The Annotator

In this episode, composers Jim Fowler and Joe Thwaites detail their experience in writing and adjusting several key themes for the Playstation VR game, Blood & Truth, and how those themes became the starting point for rest of the music created.

In this episode, composer Nathan Whitehead walks us through five key pieces from his DAYS GONE score.

Composer Adrian Ellis walks us through the challenges he faced in writing an original score for a single-take-film, LAST CALL.

In this episode e.hillman, shares his first-time-experience in working in the video games industry. He reveals the context and evolution of his music for Ashen and his unique approach in representing the post-apocalyptic-world of the game.

Carly Paradis shares how the deeply personal and powerful song, "The Innocents," sung by the Norwegian artist "EERA." evolved into a last minute powerhouse and came to represent the core essence of the 8 episode season.

In this episode, Chad Hobson reveals how he looked to show a "magical quality" of the two victims and their fateful meeting of Michael Jackson and the over-arching metaphor he used to service as a guide for the tone of his score. Hobson discusses the challenge, choices and goals of writing an actual theme to represent the "abuse," but, at last, why he didn't write a theme for Michael Jackson.

We recognize the 50th anniversary of Apollo 11 mission as Matt Morton reveals both inspirations and challenges of scoring the epic documentary, APOLLO 11.

H-Pi reveals details from his original score for the STYX: MASTERS OF SHADOWS including some of his diverse inspirations such as: fellow French video game composer, Olivier Deriviere, the Finnish symphonic metal band, Apocalyptica, Shostakovich and singer/song-writer Amy Winehouse.

Justin Melland opens upon about his own personal, childhood fears of Ted Bundy and he reveals how tapping into those fears and helped him compose the music for the series and even take musical risks he might not have otherwise.

Composer/Arranger Rozen dramatically describes his all-new arrangements of music from Legend of Zelda: Majora’s Mask and how he created the ominous, yet beautiful blend of symphonic, synth, and sound design for Children of Termina.