The Cue of the Week is back! (Having taken a few weeks off for the composer’s trip to the Edinburgh Fringe Festival.)

The hollow tone that starts this moody piano cue isn’t a synthesizer as you might expect, but the sound of two plastic tubes swung overhead in a circle. The resulting sound has a distinctly organic quality, though it takes a special effort to mic correctly. Should I have just held down two notes on a synthesizer instead? Take a listen and decide!

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This orchestral cue, written for the Extreme Music Library, creates a dramatic sweep suggestive of sturm und drang (hence the name) but with a fantasy-adventure flavoring.

And speaking of European artistic traditions: the Cue of the Week will be on hiatus for a few weeks while its author heads to the Edinburgh Fringe Festival. Have a happy August!

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Welcome to the crisp, cleaner look of my new website. I’ve even got a handy new url alias for this blog: cueoftheweek.com .

Speaking revisiting old things with a layer of polish, this week’s music is the finale from my second feature film, a political thriller called The F-Zone. This new digitally remastered version brings out clarity and detail in the orchestra’s expressive performance.

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This week’s selection is some visceral epic battle music. (Don’t worry, the forge area was cleaned up afterwards.)

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This week’s selection is from the short supernatural thriller Healers. Agitated piano, cello harmonics, and an ethereal vocal line by Jennifer Lindsay contribute to the tense mood.

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