A film score is the background music of a film (which is generally categorically separated from songs used within a film). The term soundtrack may be confused with film score. A soundtrack, however, contains everything audible in the film including sound effects and dialogue. Soundtrack albums may also include songs featured in the film as well as previously released music by other artists. A score is written specifically to accompany a film, by the original film's composer(s).

Each individual piece of music, within a film's score, is called a cue and is typically a composition for instruments (e.g. orchestra) and/or non-individually featured voices. Since the 1950s, a growing number of scores are electronic or a hybrid of orchestral and electronic instruments. Since the invention of digital technology and audio sampling, many low budget films have been able to rely on digital samples to imitate the sound of real live instruments.

Process of creation

Usually, after the film has been shot (or some shooting has been completed), the composer is shown an unpolished "rough cut" of the film (or of the scenes partially finished), and talks to the director about what sort of music (styles, themes, etc.) should be used — this process is called "spotting." More rarely, the director will talk to the composer before shooting has started, so as to give more time to the composer or because the director needs to shoot scenes (namely song or dance scenes) according to the final score. Sometimes the director will have edited the film using "temp (temporary) music": already published pieces with a character that the director believes to fit specific scenes.

In some instances, film composers have been asked by the director to imitate a specific composer or style present in the temp track. On other occasions, directors have become so attached to the temp score that they decide to use it and reject the original score written by the film composer. One of the most famous cases is Stanley Kubrick's , where Kubrick opted for existing recordings of classical works, including pieces by composer György Ligeti rather than the score by Alex North, although Kubrick had also hired Frank Cordell to do a score. While North's 2001 is indeed a major example, it is not the sole case of well-known rejected scores. Others include Torn Curtain (Bernard Herrmann), Troy (Gabriel Yared), Peter Jackson's King Kong (Howard Shore) and The Bourne Identity (John Powell).

Once a composer has the film, they will then work on creating the score. While some composers prefer to work with traditional paper scores, many film composers write in a computer-based environment. This allows the composer and orchestrator to create MIDI-based demos of themes and cues, called MIDI mockups, for review by the filmmaker prior to the final orchestral recording. Some films are then re-edited to better fit the music. Instances of this include the collaborations between filmmaker Godfrey Reggio and composer Philip Glass, where over several years the score and film are edited multiple times to better suit each other. Similar to these are the associations between Sergio Leone and Ennio Morricone. In the finale of The Good, the Bad and the Ugly, Morricone had prepared the score used before and Leone edited the scenes to match it. His two films, Once Upon a Time in the West and Once Upon a Time in America, were completely edited to Morricone's score as the composer had prepared it months before the film's production. Another example is the famous chase scene in Steven Spielberg's E.T. the Extra-Terrestrial. The score, composed by long-time collaborator John Williams, proved so difficult to synchronize in this specific scene during the recording sessions that, as recounted in a companion documentary on the DVD, Spielberg gave Williams carte blanche and asked him to record the cue without picture, freely; Spielberg then re-edited the scene later on to perfectly match the music.

When the music has been composed and orchestrated, the orchestra or ensemble then performs it, often with the composer conducting. Musicians for these ensembles are often uncredited in the film or on the album and are contracted individually (and if so, the orchestra contractor is credited in the film or the soundtrack album). However, some films have recently begun crediting the contracted musicians on the albums under the name Hollywood Studio Symphony after an agreement with the American Federation of Musicians. Other performing ensembles that are often employed include the London Symphony Orchestra, the City of Prague Philharmonic Orchestra (an orchestra dedicated exclusively to recording), and the Northwest Sinfonia.

The orchestra performs in front of a large screen depicting the movie, and sometimes to a series of clicks called a "click-track" that changes with meter and tempo, assisting the conductor to synchronize the music with the film.

Films often have different themes for important characters, events, ideas or objects, an idea often associated with Wagner's use of leitmotif. These may be played in different variations depending on the situation they represent, scattered amongst incidental music. A example of this technique is John Williams' score for the Star Wars saga, and the numerous themes associated with characters like Darth Vader, Luke Skywalker, and Princess Leia Organa (see Star Wars music for more details). Other examples are Italian composers Stefano Lentini and oscar's winner Ennio Morricone. The Lord of the Rings trilogy uses a similar technique, with recurring themes for many main characters and places. Others are less known by casual moviegoers, but well known among score enthusiasts, such as Jerry Goldsmith's underlying theme for the Borg in , or his Klingon theme from which other composers carry over into their Klingon motifs, and he has brought back on numerous occasions as the theme for Worf, most prominent Klingon. Michael Giacchino employed character themes in the soundtrack for the 2009 animated film Up, for which he received the Academy Award for Best Score. His orchestral soundtrack for the television series Lost also depended heavily on character and situation-specific themes.

In 1983, a non-profit organization, the Society for the Preservation of Film Music, was formed to preserve the "byproducts" of creating a film score: the music manuscripts (written music) and other documents and studio recordings generated in the process of composing and recording scores which, in some instances, have been discarded by the movie studios. The written music must be kept to perform the music on concert programs and to make new recordings of it. Sometimes only after decades has an archival recording of a film score been released on CD.

Source music

Most films have between 40 and 120 minutes of music. However, some films have very little or no music; others may feature a score that plays almost continuously throughout. Dogme 95 is a genre that has music only from sources within a film, such as from a radio or television. This is called "source music" (or a "source cue") because it comes from an on screen source that can actually be seen or that can be inferred (in academic film theory such music is called "diegetic" music, as it emanates from the "diegesis" or "story world"). An example of "source music" is the use of the Frankie Valli song "Can't Take My Eyes Off You" in Michael Cimino's "The Deer Hunter". Alfred Hitchcock's 1963 thriller The Birds is an example of a Hollywood film with no non-diegetic music whatsoever.

Historical notes

Before the age of recorded sound in motion pictures, efforts were taken to provide suitable music for films, usually through the services of an in-house pianist or organist, and, in some cases, entire orchestras, typically given cue sheets as a guide. In 1914, The Oz Film Manufacturing Company sent full-length scores by Louis F. Gottschalk for their films. Other examples of this include Victor Herbert's score in 1915 to Fall of a Nation (a sequel to Birth of a Nation) and Camille Saint-Saëns' music for The Assassination of the Duke of Guise in 1908. It was preceded by Nathaniel D. Mann's score for The Fairylogue and Radio-Plays by four months, but that was a mixture of interrelated stage and film performance in the tradition of old magic lantern shows. Most accompaniments at this time, these examples notwithstanding, comprised pieces by famous composers, also including studies. These were often used to form catalogues of film music, which had different subsections broken down by 'mood' and/or genre: dark, sad, suspense, action, chase, etc.

German cinema, which was highly influential in the era of silent movies, provided some original scores such as Fritz Lang's movies Die Nibelungen (1924) and Metropolis (1927) which were accompanied by original full scale orchestral and leitmotific scores written by Gottfried Huppertz, who also wrote piano-versions of his music, for playing in smaller cinemas. Friedrich W. Murnau's movies Nosferatu (1922 - music by Hans Erdmann) and Faust – eine deutsche Volkssage (1926 - music by Werner Richard Heymann) also had original scores written for them. Other films like Murnau's Der letzte Mann contained a mixing of original compositions (in this case by Giuseppe Becce) and library music / folk tunes, which were artistically included into the score by the composer. Nevertheless fully developed original scores were quite rare in the silent movie era. When sound came to movies, director Fritz Lang barely used musical scores in his movies anymore. Apart from Peter Lorre whistling a short piece from Edvard Grieg's Peer Gynt, Lang's movie M - Eine Stadt sucht einen Mörder was lacking musical accompaniment completely and Das Testament des Dr. Mabuse only included one original piece written for the movie by Hans Erdmann played at the very beginning and end of the movie. One of the rare occasions on which music occurs in the movie is a song one of the characters sings, that Lang uses to put emphasis on the man's insanity, similar to the use of the whistling in M.

Though "the scoring of narrative features during the 1940s lagged decades behind technical innovations in the field of concert music," the 1950s saw the rise of the modernist film score. Director Elia Kazan was open to the idea of jazz influences and dissonant scoring and worked with Alex North, whose score for A Streetcar Named Desire (1951) combined dissonance with elements of blues and jazz. Kazan also approached Leonard Bernstein to score On the Waterfront (1954) and the result was reminiscent of earlier works by Aaron Copland and Igor Stravinsky with its "jazz-based harmonies and exciting additive rhythms." Another music library was set up by Ralph Hawkes of Boosey & Hawkes Music Publishers in the 1930s. APM, the largest US library, has over 250,000 tracks.

Independent specialist original soundtrack recording labels

1M1 Records

Digitmovies AE

Film Score Monthly

La-La Land Records

Milan Records

MovieScore Media

Perseverance Records

Prometheus Records

Trunk Records

Varèse Sarabande

See also

List of film score composers

AFI's 100 Years of Film Scores

Musivisual Language

Filmi, Bollywood film music

References

External links

Cinemanotes Film Score Database

Cinemusic — Film music and soundtracks

Film Music on the Web (site closed in December 2006 and remains for archive purposes only)

Film Music Articles

The Film Music Society

3Skor Music for film

Film Scores on imeem

Independent film music

FilmScoreComposers.com Magazine

Filmtracks

Main Titles — Film music community

International Film Music Critics Association

Movie Music UK

Movie Wave

Score Notes

SoundtrackNet

Journals (online and print)

Film Music Magazine

Film Music Review

Film Score Monthly

The Journal of Film Music

MovieScore Magazine — Film music news source for industry professionals and soundtrack fans

UnderScores — La magasine de musique de film . Everything about film music: news, reviews, interviews and portraits of composers, scores analysis, unreleased scores, picture/music relation analysis…

Further reading

Andersen, Martin Stig. “Electroacoustic Sound and Audiovisual Structure in Film.” eContact! 12.4 — Perspectives on the Electroacoustic Work / Perspectives sur l’œuvre électroacoustique (August 2010). Montréal: CEC.

Elal, Sammy and Kristian Dupont (Eds.). “The Essentials of Scoring Film.” Minimum Noise. Copenhagen, Denmark.

Various contributors [wiki]. “Films with Significant Electroacoustic Content.” eContact! 8.4 — Ressources éducatives / Educational Resources (September 2006). Montréal: CEC.

Category:Album types

|name	Trent Reznor
Background	solo_singer
Birth name	Michael Trent Reznor
Born	May 17, 1965Mercer, Pennsylvania, U.S.
Spouse	Mariqueen Maandig (May 17, 2009)
Instrument	Vocals, guitar, piano, synthesizer, keyboard, programming, bass guitar, saxophone, drums, tuba, sousaphone, marimba, pan flute, harpsichord, vibraphone
Genre	Industrial rock, alternative rock, alternative metal, industrial metal, dark ambient, electronica, EBM, film score
Occupation	Musician, singer-songwriter, sound designer, record producer, film score composer
Years active	1982–present
Label	The Null Corporation, Nothing, Interscope, Universal, TVT
Associated acts	Option 30, The Innocent, Exotic Birds, Lucky Pierre, Nine Inch Nails, How to Destroy Angels, Tapeworm, Atticus Ross, Marilyn Manson, Saul Williams
Url	http://nin.com
Spouse	Mariqueen Maandig

Michael Trent Reznor (born May 17, 1965) is an American singer-songwriter, multi-instrumentalist, and producer. Mastermind of the industrial rock musical project known as Nine Inch Nails, he was previously associated with the bands Option 30, Exotic Birds, and Tapeworm, among others. Reznor left Interscope Records in 2007, and is now an independent musician.

Reznor began creating music early in his life, and cites his Western Pennsylvania childhood as an early influence. After being involved with a number of synthesizer-based bands in the mid-80s, Reznor gained employment at Right Track Studios and began creating his own music during the studio's closing hours under the moniker Nine Inch Nails. Reznor's first release as Nine Inch Nails, Pretty Hate Machine (1989), was a commercial success, and he has since released seven major studio releases. Outside of Reznor's chief project Nine Inch Nails, he has contributed to many other artists' albums, including Marilyn Manson and Saul Williams. In 1997, Reznor appeared in Time magazine's list of the year's most influential people, and Spin magazine described him as "the most vital artist in music."

Reznor, in collaboration with Atticus Ross, composed the score for The Social Network, a 2010 theatrical film about the founding of Facebook. The soundtrack album was released by The Null Corporation, Reznor's own independent record label. Earlier this year, Reznor announced that the pair would once again be collaborating with David Fincher by composing the score to the US film adaptation of the bestselling novel The Girl with the Dragon Tattoo, set for release in late 2011.

Personal life

Early life

Michael Trent Reznor was born in Mercer, Pennsylvania, halfway between Pittsburgh and Erie, the son of Nancy Lou (née Clark) and Michael Reznor. Reznor was referred to by his middle name to avoid confusion with his father. After his parents divorced, he lived with his maternal grandparents, while his sister Tera lived with their mother. Reznor is a direct descendant of George Reznor, founder of the Reznor Company (founded 1888), a heating and air conditioning company. The family sold the business in the 1960s.

Reznor began playing the piano at the age of five and showed an early aptitude for music. In a 1995 interview, his grandfather, Bill Clark, remarked, "Music was his life, from the time he was a wee boy. He was so gifted." His former piano teacher Rita Beglin said "Reznor always reminded me of Harry Connick, Jr." when he played.|}} However, Reznor later said, "I don't want to give the impression it was a miserable childhood."

At Mercer Area Junior/Senior High School, Reznor learned to play the tenor saxophone and tuba. He was a member of both the jazz and marching band. Former Mercer High School band director Dr. Hendley Hoge remembered Reznor as "very upbeat and friendly."

Drug abuse and depression

During the five years following the release of The Downward Spiral, Reznor struggled with depression, social anxiety disorder, and the death of his grandmother, who raised him. During this period of intense grief, Reznor began abusing alcohol and other drugs. He eventually became addicted to alcohol and cocaine. Five years elapsed before Nine Inch Nails' next album, The Fragile, a double CD that debuted in September 1999 at number one on the Billboard 200, selling 228,000 copies in its first week and receiving favorable reviews.

In 2001, Reznor successfully completed rehab, and eventually moved from New Orleans to Los Angeles. In a 2005 interview with Kerrang!, Reznor reflected on his self-destructive past: "There was a persona that had run its course. I needed to get my priorities straight, my head screwed on. Instead of always working, I took a couple of years off, just to figure out who I was and working out if I wanted to keep doing this or not. I had become a terrible addict; I needed to get my shit together, figure out what had happened". Nine Inch Nails' next full-length album, With Teeth (2005), reached number one on Billboard 200.

Music career

Early musical projects

While he was enrolled in Allegheny College, Reznor joined local band Option 30, playing three shows a week with them. After only a year of college, Reznor dropped out and moved to Cleveland, Ohio to pursue a career in music.

Reznor got a job at Cleveland's Right Track Studio as an assistant engineer and janitor. Studio owner Bart Koster later commented that Reznor was "so focused in everything he [did]. When that guy waxed the floor, it looked great." This role remains Reznor's on most of the band's studio recordings, though he has occasionally involved other musicians and assistants. Several labels responded favorably to the demo material, and Reznor signed with TVT Records. Amid pressure from Reznor's record label to produce a follow-up to Pretty Hate Machine, Reznor secretly began recording under various pseudonyms to avoid record company interference, resulting in the Broken EP, released in 1992. In the summer of 1991 Nine Inch Nails was included in the Lollapalooza package tour. They later won a Grammy Award in 1993 for the song "Wish" in the Best Heavy Metal Performance category.

Nine Inch Nails' second full-length album, The Downward Spiral, entered the Billboard 200 chart in 1994 at number two, and remains the highest-selling Nine Inch Nails release in the United States. Reznor built a studio space in the house, which he renamed Le Pig, after the word that was scrawled on the front door in Sharon Tate's blood by her murderers. Around this time, Reznor's studio perfectionism, struggles with addiction, and bouts of writer's block prolonged the production of a follow-up.

Year Zero Alternate reality game

Nine Inch Nails' 2007 major studio recording, Year Zero, was released alongside an accompanying alternate reality game. With its lyrics written from the perspective of multiple fictitious characters, Reznor described Year Zero as a concept album criticizing the United States government's current policies and how they will affect the world 15 years in the future.

Collaboration with other artists

Reznor produced Marilyn Manson's first album Portrait of an American Family (1994), several tracks on Marilyn Manson's albums Smells Like Children (1995), and Antichrist Superstar (1996), as well as the soundtrack for the films Natural Born Killers and Lost Highway. Reznor is credited for "Driver Down" and "Videodrones; Questions" on the soundtrack for Lost Highway, while another track, "The Perfect Drug", is credited to Nine Inch Nails instead. Reznor sang backing vocals on "Past the Mission" a 1994 Tori Amos song on the album Under the Pink. In 1998 Reznor produced a remix of Notorious B.I.G.'s song "Victory" which also featured Busta Rhymes.

Under the band name Tapeworm, Reznor collaborated over the span of nearly 10 years with Danny Lohner, Maynard James Keenan, and Atticus Ross, but the project was eventually terminated before any official material was released. The only known released Tapeworm material is a reworked version of a track called "Vacant," retitled "Passive", on A Perfect Circle's 2004 album eMOTIVe, as well as a track called "Potions," off Puscifer's 2009 "C is for ..."

In 2006, Reznor played his first "solo" show(s) at Neil Young's annual Bridge School Benefit. Backed by a four piece string section, he performed stripped-down versions of many Nine Inch Nails songs. Reznor featured on El-P's 2007 album I'll Sleep When You're Dead, guesting on the track "Flyentology".

Reznor co-produced Saul Williams' 2007 album The Inevitable Rise and Liberation of NiggyTardust! after Williams toured with Nine Inch Nails in 2005 and 2006. Reznor convinced Williams to release the album as a free download, while giving fans the option of paying $5 for higher quality files, or downloading all of the songs at a lower quality for free. Reznor was also credited as "Musical Consultant" on the 2004 film Man on Fire. The movie features six Nine Inch Nails songs. He has produced a number of songs for Jane's Addiction in his home studio in Beverly Hills. The first recordings, new versions of the early tracks "Chip Away" and "Whores," were released simultaneously on Jane's Addiction's website and the NIN|JA Tour Sampler digital EP.

How to Destroy Angels

In April 2010, it was announced that Reznor had formed a new band with his wife, Mariqueen Maandig, to be called How to Destroy Angels. The group released a self-titled six song EP digitally on June 1, 2010, with the retail edition becoming available on July 6, 2010.

As an independent artist

In May 2008 Reznor founded The Null Corporation and Nine Inch Nails released the studio album The Slip as a free digital download. In his appreciation for his following and fan base, and having no contractual obligation, he made "The Slip" available for free on his website, stating “This one’s on me.” A month and a half after its online release, The Slip had been downloaded 1.4 million times from the official Nine Inch Nails website.

In February 2009, Reznor posted his thoughts about the future of Nine Inch Nails on NIN.com, stating that "I've been thinking for some time now it's time to make NIN disappear for a while." Reznor noted in an interview on the official website that whilst he has not stopped creating music as Nine Inch Nails, the group will not be touring in the foreseeable future.

Soundtrack work

Video games

The original music from id Software's video game Quake is credited to "Trent Reznor and Nine Inch Nails"; Reznor helped record sound effects and ambient audio, and the NIN logo appears on ammunition boxes in the game. Reznor's association with id Software began with Reznor being a fan of the original Doom. He reunited with id Software in 2003 as the sound engineer for Doom 3, though due to "time, money and bad management", he had to abandon the project, and his audio work did not make it into the game's final release. Reznor also sang vocals for the song "Black Bomb" on the Josh Wink album Herehear (1998).

Film score composition

In 2001, Reznor was asked by Mark Romanek to provide the score for One Hour Photo but eventually the music didn't end up working for the movie, therefore his soundtrack was discarded. These compositions eventually evolved into Still.

On July 1, 2010, Reznor announced via the official Nine Inch Nails website that he, along with Atticus Ross, would provide the score for the David Fincher film The Social Network, a dramedy about the founding of Facebook. Says Reznor, "When I actually read the script and realized what he was up to, I said goodbye to that free time I had planned." On September 16, 2010, Reznor announced that the film's score would be released in October 2010 in multiple formats, including digital download, compact disc, 5.1 surround on Blu-ray disc, and vinyl record. A 5-song sampler EP was released for free via digital download. For his work on the film's soundtrack Reznor, along with Ross, were nominated for a Golden Globe award for Best Original Score; the result is still pending.

On January 7, 2011, Reznor announced that he would again be working with Fincher, this time to provide the score for the American adaptation of The Girl with the Dragon Tattoo.

Business activity

Suit and counter-suit with John Malm

In 2004, Reznor's former manager John Malm Jr. filed suit in the United States district court of Ohio against Reznor for over $2 million in deferred commissions. The suit alleged that Reznor "reneged on every single contract he and Malm ever entered into", and that Reznor refused to pay Malm payments which he was contractually entitled to. Weeks later, Reznor filed a counter-suit in the U.S. District Court of New York, charging Malm with fraud and breach of fiduciary duties. Reznor's suit arose from a five-year management contract signed in the early days of Nine Inch Nails, between Reznor and Malm's management company J. Artist Management. This contract, according to the suit, was unlawful and immoral in that it secured Malm 20% of Reznor's gross earnings, rather than his net earnings, as is the standard practice between artists and their management. The suit also alleged that the contract secured this percentage even if Malm was no longer representing Reznor, and for all Reznor's album advances. The suit also described how Malm had misappropriated the ownership rights regarding Nine Inch Nails, including the trademark name "NIN". According to testimony by Malm, Reznor gave him half of the "NIN" trademark "as a gift." Malm's lawyers, however, claimed that Malm had worked for years "pro bono", and that Reznor's inability to release an album or tour and his uninhibited spending were the reasons for Reznor's financial situation.

After a three week trial in 2005, jurors sided with Reznor, awarding him upwards of $2.95 million and returning to him complete control of his trademarks.

Criticism of the music industry

In May 2007, Reznor made a post on the official Nine Inch Nails website condemning Universal Music Group—the parent company of the band's record label, Interscope Records—for their pricing and distribution plans for Nine Inch Nails' 2007 album Year Zero. He labeled the company's retail pricing of Year Zero in Australia as "ABSURD," concluding that "as a reward for being a 'true fan' you get ripped off". Reznor went on to say that as "the climate grows more and more desperate for record labels, their answer to their mostly self-inflicted wounds seems to be to screw the consumer over even more." Reznor's post, specifically his criticism of the recording industry at large, elicited considerable media attention. In September 2007, Reznor continued his attack on Universal Music Group at a concert in Australia, urging fans there to "steal" his music online instead of purchasing it legally. Reznor went on to encourage the crowd to "steal and steal and steal some more and give it to all your friends and keep on stealin'."

Musical style and influence

Reznor is a fan of David Bowie, and has cited Bowie's 1977 album Low as one of his favorite albums. Reznor has stated that he played the album constantly during the recording of The Downward Spiral for inspiration. Reznor also states in the 2010 documentary that the band Rush had played a major part in his childhood influences. He also stated that he considered Rush to be "one of the best bands ever" and had gained a perspective on how keyboards could be introduced into hard rock after listening to their 1982 album Signals. Reznor also stated "Freddie Mercury's death meant more to me than John Lennon's" and covered Queen's "Get Down Make Love", which was produced by Paul Barker & Al Jourgensen of Ministry and released on the single for "Sin". In many interviews in Musician, Spin, and Alternative Press, Reznor mentioned The Cars, The Jesus and Mary Chain, Soft Cell, Prince, Gary Numan, and The Cure's 1985 album, The Head on the Door, as important influences.

Reznor's work as Nine Inch Nails has influenced many newer artists, which according to Reznor range from "generic imitations" dating from the band's initial success to younger bands echoing his style in a "truer, less imitative way". Following the release of The Downward Spiral, mainstream artists began to take notice of Nine Inch Nails' influence: David Bowie compared NIN's impact to that of The Velvet Underground. In 1997, Reznor appeared in Time magazine's list of the year's most influential people, and Spin magazine described him as "the most vital artist in music." During a rare appearance at the Kerrang! Awards in London that year, Reznor accepted the Kerrang! Icon, honoring Nine Inch Nails' long-standing influence on rock music. Timbaland, one of pop music's most successful producers in recent years has cited Reznor as his favorite studio producer.

Discography

References

External links

Category:1965 births Category:1980s singers Category:1990s singers Category:2000s singers Category:2010s singers Category:Living people Category:American multi-instrumentalists Category:American male singers Category:American music video directors Category:American record producers Category:American rock singers Category:American rock pianists Category:American singer-songwriters Category:American industrial musicians Category:Copyright activists Category:Nine Inch Nails Category:Nine Inch Nails members Category:Allegheny College alumni Category:People from Mercer County, Pennsylvania Category:Musicians from Pennsylvania Category:Pigface members Category:Quake Category:Video game composers Category:People from New Orleans, Louisiana Category:People self-identifying as alcoholics Category:People self-identifying as substance abusers

James W. Newton (b. Los Angeles, California, May 1, 1953) is an American jazz flautist, composer, and conductor.

Biography

From his earliest years, James Newton grew up immersed in the sounds of African American music, including urban blues, rhythm and blues, and gospel. In his early teens he played electric bass guitar, alto saxophone, and clarinet. In high school he took up the flute, influenced by Eric Dolphy and Roland Kirk. In addition to taking lessons in classical music on flute, he also studied jazz with Buddy Collette. He completed his formal musical training at California State University, Los Angeles.

From 1972 to 1975, together with David Murray, Bobby Bradford, and Arthur Blythe, Newton was a member of drummer (and later critic) Stanley Crouch's band Black Music Infinity. From 1978 to 1981 he lived in New York, leading a trio with pianist and composer Anthony Davis and cellist Abdul Wadud. These three played extended chamber jazz and Third Stream compositions by Newton and Davis. With Davis, Newton founded a quartet and toured successfully in Europe in the early 1980s. Afterwards, he performed with a wide variety of musicians, including projects by John Carter and the Mingus Dynasty. Newton has released four recordings of his solo improvisations for flute. He has also worked with Herbie Hancock, Bobby Hutcherson, Lester Bowie, Leroy Jenkins, Chet Baker, Kenny Burrell, David Murray and Andrew Cyrille. Since the 1990s Newton has often worked with musicians from other cultural spheres, including Jon Jang, Gao Hong, Kadri Gopalnath, and Shubhendra Rao, and has taken part in many cross-cultural projects.

Newton has performed with the New York Philharmonic, Brooklyn Philharmonic, L'Orchestre du Conservatoire de Paris, Vladimir Spivakov and the Moscow Virtuosi, the Los Angeles Master Chorale, Southwest Chamber Music, California EAR Unit, New York New Music Ensemble, San Francisco Ballet, and the Los Angeles Philharmonic New Music Group.

He served for five years as Musical Director/Conductor of the Luckman Jazz Orchestra and has held professorships at the University of California, Irvine, the California Institute of the Arts, and California State University, Los Angeles. In 1989 he wrote and published a method book entitled The Improvising Flute. In 2007 he published Daily Focus For The Flute.

He has also composed classical works for chamber ensemble and orchestra, as well as electronic music. In 1997 he wrote an opera, The Songs of Freedom. Based on the knowledge of the deep tradition of "extended" jazz compositions and European contemporary music, Newton uses post-serial methods in composing. His compositions may be judged as specifically African American not solely because of the presence of crucial idiomatic elements such as rhythm, pronunciation, and transformation of sound, but also because of their dialoguing between different cultures. In his compositional output, he specializes in chamber music and writing for unconventional instrumentations. He has also written a symphony and composed for ballet and modern dance. In 2006 he composed a Latin Mass which premiered in Prato Italy in February 2007.

He has received Guggenheim (1992) and Rockefeller fellowships, Montreux Grande Prix Du Disque, and Down Beat International Critics Jazz Album of the Year. He has also been voted the top flutist for 23 consecutive years in Down Beat magazine's International Critic's Poll.

Beastie Boys court case

In 2002 Newton sued the rap group Beastie Boys for using a sample of his "Choir," a 1978 composition for flute and voice, in their song "Pass the Mic," stating that the group should have contacted him personally for permission. The group argued that they had contacted ECM Records, the record label who held the rights to the original recording, paid a one-time fee of US$1,000 for the use of the six second, three note sample (which recurs numerous times during the course of the song), and they believed that to be sufficient. Newton lost the case.

Discography

Echo Canyon (solo). Celestial Harmonies

Axum (Solo). ECM (Features "Choir", the focus of the Beastie Boys case)

Luella. Gramavision

Romance and Revolution. Blue Note

The African Flower. Blue Note

Suite for Frida Kahlo. Sledgehammer Blues (formerly AudioQuest Music)

Buddy Collette Quintet feat. James Newton: Flute Talk. SoulNote

Flute Force 4 (with flute quartet incl. Henry Threadgill). BlackSaint

Southern Brothers (with Kadri Gopalnath & Puvalur Srinivasan). WaterLily

San Francisco Contemporary Music Players/James Newton: ... As the Sound of Many Waters. New World Records

1977: Solomon's Sons (Circle Records (Germany)

1977: Binu (Circle)

1996: David Murray/James Newton Quintet (DIW Records)

References

External links

James Newton official site

James Newton bibliography in the German Jazz Institute

NPR story about James Newton's case against Beastie Boys

Category:Third Stream musicians Category:Avant-garde jazz musicians Category:1953 births Category:Living people Category:African American musicians Category:American jazz composers Category:American jazz flautists Category:People from Los Angeles, California Category:India Navigation artists Category:ECM artists Category:Blue Note Records artists

Name	James Horner
Background	non_performing_personnel
Birth name	James Roy Horner
Born	August 14, 1953
Origin	Los Angeles, California, U.S.
Genre	film score
Occupation	Composer
Years active	1979–present
Associated acts	Will Jennings, Celine Dion, Sissel Kyrkjebø, Ian Underwood, Randy Kerber, Faith Hill, Linda Ronstadt, Charlotte Church, Rahat Nusrat Fateh Ali Khan, Leona Lewis}}

James Roy Horner (born August 14, 1953) is an American composer, orchestrator and conductor of orchestral and film music. He is noted for the integration of choral and electronic elements in many of his film scores, and for frequent use of Celtic musical elements.

Horner's career spans over three decades and he has composed several of Hollywood's most famous film scores. His score to the 1997 film Titanic remains the best selling orchestral film soundtrack of all time.

In addition, Horner has scored over 100 films, frequently collaborating with acclaimed directors such as Mel Gibson, James Cameron and Ron Howard. Other scores he worked on include those of Braveheart, Willow, Apollo 13, , Aliens, Glory, The Mask of Zorro, The Legend of Zorro, Enemy at the Gates, The Missing, , The Rocketeer, A Beautiful Mind, The Perfect Storm, Avatar, and, most recently, The Karate Kid, which was released in June 2010.

His body of work is notable for including the scores to the two highest-grossing films of all time; Titanic and Avatar, both of which were directed by James Cameron.

Horner is a two-time Academy Award-winner, and has received a total of 10 Oscar nominations. He has won numerous other awards, including the Golden Globe Award and the Grammy Award.

Early life

Horner was born in Los Angeles, California, the son of Austrian immigrants Joan (née Fraenkel) and Harry Horner, who was a production designer, set designer and occasional film director.

Horner started playing piano at the age of five. His early years were spent in London, where he attended the Royal College of Music. He subsequently attended Verde Valley High School in Sedona, Arizona. He received his bachelor's degree in music from the University of Southern California, and eventually earned a master's and started working on his doctorate at the University of California, Los Angeles where he studied with Paul Chihara, among others. After several scoring assignments with the American Film Institute in the 1970s, he finished his teaching of music theory at UCLA and turned to film scoring.

Film and television scoring

Horner's first major film score was for the 1979 film, The Lady in Red. He began his film scoring career by working for B movie director and producer Roger Corman, with his first composer credit for Corman's big-budget Battle Beyond the Stars. His works steadily gained notice in Hollywood, which led him to take on larger projects. Horner made a breakthrough in 1982, when he had the chance to score for , establishing himself as a mainstream composer.

Horner continued composing music for high-profile releases in the 1980s, including 48 Hrs. (1982), Krull (1983), (1984), Commando (1985), Cocoon (1985), Aliens (1986), Willow (1988), Glory and Field of Dreams (both 1989).

Aliens earned Horner his first Academy Award nomination. He has been nominated an additional nine times since. Horner's scores have been sampled in film trailers for other movies. The climax of the track Bishop's Countdown from his score for Aliens ranks fifth in the most commonly-used soundtrack cues for film trailers. Also, an unused fragment from Aliens was featured in a scene from Die Hard. Several films whose scores were composed by Michael Kamen have had trailers featuring Horner's music; most notably, the music from Willow is substituted for the theme Kamen wrote for the 1993 remake of The Three Musketeers. Horner also added his nominated Braveheart "For the Love of a Princess" single for Robert Zemeckis's Theatrical Trailer of Cast Away.

Throughout the 1980s and early 1990s, Horner also wrote orchestral scores for children's films (particularly those produced by Amblin Entertainment), with credits for An American Tail (1986), The Land Before Time (1988), (1991), We're Back! A Dinosaur's Story (1993), and Casper, Jumanji, and Balto (all from 1995).

1995 saw Horner produce no fewer than six scores, including his commercially successful and critically-acclaimed works for Braveheart and Apollo 13, both of which earned him Academy Award nominations. Horner's greatest financial and critical success would come in 1997, with the score to the motion picture, Titanic, which was greatly influenced by the music of Clannad. The album became the best-selling primarily orchestral soundtrack in history, selling over 27 million copies worldwide.

At the 70th Academy Awards, Horner won Oscars for Best Original Dramatic Score and Best Original Song for "My Heart Will Go On" (which he co-wrote with Will Jennings). In addition, Horner and Jennings won three Grammy Awards and two Golden Globe Awards for the soundtrack and My Heart Will Go On. Titanic also marked the first time in ten years that Horner worked with director James Cameron. Following the highly stressful scoring sessions for Aliens, Horner declared that he would never work with Cameron again. Horner described the experience of scoring the film as "a nightmare".

Since Titanic, Horner has continued to score for major productions (including The Perfect Storm, A Beautiful Mind, Enemy At The Gates, The Mask of Zorro, The Legend of Zorro, House of Sand and Fog and Bicentennial Man).

Aside from scoring major productions, Horner periodically works on smaller projects such as Iris, Radio and . He received his eighth and ninth Academy Award nominations for A Beautiful Mind (2001) and House of Sand and Fog (2003), but lost on both occasions to Howard Shore. He frequently collaborates with film director Ron Howard, a partnership that began with Cocoon in 1985. Coincidentally, Horner's end title music from Glory can be heard in the trailer for Howard's Backdraft.

Horner composed the current theme music for the CBS Evening News. The theme was introduced as part of the debut of Katie Couric as anchor on September 5, 2006. It has since been adopted by most other CBS News programs as well.

Horner recollaborated with James Cameron on the 2009 film Avatar, which was released in December 2009 and has since become the highest grossing film of all time, surpassing Titanic (also directed by Cameron and scored by Horner).

Horner spent over two years working on the score for Avatar, and did not take on any other projects during that time. Horner's work on Avatar earned him numerous award nominations, including his tenth Oscar nomination, a Golden Globe nomination, a BAFTA nomination, and a Grammy Award nomination, all of which he lost to Michael Giacchino for Up.

Regarding the experience of scoring Avatar, Horner said, "Avatar has been the most difficult film I have worked on and the biggest job I have undertaken... I work from four in the morning to about ten at night and that’s been my way of life since March. That's the world I'm in now and it makes you feel estranged from everything. I'll have to recover from that and get my head out of Avatar." It is currently unknown whether or not Horner will return as composer for the sequel(s) to Avatar.

Horner was recently confirmed to compose the score for the film The Karate Kid replacing Atli Örvarsson. This is the first film Horner has worked on since Avatar. The film was released in 2010 to positive reviews.

Horner's next project will be the score to The Song of Names, which is due for release in 2011.

Critical debate

Horner has been criticised for transposing hooks, orchestral motifs, or larger passages from other scores of his own or of other composers. These contentions are points of fierce debates between supporters of Horner and his detractors.

List of film scores

1970s

1978 (for the AFI)

The Drought

Fantasies

Gist and Evans

Landscapes

Just for a Laugh

The Watcher

1979

The Lady in Red

Up from the Depths

1980s

1980

Humanoids from the Deep

Battle Beyond the Stars (score reused in later Roger Corman productions)

1981

Deadly Blessing

The Hand

Wolfen

The Pursuit of D.B. Cooper

1982

48 Hrs.

1983

The Dresser

Gorky Park

Testament

Uncommon Valor

Brainstorm

Krull

Something Wicked This Way Comes

1984

The Stone Boy

1985

The Journey of Natty Gann

Volunteers

Commando

Cocoon

Heaven Help Us

1986

The Name of the Rose

Off Beat

Where the River Runs Black

An American Tail (Oscar Nominee)

Aliens (Golden Globe & Oscar Nominee)

1987

P.K. and the Kid

Project X

*batteries not included

1988

The Land Before Time

Vibes

Red Heat

Willow

1989

Dad

Field of Dreams (Oscar Nominee)

Glory (Golden Globe Nominee)

In Country

Honey, I Shrunk the Kids

1990s

1990

I Love You to Death

Another 48 Hours

1991

(Golden Globe Nominee)

Once Around

The Rocketeer

Class Action

1992

Thunderheart

Sneakers

Unlawful Entry

Patriot Games

1993

Bopha!

House of Cards

Jack the Bear

The Man Without a Face

Once Upon a Forest

Hocus Pocus (Sarah's Theme)

Searching for Bobby Fischer

Swing Kids

We're Back! A Dinosaur's Story

The Pelican Brief

A Far Off Place

1994

Legends of the Fall (Golden Globe Nominee)

The Pagemaster

Clear and Present Danger

1995

Jade

Balto

Jumanji

Apollo 13 (Oscar Nominee)

Casper

Braveheart (Golden Globe, BAFTA & Oscar Nominee)

1996

Ransom

To Gillian on Her 37th Birthday

Courage Under Fire

The Spitfire Grill

1997

Titanic (Golden Globe, Grammy & Oscar Winner, BAFTA nominee)

The Devil's Own

1998

Mighty Joe Young

The Mask of Zorro

Deep Impact

1999

Bicentennial Man

2000s

2000

How the Grinch Stole Christmas

The Perfect Storm

2001

Iris

A Beautiful Mind (Golden Globe & Oscar Nominee)

Enemy at the Gates

2002

The Four Feathers

Windtalkers

2003

House of Sand and Fog (Oscar Nominee)

The Missing

Beyond Borders

Radio

2004

The Forgotten

Troy

2005

The Chumscrubber

Flightplan

The Legend of Zorro

The New World

2006

Apocalypto

All the King's Men

2007

The Life Before Her Eyes

2008

The Boy in the Striped Pyjamas

The Spiderwick Chronicles

2009

Avatar (Golden Globe, BAFTA & Oscar Nominee)

2010s

2010

The Karate Kid

2011 The Song of Names

Television scores

{| width="100%" |- valign="top" | width="50%" | 1981

A Few Days in Weasel Creek

1982

A Piano for Mrs. Cimino

1983

Between Friends

1985

Amazing Stories (Episode: "Alamo Jobe")

Faerie Tale Theatre (Episode: "The Pied Piper of Hamelin")

Surviving

| width="50%" | 1990

Tales from the Crypt (Episode: "Cutting Cards")

Extreme Close-Up

1992

Crossroads (theme)

Fish Police (theme and pilot episode)

2000

Freedom Song

2006

CBS News

|}

Short films

{| width="100%" |- valign="top" | width="50%" | 1985

Let's Go

1986

Captain EO (Epcot Center)

| width="50%" | 1989

Tummy Trouble

1991

Norman and the Killer

|}

Concert works

1976: "Conversations"

1977: "Spectral Shimmers"

2000: "A Forest Passage"

Miscellaneous works

Logo music for Universal Pictures, Lionsgate, Icon Productions and CBS Films.

THX trailer "Cimarron"

Music for the P-51 aerobatic flight team "The Horsemen"

Awards and nominations

Horner has received 10 Academy Award nominations, 8 for Best Original Music Score, and twice for Best Original Song. Out of these nominations, Horner has won two Oscars, for Best Original Score and Best Original Song for Titanic.

Horner has also received five Golden Globe nominations, all in the category of Best Original Score, winning one, for Titanic, as well as seven Grammy Award nominations, winning for Glory (Best Score), An American Tail, and Titanic, the latter two being in the category of Best Song. He has also received three BAFTA nominations, but has not yet won.

{| width="100%" |- valign="top" | width="50%" |

; Academy Award

1987: Aliens (best original score)

1987: "Somewhere Out There" (from: An American Tail, best original song)

1990: Field of Dreams (best original score)

1996: Apollo 13 (best original drama score)

1996: Braveheart (best original drama score)

1998: "My Heart Will Go On" (from: Titanic, best original song, Winner)

1998: Titanic (best original drama score, Winner)

2002: A Beautiful Mind (best original score)

2004: House Of Sand And Fog (best original score)

2010: Avatar (best original score)

| width="50%" |

; Golden Globe

1987: "Somewhere Out There" (from: An American Tail, best original song)

1990: Glory (best original score)

1992: "Dreams To Dream" (from: An American Tail: Fievel Goes West, best original song)

1995: Legends of the Fall (best original score)

1996: Braveheart (best original score)

1998: "My Heart Will Go On" (from: Titanic, best original song, Winner)

1998: Titanic (best original score, Winner)

2002: A Beautiful Mind (best original score)

2009: "Avatar" (best original score)

|}

{| width="100%" |- valign="top" | width="50%" |

; Grammy

1988: An American Tail

1988: "Somewhere Out There" (from: An American Tail, Winner)

1990: Field of Dreams

1991: Glory (Winner)

1996: "Whatever You Imagine" (from: The Pagemaster)

1999: "My Heart Will Go On" (from: Titanic, Winner)

2003: A Beautiful Mind

| width="50%" |

; Satellite Awards

1998: "My Heart Will Go On" (from: Titanic, Winner)

1998: Titanic (Winner)

2002: "All Love Can Be" (from: A Beautiful Mind, Winner)

2002: A Beautiful Mind

2004: The Missing

|}

; BAFTA Awards

2009: Avatar (Award for Best Sound Engineer assisted by Rumen Lishkov)

1997: Titanic

1995: Braveheart

References

External links

James Horner interview (1983) from CinemaScore magazine

Category:1953 births Category:American composers Category:American film score composers Category:Best Song Academy Award winning songwriters Category:Best Original Music Score Academy Award winners Category:Grammy Award winners Category:Living people Category:People from Los Angeles, California Category:University of California, Los Angeles alumni Category:University of Southern California alumni

Name	Charlie Clouser
Caption	Clouser in 2007
Background	non_vocal_instrumentalist
Birth name	Charles Alexander Clouser
Born	June 28, 1963
Origin	Hanover, New Hampshire, USA
Instrument	Synthesizers, drums, bass guitar, theremin
Genre	Electronica, industrial metal
Occupation	Keyboardist, composer, producer, remixer
Associated acts	Nine Inch Nails, Burning Retina, Danny Lohner

Charles Alexander "Charlie" Clouser (, born June 28, 1963) is an American musician whose activities include playing keyboard, synth, theremin, and drums. He is known for his abilities in music programming, engineering, mixing, and remixing. He was a member of the band Nine Inch Nails 1994–2000. Before he was in Nine Inch Nails, he was in the alternative band Burning Retna with former L.A. Guns guitarist Mick Cripps and fellow Nothing Records worker Sean Beavan. Clouser also was a member of the band 9 Ways to Sunday who released a self titled album in 1990. Clouser has remixed artists such as Nine Inch Nails, Marilyn Manson, Rammstein and Meat Beat Manifesto.

In 2004 Clouser produced the album Size Matters by the band Helmet, which consisted mainly of collaborations between Charlie Clouser and Page Hamilton, intended to be a Page Hamilton "solo" album. The first release from the project "Throwing Punches" appeared on a soundtrack in 2003 for the film Underworld credited as a Page Hamilton track.

In the late 1990s Clouser created one of FirstCom music's master series discs. These were only sold with licence to use commercially.

Two songs programmed by Clouser were nominated for Grammy Awards in 1997: White Zombie's "I'm Your Boogie Man" and Rob Zombie and Alice Cooper's "Hands of Death (Burn Baby Burn)," the latter of which Clouser also co-wrote and mixed.

He worked with Trent Reznor on the soundtrack of Natural Born Killers, helping record and produce a new version of "Something I Can Never Have," a track of which original version appeared on Nine Inch Nails' Pretty Hate Machine album. The remix of Rob Zombie's "Dragula" can be found on The Matrix , also credited to Clouser. Another Rob Zombie track remixed by Clouser, "Reload", appears on The Matrix Reloaded . He produced Helmet's album Size Matters and the unfinished project with Page Hamilton called Gandhi.

He provided the live synth for Alec Empire's "Intelligence And Sacrifice" tour in 2001.

He appears in the Moog documentary about electronic-music pioneer Robert Moog and composed the song "I Am a Spaceman" for the original soundtrack of that movie.

Clouser has also worked as a film and television composer, scoring the Saw series of films, as well as Death Sentence (2007), (2007), Dead Silence (2007), and Deepwater (2005). On television, he is the composer for the NBC TV series Las Vegas Freeway, and the CBS series NUMB3RS.

For the film Saw, he composed the ending theme "Hello Zepp".

Personal life

Charlie was born in Hanover, New Hampshire. He married his long-time girlfriend, photographer and model Zoe Wiseman in the summer of 2007.

Discography

9 Ways to Sunday

9 Ways to Sunday (1990)

12 Rounds

Pleasant Smell (1998)

Alec Empire

Live at Fuji-Rock (2001)

Apartment 26

Music for the Massive (2004)

Black Light Burns

Cruel Melody (2007)

Burning Retna

Frozen Lies (2006)

Collide

Vortex (2004)

Live at the El Rey (2005)

David Bowie

I'm Afraid of Americans (1997)

Seven (2000)

Best of Bowie (2002)

Deltron 3030

Positive Contact (2001)

Die Krupps

The Final Remixes (1994)

Rings of Steel (1995)

Fire (1997)

Esthero

Breath from Another (1998)

Heaven Sent (1998)

FAT

Down Time (1995)

Foetus

Blow (2001)

Fuel

Natural Selection (2003)

Helmet

Size Matters (2004)

John Frusciante

Shadows Collide with People (2004)

Killing Joke

Democracy (1996)

Marilyn Manson

Portrait of an American Family (1994)

"Lunchbox" (1994)

Smells Like Children (1995)

"Sweet Dreams" (1995)

Antichrist Superstar (1996)

"Tourniquet Pt. 2" (1997)

(2004)

Meat Beat Manifesto

Asbestos Lead Asbestos (1996)

Nine Inch Nails

The Downward Spiral (1994)

Further Down the Spiral (1995)

The Perfect Drug (1997)

Closure (1997)

The Day the World Went Away (1999)

The Fragile (1999)

Into the Void (1999)

Starfuckers, Inc. (1999)

Things Falling Apart (2000)

And All That Could Have Been (2002)

A Perfect Circle

eMOTIVe (2004)

Prong

Broken Peace (1994)

Rude Awakening (1996)

Puscifer

Don't Shoot the Messenger EP (2007)

Radiator

Black Shine (remix) (1998)

Rammstein

Stripped (1998)

Reach 454

Reach 454 (2003)

Real McCoy

Another Night (1994, 1995)

Rob Zombie

The Great American Nightmare (1997)

Hellbilly Deluxe (1998)

Dragula (1998)

Living Dead Girl (1999)

American Made Music to Strip By (1999)

Remix-a-Go-Go (1999)

The Best of Rob Zombie (2006)

Schwein

Son of Schweinstein (2001)

Snake River Conspiracy

Pre-Fatty Tingle (2000)

Sonic Jihad (2000)

Splattercell

AH - ReMiKSiS (2000)

Type O Negative

Cinnamon Girl (1997)

D-Side 1 (2000)

Least Worst Of (2000)

White Zombie

(1995)

More Human than Human (1995)

Real Solution #9 (1995)

Ratfinks, Suicide Tanks and Cannibal Girls (1996)

Supersexy Swingin' Sounds (1996)

Electric Head Pt. 2 (The Ecstasy) (1996)

Other

Soundtracks

Natural Born Killers (1994)

The Doom Generation (1995) (soundtrack and DVD menu music)

Escape from L.A. (1996)

Beavis and Butt-head Do America (1996)

The Fan (1996)

Lost Highway (1997)

Private Parts (1997)

(1997)

End of Days (1999)

The Matrix (1999)

(2000)

Valentine (2001)

(2003)

Underworld (2003)

Moog (2004)

Collateral (2004)

Saw (2004)

Deepwater (2005)

Las Vegas (2005)

Saw II (2005)

Saw III (2006)

Dead Silence (2007)

Death Sentence (2007)

(2007)

Saw IV (2007)

Saw V (2008)

Valkyrie (2008)

Yes Man (2008)

Saw VI (2009)

Saw 3D (2010)

Film scores

Saw (2004)

Deepwater (2005)

NBC's Las Vegas (2005)

Saw II (2005)

Saw III (2006)

Dead Silence (2007)

Death Sentence (2007)

(2007)

Saw IV (2007)

Saw V (2008)

The Stepfather (2009)

Saw VI (2009)

Saw 3D (2010)

Misc

In Defense of Animals Volume 2 (1996)

Volume Fourteen - Reading '95 Special (1996)

FirstCom Master Series Charlie Clouser - NAILS (1997)

Best Alternative Volume 7 (1997)

Industrial Mix Machine (1997)

(1998)

(1999)

Twisted Metal 4 (Video Game Score) (1999)

(1999)

Dark Decryption - The Electro Remix Selection Vol. 02 (2002)

Symphoniacal (2008)

Singularity (2010)

References

External links

Burning Retna on Myspace

Category:1963 births Category:Living people Category:Musicians from New Hampshire Category:American industrial musicians Category:Nine Inch Nails members Category:White Zombie Category:People from Hanover, New Hampshire