11 Songs

EDITORS’ NOTES

The award-winning Canadian composer Howard Shore has scored dozens of movies dating back to his debut: David Cronenberg’s 1979 science fiction classic The Brood. He's gone on to write music for every Cronenberg film since, with the exception of 1983’s The Dead Zone. In 2012, Shore collaborated with the Canadian rock band Metric to create music for Cosmopolis, which was adapted from a Don DeLillo novel. Most of the tracks are Shore-penned instrumentals performed by Metric. The percolating “White Limos,” where a guitar jangles with a U2-like sense of drama, effectively opens the album. “Rat Men” creates a quiet, uneasy atmosphere that's scratched with a few judiciously placed guitar tones. The longest piece, “Benno,” is both haunting and propulsive. The soundtrack also includes three songs—“Long to Live,” “I Don’t Want to Wake Up,” and “Call Me Home”—that were cowritten by Shore and Metric and spotlight the vocals of Metric frontwoman Emily Haines. And one striking track, “Mecca,” features Somali-Canadian rapper K’naan intoning lyrics he cowrote with DeLillo.

EDITORS’ NOTES

The award-winning Canadian composer Howard Shore has scored dozens of movies dating back to his debut: David Cronenberg’s 1979 science fiction classic The Brood. He's gone on to write music for every Cronenberg film since, with the exception of 1983’s The Dead Zone. In 2012, Shore collaborated with the Canadian rock band Metric to create music for Cosmopolis, which was adapted from a Don DeLillo novel. Most of the tracks are Shore-penned instrumentals performed by Metric. The percolating “White Limos,” where a guitar jangles with a U2-like sense of drama, effectively opens the album. “Rat Men” creates a quiet, uneasy atmosphere that's scratched with a few judiciously placed guitar tones. The longest piece, “Benno,” is both haunting and propulsive. The soundtrack also includes three songs—“Long to Live,” “I Don’t Want to Wake Up,” and “Call Me Home”—that were cowritten by Shore and Metric and spotlight the vocals of Metric frontwoman Emily Haines. And one striking track, “Mecca,” features Somali-Canadian rapper K’naan intoning lyrics he cowrote with DeLillo.

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About Howard Shore

Howard Shore has composed the scores for over 50 films, including The Silence of the Lambs, Philadelphia, After Hours, Seven, and both the Lord of the Rings and Hobbit trilogies. His collaborations with David Cronenberg have resulted in scores for the films The Brood, Scanners, Videodrome, The Fly, Dead Ringers, Naked Lunch, M. Butterfly, and Crash, spanning a nearly 20-year period by the year 2001. Shore's formal education came at the Berklee School of Music in Boston. From 1969-1972 he recorded with the group Lighthouse. He was one of the original creators of Saturday Night Live and served as its musical director from 1975-1980. In 2000, Shore began work on one of the most expansive projects of his career when he signed on to produce scores for film adaptations of the Lord of the Rings series. He spent a year just working on the first film, using Tolkien's texts and drawing from eighth and ninth century music sources to try to evoke the books' magical worlds. Upon the completion of the Lords series in 2001, Shore created the scores for several Hollywood blockbusters including Panic Room (2002), The Aviator (2005), A History of Violence (2005), The Departed (2006), Doubt (2008), and Hugo (2011). In 2012 Shore, along with director Peter Jackson, returned to Middle Earth for the first of three Hobbit films. ~ Stacia Proefrock

  • ORIGIN
    Toronto, Ontario, Canada
  • GENRE
    Soundtrack
  • BORN
    18 Oct 1946

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