Cultura Voice

  My First Year Off Campus (Original Motion Picture Soundtrack)  Director Chad Bolling Music by Navid Hejazi Violin solos by Navid Hejazi   Two college girls are tormented by their Hitchcock loving landlord. The score for My First Year Off Campus was inspired by John Carpenter and 80s low-budget/B-movie synth scores. Navid Hejazi, composer:   The score demanded a catchy theme, and a melody driven eerie 80’s sound approach, but a bit modernized. The main theme uses synths and bells, while the theme related to Owen’s parents uses a live violin. A broken piano sound is used for big scare moments. The biggest challenge was to capture the mystery while keeping the fun tone of the action. My First Year...on Spotify 1. Intro 2. Main Title 3. House Tour 4. Feeling Watched 5. Bob’s Advice 6. Father And Mother 7. You Can’t Escape Them 8. No One To Bring You Back 9. Just Like Rear Window 10. Prepare A Little Of Your Magic 11. Poisoned 12. It’s Time 13. The Ritual 14. The ...

  LA PIEL DEL VOLCAN Original   Motion   Picture   Soundtrack Director Armando Ravelo Music by Navid Hejazi Original Song “Si estos huesos hablaran » performed by Victor Lemes Label Plaza Mayor Company Ltd Cd Digital & Cd Physical Edition Limited In the story, though the characters live in different times their destiny is linked. Following this concept, one of the goals for the score was to create a sense of unity. We wanted to bring in ethnic instruments from the Canary Islands, using drums and percussion (chacaras, seashells and castanets) for the 15th century time and introducing the timple, a guitar-like instrument, for the 1940´s time. The bucio, a wind instrument made from a conch, is used on all of these times. I like to think of it as a ‘destiny call’ that sounds during key moments along the movie. The theme is a long melody that can be heard on tracks “Como Se Conocieron” and “La Piel del Volcan”. The 1940’s time has its own theme heard ...

It’s interesting, when you think about it, that many of Spotify’s biggest rivals – Apple Music, Amazon Music, YouTube Music, Tencent Music – have proudly chosen to singularly define their brands with one type of content: music. Spotify, of course, is now much more than a music service. It’s “the largest audio platform in the world”. That’s how comedian Joe Rogan described SPOT when making the game-changing announcement yesterday (May 19) that one of the globe’s biggest podcasts,  The Joe Rogan Experience , is moving exclusively to Daniel Ek’s platform. From the end of this year, both audio and video versions of  The JRE  will only be available on Spotify, via a licensing deal that the Wall Street Journal suggests will cost Daniel Ek’s company over $100m. Rogan’s ‘cast is known for its sometimes fascinating, always freewheeling conversations with figures from across the spectrum of politics and celebrity. The show’s typical length runs betwee...

Resso, the music streaming app owned by TikTok parent Bytedance, has today (March 4) publicly launched in India, taking on the likes of SPOT, plus Gaana, JioSaavn and Apple Music in the market. Resso  reportedly launches in India with a split price offering: there’s a free-to-use tier which offers music streaming at 128kbps, while a paid tier is available for Rs 99 ($1.35) per month on Android and Rs 119 ($1.62) per month on iOS. Both paid options offer streaming up to 256kbps with no advertising. The launch of Resso in India has been licensed by the likes of Sony Music Entertainment, Warner Music Group, Beggars Group and Merlin, as well as large local India-based rightsholders such as T-Series, Saregama, Zee Music, Times Music and Tips. Notice a company name missing there? Yup: Universal Music Group. As TechCrunch points out, UMG is set to sell 10% of its business (possibly up to 20% over the course of time) to Tencent Holdings Ltd, following the ...

Do you remember when the music industry was clawing at YouTube’s throat? C’mon; it hasn’t been  that  long. Three years ago, for example, then-RIAA boss Cary Sherman was claiming: “It makes no sense that it takes a thousand on-demand streams of a song for creators to earn $1 on YouTube, while services like Apple and Spotify pay creators $7 or more for those same streams.” More recently, of course, there’s been the battle over Article 13 (now 17) in Europe – the legislation aiming to make digital services legally responsible for copyright infringement on their platforms. Having slammed YouTube for its supposed “carpet-bombing propaganda” ahead of the vote on Article 13 (and the Copyright Directive) by European lawmakers, a raft of music biz orgs brought out the bunting when, in April last year, the European Council gave the bill the green light. Now, thanks to Brexit, UK politicians now say Article 13/17 won’t actually be adopted in Britain after all. ...