SUPE-CITY

Broken Social Scene has a new song on the OST for “The Time Traveler’s Wife” – a cover of Joy Division’s “Love Will Tear Us Apart.”  The canadian collective actually has a cameo in the movie  as a wedding band and they play this song.  It is one of two licensed tracks that appear on the OST (Lifehouse also has a song on there called “Broken” which you can hear in the trailer).   Most of the music on the soundtrack is score from Mychael Danna, who also penned music to the indie hit of the summer, “(500) Days Of Summer.”  All in all, the album is less than exciting but BSS adds a bit of interest and indie-cred.   The cover is a bit slower than the original, which fits with the overall feel of the movie (bring tissues).

Music supervisor, Bob Bowen smartly put the two songs on the soundtrack for very specific reasons. Lifehouse is the AC tear-jerker for the trailer, a job which it accomplishes effectively.  The Broken Social Scene song adds a bit of buzz from the blogosphere (you’re welcome).  Both of these tracks will help sell albums to an audience that might otherwise have skipped the score-heavy release.   The soundtrack hits stores August 11th, and the movie is in theaters the 14th. You can hear BSS’ cover here.  The original version is below.

• The Playlist is reporting that Karen O of the Yeah Yeah Yeahs will be scoring “Where the Wild Things Are,” Spike Jonze’s new movie based on the classic children’s book.  You can see a new featurette about the film below.  Karen O has described her music for the film as “sweet Innocent” songs for kids, which is a big departure from her normal powerful alt rock.  Although we love love love her, we’ll see if she can pull it off.   Supposedly she’s been getting help from Carter Burwell (Being John Malkovich, Adaptation), Squeek-E-Clean (Jonze’s brother), and Bradford Cox (Deerhunter/Atlas Sound)

• It is being reported that Hanz Zimmer will score Christopher Nolan’s new movie, “Inception.” This is not the first time they have worked together, because as you know Zimmer scored the first two of Nolan’s Batman movies.   Nothing big to report here.

• Daft Punk will score the new “Tron Legacy” movie.  In addition, director Joseph Kosinski said in a recent Comin-Con interview that they will tour behind the score.  According to Kosinski, “there will definitely be Daft Punk Tron-themed events on the horizon.”  Very cool stuff.  Check out the new life cycle reveal below, taped at Comic-Con.

In a recent interview at CominCon, Twilight director Chris Weitz said that Thom Yorke and Bon Iver will be providing new songs for “New Moon.”  In addition, Band Of Skulls will  be contributing, and Weitz says he’s hopong to secure the Kings of Leon.  

Weitz will be listening to the Yorke track on Friday, and here’s what he has to say about his expectations…

“Unless it’s sounds of him belching, I think I’ll put it in. ”

On Bon Iver

“I think [Bon Iver] is fantastic. He says he wrote it for the film, but who ever knows if it might just be something laying around in his cupboard.” 

 
Alexandre Desplat (Syriana, Julie & Julia) will be penning the original score, which Weitz described as “lush”

…According to hitfix.com.

Here is the trailer for “It Might Get Loud,”   the new movie featuring Jack White, Jimmy Paige, and The Edge.  In looks just outrageous, and if you read this blog at all you know I have a slight man-crush on Jack White.  Margaret Yen (Juno, Thank You For Smoking) is the music supervisor, and this must have been quite the undertaking for her.  Limited release August 14th.  Be there.

Fueled By Ramen just released the track listing for Diablo Cody’s new film, “Jennifer’s Body.” Randall Poster is the film’s music supe, and not surprisingly we are please with the selection.  Brand new songs are provided by  All Time Low, Cobra Starship, Panic At The Disco, and Dashboard Confessional.  Little Boots, the Black Kids, Hole, and the Silversun Pickups are also featured on the soundtrack.   The music is a nice  mix of Fueled By Ramen’s predictable emo-pop with some not so ramen fueled (and cooler) alternative bands.  Although most of the music won’t make it onto our playlist, it is a strong album, and provided the movie does well, the soundtrack should be a success.  OST in stores August 25th, the movie hits theaters September 18th.

“JENNIFER’S BODY: ORIGINAL MOTION PICTURE SOUNDTRACK” (Fueled By Ramen) 
1. Kiss With a Fist – Florence and The Machine
2. New Perspective – Panic! At The Disco
3. Teenagers – Hayley Williams
4. New In Town – Little Boots
5. Finishing School – Dashboard Confessional
6. Through The Trees – Low Shoulder
7. Time – Cute Is What We Aim For
8. I Can See Clearly – Screeching Weasel
9. Chew Me Up – Cobra Starship
10. toxic valentine – All Time Low
11. I’m Not Gonna Teach Your Boyfriend – Black Kids
12. Death – White Lies
13. Celestial Crown – The Sword
14. Little Lover’s So Polite – Silversun Pickups
15. Ready For The Floor – Lissy Trullie

According to The Playlist, Metric, Broken Social Scene, Beck will be contributing music to the movie “Scott Pilgrim Vs. The World.”  Its a film based on the graphic novel series by Bryan Lee O’Malley and stars Michael Cera, Brie Larson and Elizabeth Winstead.   Basically, there are a number of fictional bands in the movie that Metric, Broken Social Scene and Beck will provide a signature sound for.  Reportedly, they’ve all recorded brand new music for the flick!  This sounds interesting, and I wish I knew more about the graphic novel to report to you guys.  Apparently, there are also real life bands(spoon, Be Your Own Pet, Neko Case) that get a mention in the graphic novel who director Edgar Wright has approached about contributing.  Check out the post here.

Gael MacGregor recently wrote a very interesting article at filmmusicmag.com about a new music identification technology that is quickly gaining notoriety.  Its Landmark Digital Services’ Blue Arrow technology, and its garnering a lot of buzz within the music supervision community.  Blue Arrow technology enables music that is in films and tv to be more accurately identified for reporting purposes.  This means that we won’t have to rely on cue sheets for music reporting.  In turn, that could lead to more accurate and timely royalty payments.  Wahoo! Right?  Well not quite yet… there are some pitfalls.  The technology is still prohibitively expensive, and it brings to light the issues involved with re-titling of copyrighted works.  Messy stuff but MacGregor’s article does a great job of breaking down all the issues involved.  Check it out here.