a small handful to sell in numbers that large. “Groove” is released as an A-side overseas, and added to some foreign pressings of the “Like A Virgin” album. “Into The Groove” tops the charts in nine countries including four weeks at the top of the UK singles chart, and one week at the top of the Billboard Club Play on June 29, 1985. “Into The Groove” is certified Gold in the US by the RIAA.
After releasing a film every three years since 2004, director Edgar Wright’s latest effort comes after a four-year gap due to his flirtations with Ant-Man. Baby Driver, an action film about a man named Baby (Ansel Elgort) who is a getaway driver, is perhaps Wright’s most commercially appealing film. With the box office to match and the film shaping up to a box office surprise to many this summer, it seems as though Wright has finally found some mainstream acceptance, at least in America. As with many directors who finally escape niche audiences and finally find themselves receiving applauds from the general public (without having to resort to their work being a “cult classic”), Wright has unfortunately compromised some of the frenetic fun of his early work. Though Baby Driver is nonetheless a quirky, funny, and often times surreal film, it winds up feeling wholly underwhelming with Wright ditching what made his earlier films work so well: characters.
Though Shaun of the Dead or Hot Fuzz were both action comedies, they nonetheless had great central characters. The supporting cast got the same treatment in those action films and this was especially true in his other works, Scott Pilgrim vs. the World and The World’s End. Unfortunately, this latest work gives very little for any character. Baby, a music-loving kid with tinnitus and who is in love with Debora (Lily James), is given very little depth even as the star. Beyond having a black foster dad and dead parents, it is hard to imagine what was supposed to be learned about the kid. He does not really grow and is never really given room to explore any bit of him beyond brief flashbacks to the car crash that gave him tinnitus and killed his parents along with a cassette tape that has a recording of his mom (Sky Ferreira) singing. Too often, Wright seems to rely upon old school musical classics as a shortcut to actually write dialogue between characters or characters’ backstories. It is often excusable when the supporting cast is lightly developed or if a film fails to develop many characters beyond narrative cliches when there is not a single protagonist. Unfortunately, beyond being a good kid with a bad past that has led to him being bound to crime boss Doc (Kevin Spacey) as a getaway driver, Baby gets no depth or nuance. As a result, it is easy to just roll your eyes with how pale he winds up being written.
This same problem is found with the entirety of the supporting cast. His girlfriend, Debora, is shown as being nothing more than idyllic yes man who does whatever Baby tells her to do. Leave work now? Sure. Travel the country right now with a guy you barely know? Sure. Let this guy just follow you home? Of course. She has no ideas of her own. No volition and, crucially, no motivation. Wright, likely, keeps it this way to make it easier to turn her into a stone cold badass at the end with her taking on Buddy (Jon Hamm) and trying to outrun the cops. Neither are convincing moments with how she is set up as nothing more than a young girl trying to make a living at a dead end job. Wright treats her as arm candy, lets her have a moment towards the end, and then reassures the audience she is nothing more than a dream girl from a song and relegates her to being nothing more than cute for trying to save Baby, but let’s let the men handle this one, eh? For Doc, he suffers from the same issue, but in reverse. Though he does seem to always like Baby, his turn from a hard-nosed criminal who will never let go of Baby to a soft and sentimental man who sacrifices himself to save his beloved driver is borderline comical. The film may be an action-comedy, but its absurd and ludicrous suggestion that Debora could go from quiet waitress to being Bonnie and Doc could go from being a true monster to being Sulley from Monsters Inc. carries no water. These two, despite their vital importance to the plot, are woefully underwritten. For bank robbers Buddy, Darling (Eiza Gonzalez), and Bats (Jamie Foxx), they are similarly underwritten. All of them are crazy and impulsive with no depth for any of the trio ever being considered. They are just nuts and cannot be trusted. With them all being treated as villains of Baby by the end, this cast of underwritten villains makes it apparent why Wright wanted to work with Marvel: his lack of knowledge of how to write a capable villain would be welcomed, instead of questioned. The only saving grace with the villain is a good motivation for why they become the villain, but it comes off of the back of too little development until then to really make it click.
Many of the film’s issues regarding character development can be attributed to the film’s issue with action. As an action film, one can only assume Baby Driver will have a lot of action. It is a great action film in this regard, but it winds up being a truly hollow experience due to its absolute, unquestioning devotion to going all-in on action. It never stops to take a break and allow us to really delve into these characters beyond those aforementioned small background items that really add nothing to the characters. Rather, its biggest departures from action come via introducing the relationship between Baby and Debora or rising action as the group plans a new heist. The former is there to just establish stakes for Baby and the latter reveals nothing about the characters. The end result is the film taking the three-step process of a brief scene where it half-heartedly shows some background information, rising action via heist prep, and then a prolonged car chase. It is a film that wishes to speed by and never stops to catch its breathe, leaving the audience huffing and puffing for air by the end. With multiple climaxes in the film, it feels as though each successive climax loses some of the power and weight rendering the film an action flick without a true defining climax. Its final showdown hardly counts with it ending up being a classic comically invincible bad guy ending where the villain dies multiple times before actually being dealt with. The showdown even lacks an effective car chase, instead devolving to nothing more than Wright playing bumper cars in a parking garage. For a film that had wound up feeling rather underwhelming until then - leading to intense self-doubt that it was truly that underwhelming - this cliche, predictable, and impeccably dull final showdown hardly convinced me to overlook the film’s flaws. In fact, it - along with the absolutely horrifically drawn out and pointless epilogue - solidified this one as being Edgar Wright’s worst film yet.
Now, Baby Driver is not all bad. When going against the tide of popular opinion, it is quite easy to get lost in defending one’s feeling instead of offering counter-points and positives for the film. Though the action goes on for far too long and dominates too much of the picture, it is impossible to deny that Edgar Wright did not knock it out of the park. While I would prefer a character-driven action film, Baby Driver nearly convinced me that an action-driven film is not that bad after all. With exquisitely designed car chases with fantastic driving from Baby, intricately designed set pieces, and a sea of moving pieces in each frame, Baby Driver has some of the best car chases ever put to screen. Exploring ever speck of the layout of Atlanta and incorporating a variety of cars, locales, and situations, Wright continuously innovates with the film’s chase sequences. For more classic fans of car chases, he opens with a heart-pumping car chase complete with spin moves, staying on the road, and evading the cops through nifty moves and smartly placed additional getaway cars. Later, for the off-road lovers in the audiences, he includes a scene where Baby and crew must fight off a vigilante with both driving off of one highway and jumping over to the next. Finally, for those who prefer foot chases, Wright even nails that one with an exhilarating foot chase when the getaway does not go completely to plan. Pulse pounding, thrilling, and thoroughly exciting in each of these moments, Baby Driver is a masterpiece of action set pieces.
As always, Wright also manages to make the film quite funny at times. Though every joke does not quite land - such as the exaggerated scene of Ansel Elgort dancing at the beginning of the film that is a bit too much like Tobey Maguire dancing in Spider-Man 3 to work - there are enough witty one-liners to really make the film enjoyable beyond the action. Though this is one Wright’s straightest works and relatively light with jokes, he can barely contain himself when a great joke set-up arises and he can toss in a moment to lighten up the mood. These jokes never distract from proceedings and, instead, flow quite nicely with the already exaggerated world of crime depicted in the film. It is natural comedy that is mostly funny and never intrusive, which is a rarity nowadays.
Though calling the film a “musical” is a bit like calling Captain America: The Winter Soldier a “political thriller”, Wright nonetheless nails the music. While I have never heard of any of the songs on the soundtrack - nor did I particularly enjoy any of them - the film makes perfect use of its soundtrack. It can become a bit distracting at times, but Wright continuously keeps the melody of the song in harmony with the events of the film and makes perfect usage of every song included. In future lists about “songs that were perfectly used in a movie”, Baby Driver will likely have much of its soundtrack included due to how seamlessly Wright was able to weave the songs into the very spirit of the film.
Perhaps one of the more under-valued elements of this film, however, is its old school aesthetic in the portrayal of Baby and Debora’s relationship. Meeting cute in a neon-lit, old school styled diner, Debora is rarely seen in anything but her waitress dress. An outfit that would have been prevalent for car hop girls in old time diners, it is really the defining characteristic of her character. This aesthetic is further defined in a brief flash forward in the middle of the film where Debora awaits Baby’s arrival at the car in black-and-white. Wearing vintage clothing, Debora sees Baby approach in a vintage polo and with his hair combed to the side. Though they bond over iPods and much of the music is quite modern, the relationship the couple embarks upon feels cut straight out of 1950s or 1960s America with a very homely, quaint, and classic feeling to it all.
A pulse pounding, thrilling, and truly exciting film, Baby Driver is Edgar Wright’s worst film yet. Trading in characters for endless action that leaves the audience gasping for air and praying for the film to end, Baby Driver is one of the more disappointing films of 2017 and is wholly unable to live up to the hype. Underwritten to a fault with a useless protagonist and worse supporting characters, Baby Driver ends up relying upon one defining characteristic or event as its character development. As a result, it feels entirely hollow with half-hearted stakes, emotion, and characters, that exist solely to allow for more car chases. Though the car chases are excellent, the film’s utter lack of compelling characters makes it a truly disappointing effort. Though far from a bad film as it is saved by those great car chases, Baby Driver shows that even under the guidance of an auteur, endless action still falls flat.