Like a Kryptonian prison ship on the horizon, you can spot a Hans Zimmer track a mile off. Or rather, hear it a mile off.
A re-recording of the most iconic and daring double concept album ever? Is nothing sacred?
Skyfall may well be one of the best Bond films but, for the casual listener who wants to feel a bit more 007 during their commute, its score sadly leaves much to be desired.
We're living through a golden age of comic book cinema. Superheroes are now more prevalent at your local multiplex than surly staff and that weird all-pervading smell that's halfway between stale popcorn and ‘warm old shoe'. And though not every caped film that crusades across our screens is a critical victory, most feature music that raises the hairs on the back of your neck and sticks in the mind long after the world's been saved.
As Sherlock became more ambitious and complex in its second series, so David Arnold and Michael Price's score rose to the challenge of matching the drama of the Great Detective.
Sherlock could strangle a tune out of the violin, but what would the updated detective make of composers David Arnold and Michael Price's soundtrack to his adventures?
There’s a good reason why 2010’s ‘A Christmas Carol’ is the first Doctor Who episode to get an entire soundtrack release all to itself, with composer Murray Gold’s music to the festive special up there with the best of his work for the show.
As television drama soundtracks go, composer Richard Wells’ Being Human score is startlingly different from most.
Featuring an impressive 18 tracks from the first few episodes of Glee’s second season, currently airing on E4, the main thing that stands out about Volume 4 in relation to the show’s previous albums is just how much variety has been included, in terms of both style and of which characters’ songs have been chosen.