This is a one-of-a-kind masterclass featuring Jeff Beal and his Emmy-nominated score and main title theme for All Her Fault; Michael Abels for his main title theme for The Burbs; Tyler Strickland for his score for the documentary John Candy: I Like Me; Amanda Jones for her main title theme for Murderbot; and Carlos Rafael Rivera and David Stal for their original song for Hacks.

Spartacus: House of Ashur is produced by Lionsgate, and the soundtrack is available through Lakeshore Records on all DSPs.

Make sure to check out the Dear Santa soundtrack on Lakeshore Records, and we hope you enjoy this episode!

We highly recommend you put your good listening ears on for this interview, watch Flora and Son today, and listen to the incredible soundtrack (out now worldwide via Lakeshore Records). Enjoy! 

Emmy award-nominated composer Ariel Marx redefines what a composer can be. If you are an artist or creator of any sort, you should be hanging on Ariel’s every word. She’s a one of a kind, avante-garde risk taker with a knack for pushing boundaries and getting under our collective skin in the best way possible. Alon and Ariel covered a lot of ground including breakdowns of her brilliant approach to the scores for Sanctuary, Shiva Baby and A Small Light, the importance of perpetual contrast, Ravel’s string Quartet, Judaism’s deep cuts, The Alliance for Women Film Composers, the hidden dangers of the word “compromise”, and more.  We highly recommend you go down your own private Ariel Marx rabbit hole and make her music part of your essential playlist.

In our wide ranging conversation, we discussed Pink Floyd, Mendelssohn, comic books and geek culture, the chief importance of immediacy and instincts, collaborating with Ubisoft to sculpt the game’s hard hitting, raw, emotional sound palette, how to constantly challenge listener expectations, the cross section between Death Metal, Black Metal, Neo Folk and mythology, how NOT to score a boss fight, Stephanie’s main takeaways from the great Harry Gregson-Williams, how to tackle writer’s block, performative vs practical initiatives to promote Women Film Composers, how slowing down a track can create killer intensity and chaos, and so much more.

Stephanie Economou's epic score for Assassin's Creed Valhalla: Dawn of Ragnarök is out now worldwide via Lakeshore Records.

In our wide ranging discussion we touched upon the importance of priorities, persistence & patience, the concept of melodic destiny and Bach Chorale style writing, how composers use sound waves to create empathy, the brilliance of Vivaldi, Yoko Kanno, Shostakovich, John Williams, and the Final Fantasy scores,  how Chanda captured the sound of positive masculinity and the notion of devotion itself, what makes a good melody, the practicalities of living a well-rounded life, how to seamlessly marry classical orchestration and big sound synths, the power of countermelody, and so much more.

Chanda Dancy’s phenomenal score for Devotion is out now worldwide via Lakeshore Records.

Disasterpeace’s moving score for Marcel the Shell with Shoes On is out now worldwide via Lakeshore Records.

Amelia Warner’s stunning scores for Mr. Malcolm’s List and Wild Mountain Thyme are out now worldwide via Lakeshore Records.

Nico Muhly’s exquisite score for Pachinko is out now worldwide via Lakeshore Records.

Topics discussed include Pink Floyd guitar melodies, the fun and emotionally resonant swashbuckling sound of Star Trek, what it feels like to write a mega hit song, collaborating with the great Zoe Keating, tips for time management, the ever-present fear of failure, how composers translate ideas into music, the name of Jeff’s band with Noah Hawley, why empathy and the ability to communicate supersedes musical talent, and more.

Jeff’s incredible scores to Star Trek: Discovery and Picard are out now worldwide via Lakeshore Records.

Topics discussed include how Gustavo became an enemy of the state in jail for having long hair and playing rock n roll, the revolutionary rise of his band Arco Iris and Argentinian folk music, his ever expanding audience from teenage stardom to scoring apocalyptic videogames, composing for The Last of Us, Babel, Finch and his iconic Brokeback Mountain theme, working with NASA to bridge quantum physics, sonic frequencies and music therapy, the immeasurable impact of the Beatles, Che Guevara, Eastern philosophy and experimental drugs, Anne Hathaway’s canny ear for dissonance, the honesty and power of punk rock, what it’s like to win a second Oscar, the wonder of Tom Hanks, creative freedom with Steven Spielberg, good vs bad music and art vs. craftsmanship,  finding the spirit of a sacred instrument like the Ronroco, and so much more.

Finch is out now worldwide via Lakeshore Records.

• The evolution of Critical Role’s enormous success from streaming weekly hangs to Kickstarter to the screen
• Magic lutes, trap beats and heavy metal guitars
• The importance of planting thematic seeds as a composer
• The mysterious bridge between James Brown, funk & fantasy
• Fan culture, honoring OG Critters & welcoming a broader audience
• How to make a nasty nasty boy more sophisticated over time
• The Super Mario Brothers Theme
• Decoding pop songs
• Hints for Season Two

The Legend of Vox Machina is out now worldwide via Lakeshore Records. We hope you enjoy this conversation with Sam Riegel , Neal Acree and Peter Habib.

Angel’s exquisite directorial work can be seen in Really Love, Colin in Black and White, Cherish the Day and more. Khari’s incredible songwriting, production, and compositions can be heard on albums by artists such as The Roots, Gill Scott and RJD2, and in films and TV series such as Rest in Power: The Trayvon Martin Story, D Wade Life Unexpected, Really Love and elsewhere.

On this episode of On Cue With, hosted by Alon Levitan, we discuss how Khari and Angel arrived at the beautifully elegant, sophisticated sound of Really Love, experimental film and photography in Baltimore, working with Questlove and the Roots in Philadelphia, art as catharsis, how to capture nuance, hanging out at Prince’s house, what vulnerability, pain, lust and love sound like, the biggest sacrifices of being an artist, Bach’s cello suites, the incomparable Sade, creating revolutionary drama without trauma, getting in the studio with God, and more.

Khari’s phenomenal score for Really Love is out now worldwide via Lakeshore Records.

In this wide-ranging conversation, Fabrice discusses the crucial advice he received from the late great Ennio Morricone, his early days in Milan listening to music in old school record booths, how he navigates the dichotomy between pop and art, pre-Michael Jackson Quincy Jones, John Coltrane’s mesmerizing ballads, the lyricism of Dexter Gordon and Sonny Rollins, progressive Jazz and Ornette Coleman, how Fabrice’s compositions reflect the complex tonal shifts in Sylvie’s Love, Keith Jarrett’s mind-blowing harmonic choices, the importance of listening to music with undivided attention, how great musicians bring out the soul of a composition, the great Johnny Mandel, and so much more. 

Sylvie’s Love (Amazon Original Motion Picture Soundtrack) is out now worldwide via Lakeshore Records. 

We discuss why Virgin River un-controversially resonates deeply with so many people, how Jeff transitioned from hard-edged songwriter + rock musician to a chameleon-like composer, his earthy minimalist approach to the music of Virgin River, the genius of Thomas Newman, Lindsey Buckingham, Helmet, The Smiths, and The Cure, the influence of Less than Zero and The Lost Boys, the allure of fingerpicking acoustic guitar, how to unlearn the past and develop new versatility, the importance of college radio and keeping up with the zeitgeist, and so much more.

Note: amidst the conversation we contended w/some internet audio hiccups and dogs barking, but it’s a small price to pay for great conversation. Virgin River (Music from the Netflix Series) is out now worldwide via Lakeshore Records.

Hosted by Alon Levitan.

Podcast episode hosted by Gene Priest.

Welcome to Lakeshore Records’ podcast series, On Cue With. For this episode, we spoke with the incomparable Kris Bowers: an Oscar-nominated, Emmy-winning composer, producer, and pianist whose music can be heard in Netflix’s smash hit Bridgerton, as well as Kris’ Oscar-nominated documentary A Concerto is a Conversation, The United States VS. BILLIE HOLIDAY, BAD HAIR, SPACE JAM: A NEW LEGACY, RESPECT, King Richard, When They See Us, and so much more.

We discuss:

• How Kris created Bridgerton’s signature sound by bridging impressionism, modernity, and traditional classical music
• The exploration of narrative and emotion
• The influence of Ravel’s harmonic language on jazz
• His grandfather’s effortless counter to imposter syndrome
• Adopting a growth mindset vs staying in one lane
• The challenges of diversity discourse
• How recording music in the pandemic can increase intimacy
• Pleasure vs.  work ethic
• Singing and the flow state
• Orchestral swing
• Innate talent vs early exposure
• Stravinsky’s musical storytelling

Kris’ incredible chart-blazing score for Bridgerton is out now worldwide via Lakeshore Records. We hope you enjoy this conversation with Kris as much as we did.

On this episode we had the enormous pleasure of speaking with the great Matt Sweeney, an incredible guitarist, songwriter, producer and all around badass musician whom you’ve heard on many iconic records (Johnny Cash, Adele, Run the Jewels, Bonnie 'Prince’ Billy, and many more). We discussed Matt’s collaborative process with the Rockstar Games music team and Dave Ferguson on their #1 charting soundtrack to Red Dead Redemption 2: the Housebuilding EP, Thelonius Monk’s rules for life, self – expression as an overrated endeavor, sessions with the incomparable Rick Rubin, Appalachian music as a transcendent art form, Adele’s love of 70’s Dion, playing on Johnny Cash’s American V and VI albums, fingerpicking techniques vs Guitar Center licks, the wisdom of John Prine and Bill Withers, Matt's longtime collaborator Will Oldham, and much more. The Red Dead Redemption 2 Housebuilding EP is out now worldwide via Lakeshore Records. 

On this episode of The Lakeshore Records Podcast, host Tony Giles is in conversation with composer Emile Mosseri, the man behind the outstanding score for The Last Black Man In San Francisco.

In this latest composer interview, Tony Giles chats with the very busy Brian Tyler, whose latest scores to Five Feet Apart and What Men Want are released on Lakeshore Records. Listen in now as Brian explains what he would agree are scores which are a departure to what film music fans are used to hearing from him throughout his career. In particular, his Five Feet Apart was approached as a concept album in collaboration with co-composer Breton Vivian.

The score for Puppet Master: The Littlest Reich is available now through the Lakeshore Records web-shop: 

https://www.lakeshorerecordsshop.com/product/puppet-master-the-littlest-reich-toulon-s-bloody-revenge-vinyl-fabio-frizzi

https://www.lakeshorerecordsshop.com

T.G and Cody go through the album track by track and talk a little about each song and how they came to be.

The Saw Anthology is available exclusively in the U.S through F.Y.E and in the U.K through HMV

Recorded and Edited by Tony Giles

The Walking Dead is available on vinyl now here: http://lakeshorerecords.bigcartel.com/product/the-walking-dead-original-television-soundtrack-bear-mccreary-pre-order

Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

*This episode was recorded shortly after the series started. Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

Recorded and Edited by Tony Giles

Recorded and Edited by Scott Johannsson at Solatron Studios, Birmingham UK

Recorded and Edited by Scott Johannsson at Solatron Studios, Birmingham UK

Recorded and Edited by Scott Johannsson at Solatron Studios, Birmingham UK

Recorded and Edited by Scott Johannsson at Solatron Studios, Birmingham UK

Abels’ score — available now digitally via Lakeshore — skillfully complements the most haunting and the happiest moments with equal ease, using strings, piano, and clarinet to help tell the story in this unflinching documentary.

Abels, co-founder of the Composers Diversity Collective, an advocacy group to increase visibility of composers of color in film, game, and streaming media, had this to say about his work: “In Allen v. Farrow — as with most documentaries — nearly all of the complex story is told through dialogue and narration, leaving less sonic space for music than in a fictional saga. Yet, there are heartwarming family memories brought to life here, as well as difficult moments of silence that convey emotions too deep to be easily expressed in words.

“So, I wanted the score to provide a sense of forward motion in sections that are heavy with facts and information, to paint a joyful backdrop for the happy memories, and to be present for the awkward, uncomfortable emotional moments (rather than amplify them),” Abels said. “I especially used piano, clarinet and strings to unify the score despite its stylistic variety. And it was great fun to write a bit of classic jazz to accompany the images of 20th Century New York that are often identified with Woody Allen films.”

About Allen v. Farrow

Allen v. Farrow is a four-part documentary series that goes behind decades of sensational headlines to reveal the private story of one of Hollywood’s most notorious and public scandals: the accusation of sexual abuse against Woody Allen involving Dylan, his then-seven-year-old daughter with Mia Farrow; their subsequent custody trial, the revelation of Allen’s relationship with Farrow’s daughter, Soon-Yi; and the controversial aftermath in the years that followed.

Once celebrated for their on- and off-screen partnership, Farrow’s and Allen’s lives were irrevocably fractured and their sprawling family torn apart with the public disclosure of the abuse allegations and the vitriolic disputes that followed.

Lakeshore Records has also released soundtracks to Drive, Mr. Robot, Stranger Things, The Old Guard, I Am Not Your Negro, Assassin’s Creed Valhalla, The Wolf of Snow Hollow, Halt and Catch Fire, and Possessor, among so many others.

Download the album: https://smarturl.it/AllenVFarrow

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The Grammy-nominated, Academy Award-nominated, Emmy Award-winning, and Juilliard-educated Bowers has created for Bad Hair a compelling array of New Jack Swing songs, straight out of the late 1980s and early 1990s, balanced with a nuanced and richly textured score laced with such elements as ambient synth foreboding, jazz-infused ruminations, cacophonous histrionics, and Penderecki-infused conversations, among other things.

In the podcast Bowers and Vehling dive into his work with Simien, Kelly Rowland, and Braxton Cook on the Teddy Riley-esque songs and also the inspiration for, and creative approach surrounding, his brilliantly nuanced score. (The Shining comes up a few times.) Additionally, they touch on some takeaways and themes from the film itself. Oh, there’s more, but those alone should be enough to compel you to listen.

Additionally, you can stream the Bad Hair soundtrack right now via the usual platforms.

About Bad Hair

Bad Hair, written and directed by Justin Simien, is set in 1989 and follows an ambitious young woman (Elle Lorraine) who gets a weave in order to succeed in the image-obsessed world of music television. However, her flourishing career comes at a great cost when she realizes that her new hair may have a mind of its own. The film’s cast list is a treasure trove: In addition to Lorraine, there’s Vanessa Williams, Lena Waithe, Laverne Cox, Jay Pharoah, Kelly Rowland, Blair Underwood, James Van Der Beek and Usher Raymond IV. The film is produced by Sight Unseen in association with Culture Machine.

Again, you can stream the Bad Hair soundtrack right now via the usual platforms. It is released by Lakeshore Records, which has also released soundtracks to Drive, Mr. Robot, Stranger Things, The Old Guard, I Am Not Your Negro, The Wolf of Snow Hollow, Halt and Catch Fire, and Greyhound, among so many others.

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The sci-fi horror film — starring Mandy actor Andrea Riseborough, along with Christopher Abbott, Rossif Sutherland, Tuppence Middleton, Sean Bean, and Jennifer Jason Leigh — is about an elite, corporate assassin who uses brain-implant technology to take control of other people’s bodies to execute high profile targets. As she sinks deeper into her latest assignment, the assassin becomes trapped inside a mind that threatens to obliterate her.

It’s one a great film and Williams’ score is a nuanced and powerful complement. The RAW and Hotel Babylon composer offers a hypnotic blend of minimal synthesizers and warped orchestral runs that coalesce in an often unnerving way to help tell the terrifying tale of Riseborough’s assassin. Take a listen as I interview Williams about this extraordinary journey.

Where to Watch Possessor and Listen to the Score

Possessor is out now on VOD. The score is available from Lakeshore Records in digital form (on its Bandcamp page and on streaming services). You can also pre-order the vinyl via MONDO/Death Waltz.

Lakeshore Records has also released soundtracks to Drive, Mr. Robot, Stranger Things, The Old Guard, I Am Not Your Negro, The Wolf of Snow Hollow, and Halt and Catch Fire, among so many others.

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Video game fans across the world are excited about Ubisoft’s Assassin’s Creed Valhalla — out now — and we’d like to emphasize the compelling music in the game. It’s truly stunning work. The composers — Jesper Kyd, Sarah Schachner, and Einar Selvik — have put together more than 120 minutes of engaging melodies and soundscapes that complement the extraordinary world-building the game’s designers have unleashed unto the world.

The second of two Assassin’s Creed Valhalla-focused episodes of Lakeshore Records’ On Cue With… features host Alon Levitan’s interview with Kyd, the BAFTA Award-winning Danish composer whose storied career has been connected to Assassin’s Creed from the beginning.

Kyd’s earned a host of awards and award nominations from critics and noble institutions on both sides of the pond, and recently was honored with the Nile Rodgers Global Creators Award for his innovative and unique body of work, joining the esteemed ranks of entertainment industry luminaries Spike Lee and Tony Visconti.

“For Valhalla, my approach was to write music that felt realistic and authentic to the Viking era while letting modern elements of the Animus infiltrate the score — blending the music into something new, yet uniquely Assassin’s Creed in its sound,” Kyd said. “I also allowed for a lot of air and space in the live recordings to emulate instruments being recorded outside among the forests and fjords.”

(For those who missed yesterday’s interview with Selvik, one of the other composers for the game, here it is.)

Stream and/or download the full Assassin’s Creed Valhalla — Original Game Soundtrack here. Lakeshore Records, in conjunction with Ubisoft, released the 47-track album digitally earlier this month.

About Assassin’s Creed Valhalla

In Assassin’s Creed Valhalla, players can take advantage of new features inspired by the Viking Culture, including raids, assaults, growing their settlement, building their power, and expanding their influence. Players must carve out a new future for their clan, reliving the ruthless fighting style of Viking warriors with a renewed combat system that includes the ability to dual-wield weapons against a greater variety of enemies than ever before.

Since it first launched in 2007, the Assassin’s Creed series has sold more than 140 million games worldwide. The franchise is now established as one of the best-selling series in video game history. Recognized for having some of the richest, most engrossing storytelling in the industry, Assassin’s Creed transcends video games, branching out into numerous other entertainment media.

Assassin’s Creed Valhalla is out now on your favorite consoles and platforms.

Lakeshore Records has also released soundtracks to Drive, Mr. Robot, Stranger Things, The Old Guard, I Am Not Your Negro, The Wolf of Snow Hollow, Halt and Catch Fire, and Possessor, among so many others.

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About And She Could Be Next

The nine-cut release came out on Oct. 9 and features the work of Shankar and co-producer William Stanbro, along with artists like three-time Emmy-winning composer Vivek Maddala (Asian Americans, “The Tom & Jerry Show”), Sheila E, Aloe Blacc, Sa-Roc,  Saul Williams, Tarriona “Tank” Ball, and more. It’s a companion to the show executive-produced by Ava DuVernay that chronicles the story of a defiant movement of women of color, including Stacey Abrams, Lucy McBath, Rashida Tlaib, AOC, Nikema Williams, and more, who are transforming American politics from the ground up.

Shankar began reaching out to friends to help create a companion album — woven with the docuseries score — as a tool to amplify voting organizations’ efforts as well as to just lift people’s spirits during this often heartbreaking year.

“In the words of Nina Simone, ‘It is an artist’s duty to reflect the times,'” Shankar said in a statement. “As artists, we are all feeling what’s happening in this country and the world right now on such a personal level. As people of color, we have all helped to create the fabric and culture of this country as a whole, yet we are living in a time where every one of us is treated as ‘other.’ How do we reconcile fighting for a country that is so clearly not just rejecting us, but going out of it’s way to harm our communities? We all come from different backgrounds, yet the resemblances are striking. The commonality we found in speaking to all these women artists was their strength and resilience. We gave each artist the same phrases before recording, and each came back with experiences and perspectives around it that blew us away.”

With that, a noteworthy series of songs emerged. It’s an album of voices of women who are accustomed to being silenced, each with her own story of discrimination and how they fought back. All with the goal of creating anthems to help women of color across the United States bring about change.

The album features artists from the hip hop, pop, and R&B community, including Aloe Blacc, Sa-Roc, Sheila E, Saul Williams, Tarriona “Tank” Ball, Hyro the Hero, Judith Hill, Ruby Ibarra, Shawnee, HeeSun Lee, Sussan Deyhim, Walter Sickert & The Army of Broken Toys, Oompa, This Way to the Egress, Genie Santiago, Vivek Maddala, William Stanbro, Sarah DeAun, Dee MC, Raaginder, Tia Simone, and JKeyz.

A portion of the proceeds will benefit organizations such as Fair Fight, Mijente, Seeding Sovereignty, and When We All Vote.

There are three ways to watch the docuseries: on your local PBS station, streaming it on AndSheCouldBeNext.com, or finding it on the PBS app on your smart TV.

And She Could Be Next is released by Lakeshore Records, which has also released soundtracks to Drive, Mr. Robot, Stranger Things, The Old Guard, I Am Not Your Negro, The Wolf of Snow Hollow, Halt and Catch Fire, and Bad Hair, among so many others.

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Everyone is pumped about Ubisoft’s Assassin’s Creed Valhalla, out now, and we’d like to emphasize the compelling music in the game. The composers — Jesper Kyd, Sarah Schachner, and Einar Selvik — have put together more than 120 minutes of engaging melodies and soundscapes that complement the extraordinary world-building the game’s designers have unleashed unto the world. The latest episode of Lakeshore Records’ On Cue With… podcast features an interview with Selvik, a lauded musician from Norway.

On Assassin’s Creed Valhalla, Selvik, who specializes in ancient Nordic music and spearheads the renowned folk/world band Wardruna, provides evocative and striking songs to the game. (Selvik and Wardruna have contributed extensively on the soundtrack and music for History Channel´s TV series Vikings, where he also appeared in two episodes as a singer.)

“Assassin’s Creed Valhalla is such a massive game, and it has been such a pleasure to be part of the musical team that set out to fill that enormous space with sounds that could potentially bring the player even more into the theme and time of the game,” Selvik said in a statement recently. “This compilation album is a good introduction to the musical landscapes of the game and gives a taste of the atmosphere of the game itself!”

Go ahead and dive into the On Cue With… interview, hosted by Lakeshore’s Alon Levitan.

Stream and/or download the full Assassin’s Creed Valhalla — Original Game Soundtrack here. Lakeshore Records, in conjunction with Ubisoft, released the 47-track album digitally earlier this month.

On Dec. 4, Lakeshore and Ubisoft will also release a Valhalla-related solo album from Selvik entitled Assassin’s Creed Valhalla: The Wave of Giants. On it, Selvik shares 10 evocative tracks steeped in Nordic musical traditions that further enliven the authentic ethnography of the Viking culture in the game. Presave it here.

Selvik says of the solo album: “Wave of Giants is an old Norse poetic metaphor meaning “poetry” that refers to the myth when the god Odin stole the mead of poetry from Kvasir the Jotun/giant. The title felt very appropriate since much of my efforts on Assassin’s Creed Valhalla have been about giving voice to the Skalds and the poetic traditions that once laid at the heart of the Norse culture. New, as well as existing Old Norse poetry accompanied by ancient Norse and Nordic instruments, tonalities and rhythms — both the format of minimalistic and unpolished live-in-studio recordings, as well as fully produced pieces more similar to the soundscape of Wardruna. This album gives a good taste of my work in the game, as well as a feel for the game itself!”

About Assassin’s Creed Valhalla

In Assassin’s Creed Valhalla, players can take advantage of new features inspired by the Viking Culture, including raids, assaults, growing their settlement, building their power, and expanding their influence. Players must carve out a new future for their clan, reliving the ruthless fighting style of Viking warriors with a renewed combat system that includes the ability to dual-wield weapons against a greater variety of enemies than ever before.

Since it first launched in 2007, the Assassin’s Creed series has sold more than 140 million games worldwide. The franchise is now established as one of the best-selling series in video game history. Recognized for having some of the richest, most engrossing storytelling in the industry, Assassin’s Creed transcends video games, branching out into numerous other entertainment media.

Assassin’s Creed Valhalla is out now on your favorite consoles and platforms.

Lakeshore Records has also released soundtracks to Drive, Mr. Robot, Stranger Things, The Old Guard, I Am Not Your Negro, The Wolf of Snow Hollow, Halt and Catch Fire, and Possessor, among so many others.

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Greyhound, starring Tom Hanks, has some truly engaging music. The composer behind the original motion picture soundtrack is Blake Neely. He joins the Lakeshore podcast On Cue With… and host Alon Levitan to talk all about his masterful work for this Aaron Schneider-directed film about an inexperienced U.S. Navy commander who must lead an Allied convoy that has a German submarine wolf pack on its tail.

The score to the film that was No. 1 on Apple TV+ when it was released is available now digitally via Lakeshore Records on its Bandcamp page and through outlets such as Apple Music and Spotify.

Lakeshore Records has also released soundtracks to Drive, Mr. Robot, Stranger Things, The Old Guard, I Am Not Your Negro, The Wolf of Snow Hollow, and Halt and Catch Fire, among so many others.

More about Blake Neely

Texas-born Blake Neely is an award-winning composer with work in film, television, and the live space. He’s scored more than 30 TV series and 15 films, securing three Emmy Award nominations for his scores to ABC’s Pan Am, the HBO mini-series The Pacific, and for his title theme to Everwood. In addition to his own projects, Neely has been a co-composer, conductor, and orchestrator with notables such as Vangelis, Hans Zimmer, Michael Kamen, and James Newton Howard.

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Ben Lovett is interviewed by Gene Priest, who’s guest-hosting Lakeshore Records’ On Cue With… podcast. Lovett’s discussing his awesome Hermannesque score for Thunder Road director Jim Cummings’ The Wolf of Snow Hollow — both the film and Lakeshore’s digital soundtrack album release are out now.

Take a listen to this chat between Priest (Skeleton Beach) and Lovett.

About The Wolf of Snow Hollow

A small mountain town finds itself in a grip of terror when people discover dead bodies after each full moon. John Marshall (Jim Cummings) is a local cop who, amid sleepless nights, raising his teenage daughter (Chloe East), and caring for his ailing father, must remind himself there’s really no such thing as werewolves. Right? (One note: Robert Forster plays Sheriff Hadley in what became his last role before his death in October 2019.)

Check out the soundtrack on platforms such as Spotify. The album is released by Lakeshore Records, which in addition to releasing Lovett’s and Valen’s haunting “Little Red Riding Hood” cover from Snow Hollow, has also released soundtracks to Drive, Mr. Robot, Stranger Things, The Old Guard, I Am Not Your Negro, and Halt and Catch Fire, among so many others.

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