{"key":"3840","name":"Hans Zimmer","bio":"Hans Zimmer is a German film score composer and record producer. Zimmer's works are notable for integrating electronic music sounds with traditional orchestral arrangements. Since the 1980s, he has composed music for over 150 films. His works include The Lion King, for which he won the Academy Award for Best Original Score in 1995, the Pirates of the Caribbean series, Interstellar, Gladiator, Crimson Tide, Inception, Dunkirk, and The Dark Knight Trilogy. He has received several Grammy Awards, as well as an Academy Award for his work. He was also named on the list of Top 100 Living Geniuses, published by The Daily Telegraph. Zimmer spent the early part of his career in the United Kingdom before moving to the United States. He is the head of the film music division at DreamWorks studios and works with other composers through the company that he founded, Remote Control Productions, formerly known as Media Ventures. His studio in Santa Monica, California, has an extensive range of computer equipment and keyboards, allowing demo versions of film scores to be created quickly. Zimmer has collaborated on multiple projects with directors including Ridley Scott, Ron Howard, Gore Verbinski, Michael Bay, and Christopher Nolan.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/3840_h_0.jpg","feeRange":"please contact"}

{"key":"80496","name":"Steven Price","bio":"Steven Price (born 22 April 1977 in Nottingham, England, UK) is a British film composer, best known for scoring The World's End and Gravity, both from 2013. For the latter film he received an Academy Award win for Best Original Score.Along with Basement Jaxx, Price scored the 2011 film Attack the Block, and the soundtrack was released on 16 May 2011.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/80496_h_0.jpg","feeRange":"please contact"}

{"key":"83318","name":"Naoshi Mizuta","bio":"\u6c34\u7530\u76f4\u5fd7 (Naoshi Mizuta, Born January 24, 1972) is best known for his work on the Final Fantasy soundtracks, mainly Final Fantasy XI (Online). Currently residing in Japan. Mizuta has also composed tracks on other RPG's such as Parasite Eve II.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/83318_h_0.jpg","feeRange":"please contact"}

{"key":"3848","name":"Howard Shore","bio":"Howard Leslie Shore (born October 18, 1946 in Toronto, Ontario, Canada) is an Oscar, Golden Globe and Grammy Award-winning Canadian composer, orchestrator, conductor and music producer best known for composing the scores for The Lord of the Rings film trilogy, the score for The Silence of the Lambs, and for the films of David Cronenberg. He played in Canadian rock group Lighthouse from 1968 to 1972. He is the uncle of composer Ryan Shore.He was born to a Jewish family in and studied music at the Berklee College of Music in Boston. From 1969 to 1972, he performed with the group Lighthouse. In 1974, Shore wrote the music for Canadian magician Doug Henning's magical\/musical \"Spellbound\" co-starring fledgling actress Jennifer Dale. He was the musical director for the television show Saturday Night Live from 1975 to 1980, appearing in many musical sketches including the All-Nurse Band and dressed as a beekeeper for a John Belushi\/Dan Aykroyd performance of the Slim Harpo classic I'm a King Bee. He also suggested the name for the Blues Brothers to Dan Aykroyd and John Belushi.SuccessesShore has written the music for such various major film productions as The Silence of the Lambs, Mrs. Doubtfire, Philadelphia, Ed Wood, Se7en, Dogma, High Fidelity, Panic Room and The Aviator, the last of which earned him a Golden Globe. Since The Brood in 1979, he has been a consistent collaborator with David Cronenberg, scoring all his subsequent films except The Dead Zone (1983, scored by Michael Kamen). His score for Cronenberg's Naked Lunch is notable for his collaboration with famed avante-garde jazz musician Ornette Coleman, who praised Shore's work.The Lord of the RingsHis greatest success to date is his score for Peter Jackson's The Lord of the Rings film trilogy. The score for the first film, The Lord of the Rings: The Fellowship of the Ring, including the song An\u00edron, gained him an Oscar in 2002, while the final film, The Lord of the Rings: The Return of the King, earned him another two Oscars (one for the score and one for the song \"Into the West\", sung by Annie Lennox) in 2004. (The Two Towers soundtrack was not nominated for the 2003 Oscar, because a new rule was put in place that year prohibiting a soundtrack from being nominated that used any material from a previous soundtrack. This rule proved very unpopular and controversial, as many movie franchises, such as Star Wars scored by John Williams, were discredited as a result: the rule was repealed in time for the 2004 Oscars and the Return of the King was therefore nominated and went on to win. Many fans of Shore's work feel that had this unpopular new rule not been in effect, the soundtrack for The Two Towers stood a good chance of winning.)Since 2004, he has toured the world conducting local orchestras in the performance of his new symphonic arrangement of his highly acclaimed Lord of the Rings scores. The new work is entitled The Lord of the Rings: Symphony in Six Movements. There are two movements for each of the movies, and an intermission between the second and third movements. The concert presentation of the symphony also includes projected still images relating the music being performed to scenes from the films. Recently, however, Shore has been busy with other projects, leaving other conductors including Markus Huber, Alexander Mickelthwaite, and John Mauceri to lead the orchestras.Trivia * He makes a cameo appearance on film in The Return of the King (extended edition) as a Guard of Rohan, during the drinking game at Edoras. * Despite having his score removed late into post-production, Shore has a cameo near the end of King Kong as the conductor of the pit orchestra in the theatre. * He is uncle of composer Ryan Shore.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/3848_h_0.jpg","feeRange":"please contact"}

{"key":"3849","name":"Ludovico Einaudi","bio":"Ludovico Einaudi (born 23 November 1955 in Turin, Italy) is an Italian composer and pianist particularly noted for the use of developing melodious phrases in his piano compositions.He began his musical training at the Conservatorio Verdi in Milan, gaining a diploma in composition. Later, he studied with Luciano Berio. In 1982 he gained a scholarship to the Tanglewood Music Festival. He currently resides on a vineyard in the region of Piemonte.Although Einaudi would prefer not to be labeled as any particular type of composer, he is generally considered a minimalist.\"In general I don't like definitions, but 'minimalist' is a term that means elegance and openness, so I would prefer to be called a minimalist than something else.\" - Ludovico EinaudiOfficial website: http:\/\/www.ludovicoeinaudi.com(2) Pianist and composer Ludovico Einaudi was born in Turin, November 23, 1955. His mother, also a pianist, would play for him as a young child, planting the seeds for what would become a fruitful, illustrious career. Einaudi studied under Luciano Berio at the Conservatory of Milan, graduating with a diploma in composition. In 1982 his talents would win him a scholarship to the Tanglewood Music Festival. The experience opened Einaudi's ears to new ideas like minimalism, world music influences, and aspects of pop music. He spent the next several years composing for the ballet, including Sul Filo d'Orfeo (1984), Time-Out (1988), and The Wild Man (1991). Einaudi turned a corner in 1996 with the release of his first collection of solo performances, entitled Le Onde. This record started Einaudi down the path toward becoming one of Europe's best-selling pianist\/composers. 1999's Eden Roc and 2001's I Giorni, both for BMG, captured the solo piano world's attention, both remaining best-sellers for years to come. While seemingly at the top of the composition world, Einaudi ventured into the world of film composition, a journey punctuated by his Best Film Score award in 2002 for his work on Luce Dei Miei Occhi. Einaudi noted in interviews during that period that he missed concertizing, and began performing again regularly. New works blossomed from this effort, including 2004's Una Mattina and 2006's Diario Mali. 2007 welcomed Einaudi's seventh studio album, titled Divenire, where he was accompanied by the Royal Liverpool Philharmonic. The follow-up, 2009's Nightbook, was much more self-consciously reductionist, featuring solo piano minimally adorned with electronics, and saw Einaudi begin to be appreciated by fans of the \"post-classical\" school that he had arguably, at least in part, inspired. A double-disc best-of, Islands, was released in 2011, and at the beginning of 2013 he signed a new deal with Decca and unveiled the long-gestating In a Time Lapse, which had been recorded in a remote monastery near Verona and saw a return to a more \"classical\" chamber music sound. 2015 brought the release of Elements, which featured violinist Daniel Hope, the Amsterdam Sinfonietta, electronica's Robert Lippok, and Brazilian percussionist Mauro Refosco, among its several guest performers. Recorded at his home studio in Italy, it was inspired by nature, math, science, music, art, and how parts connect to form a whole. ~ Evan C. Gutierrez","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/3849_h_0.jpg","feeRange":"please contact"}

{"key":"4709","name":"Dead Can Dance","bio":"Dead Can Dance was formed in Melbourne, Australia in 1981 by Brendan Perry together with Simon Monroe and Paul Erikson later to be joined by Lisa Gerrard. They disbanded in 1998, and temporarily reunited to do a highly successful world tour in 2005 with a view to recording another studio album together. In order to concentrate on their solo careers and due to ongoing personal differences between Perry and Gerrard, the project was, however, put on hiatus. In 2011 Perry announced work on a new album, which was released in 2012 followed by a world tour. After a somewhat muted response to their music in Australia, Dead Can Dance moved to London in 1982, where they signed up to alternative rock label 4AD, a legendary label on the alternative music scene, where it became one of the most important bands on the label alongside the Cocteau Twins. They continued to work closely together, until later in the 1990s when they started to grow apart following the breakup of their personal relationship. Gerrard returned to Australia, while Perry moved to Ireland, where he had renovated an old church at Quivvy, where he lives and works. It is speculated that the distance between the members was an influence in the band's eventual break-up, with an argument following the recording sessions for an unreleased album being the final straw, although Perry himself said that distance helped in maintaining a certain individual freedom in creativity.The name \"Dead Can Dance\" is often misleading. Although this group is quite popular among the goth sub-culture with the name appearing to be inspired by the Danse macabre allegory, it should instead be interpreted as 'giving life to something that was previously inanimate' as Perry said: \"The album artwork , a ritual mask from New Guinea, attempted to provide a visual reintrepretation of the meaning of the name \"Dead Can Dance.\" The mask, though once a living part of a tree is dead; nevertheless it has, through the artistry of its maker, been imbued with a life force of its own. To understand why we chose the name, think of the transformation of inanimacy to animacy\u2026. Think of the processes concerning life from death and death into life. So many people missed the inherent symbolism, and assumed that we must be 'morbid gothic types,' a mistake we deplored and deplore\u2026\".Following the self titled album the band released the EP Garden of the Arcane Delights, which followed the template set by the first album but made more use of percussion, notably the Oriental dulcimer (Yang Qin), on tracks \"Carnival of Light\" and \"Flowers of the Sea,\" which has since become a trademark sound in the genre.A shift in sound followed for the Spleen and Ideal album, with more emphasis on strings, brass and drones being used. A quasi spiritual element also emerged on this album, notably on the opening tracks \"De Profundis\" and \"Ascension\". Its worth noting that around this time Lisa and Brendan had been doing tours of European Cathedrals, absorbing the ambience which in turn was reflected in the work.The highlights of the bands career followed with the genre defining album Within The Realm of a Dying Sun, featuring fan favorite \"Cantara\", which is where the bands Arabic and World music influences began to appear, and the double whammy of \"Summoning of the Muse\" and \"Persephone (The Gathering of Flowers).\" Critics at the time were undecided about the album, mainly due to the fact that the pieces were split according to the vocals. Brendan had the first side of the album, where Lisa took over for the latter half. The Serpent's Egg was the next album and built on the premise set by the previous album, although the album is slightly uneven in quality and a short listen at around 40 minutes. The album is redeemed by the opening and closing pieces \"The Host of Seraphim\", and Perry's epic \"Ullyses\".For the next album Aion, the band slipped back several centuries and recreated working medieval instruments such as the Sackbut, Viol and Hurdy Gurdy for the distinctly Medieval flavor. Included on the album is \"Song of the sibyl\" a text from 14th century Spain and now a live favorite. Another text appears in the song \"Fortune Presents Gifts Not According To The Book\". Into the Labyrinth was the follow up album and was the album that saw Brendan mastering the use of samples and synthesizers and also the album that brought the band's music to American audiences selling over a million copies worldwide. The track \"The Ubiquitous Mr Lovegrove\" was played across on college radio and was instrumental in the albums success.Spiritchaser was the seventh studio album for the band and brought about an abrupt upturn in musical style, instead of drawing on the historical past the band drew upon South American and African influences which gave the album a very rhythmic ambience. Considered by some to be the bands weakest album, it features highlights such as the percussive \"Nierika\" which was the most played track on American college radio for that year, and the epic 9 minute trance inducing \"Indus\".A 3 CD retrospective simply called 1981-1998 was issued by 4AD and compiled a comprehensive overview of the bands career, and provided diehard fans with the only finished track from the Spiritchaser follow-up sessions called \"The Lotus Eaters\".As a live band is probably where Dead Can Dance have gained their reputation. To put it simply, they were phenomenal. The concerts often featured many improvised pieces that to date have never been recorded in the studio. A live album entitled Toward the Within was released in 1994 and allowed fans unfortunate enough to have not attended concerts the chance to hear a few of these songs. A companion video\/DVD of the concert was also released allowing people to see these highly ethereal concerts. After Dead Can Dance ceased to be a functioning band both Perry and Gerrard embarked upon solo careers. To date, Brendan has released one solo album The Eye of the Hunter and has completed work on a new album, 'Ark', to be released in June 2010, whilst Lisa has been more prolific but with mixed results, releasing two solo albums The Mirror Pool and The Silver Tree. Lisa has also collaborated with other artists, namely Pieter Bourke of the band Soma and Irish composer Patrick Cassidy on the respective albums Duality and Immortal Memory. Lisa has also become a sought after soundtrack artist too after a wave of publicity for the Ridley Scott film Gladiator and continues to release work on a regular basis including soundtrack work on Ali, Layer Cake, and Whale Rider. Peter Ulrich, former percussionist of the band has also released two solo albums, Pathways and Dawns and more recently, Enter the Mysterium.A series of 31 reunion concerts took place in 2005 in both Europe and North America including two memorable sell out concerts at The Hollywood Bowl and Radio City accompanied by 40 piece orchestras. Many of these concerts were professionally recorded and released as a double CD.In late 2011, the band announced a reunion World Tour, in order to promote their new album, fittingly titled Anastasis, as it was released on August 9, 2012, 16 years after the group's previous album. Anastasis was well received by critics and is also the first album of the band not released by 4AD Records.http:\/\/www.deadcandance.com\/main\/ http:\/\/www.facebook.com\/DeadCanDanceOfficialhttps:\/\/twitter.com\/DCDmusic","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/4709_h_0.jpg","feeRange":"40,000 - 75,000"}

{"key":"3868","name":"Clint Mansell","bio":"Clinton Darryl \"Clint\" Mansell, (born 7 January 1963) is an English musician, composer, and former lead singer and guitarist of the band Pop Will Eat Itself.After the disbanding of Pop Will Eat Itself in 1996, Mansell was introduced to film scoring when director Darren Aronofsky, hired him to score his debut film, \u03c0. Mansell then wrote the score for the next Aronofsky film, Requiem for a Dream, which has been well received. Mansell's composition for The Fountain was nominated for Best Original Score at the 64th Annual Golden Globe Awards. His other notable film scores include Moon, Smokin' Aces, The Wrestler, and Black Swan. Mansell's score for Darren Aronofsky's \u03c0 was followed up by his score for Aronofsky's next film, Requiem for a Dream, which became a cult hit. Since their first collaboration in 1996, Mansell has composed the music to every Aronofsky film. Other notable achievements include the theme for the film The Hole, the music for the pilot episode of CSI: NY, and the score for Aronofsky's later films The Fountain, which was nominated for Best Original Score in the 64th Annual Golden Globe Awards, and The Wrestler. Mansell has also contributed the score to HBO's Voyeur. The song was also used as the base theme for the song \"Throw It Up\" by Lil Jon. His most recent work has been on the soundtrack for Black Swan in 2010. Mansell's theme tune for sci-fi movie Moon also appears on the trailer for the film The Iron Lady. Mansell also contributed music to Lord of the Rings. The trailer for The Lord of the Rings: The Two Towers contained a rearranged version of the track \"Lux \u00c6terna\", using a full orchestra and choir. The piece, named \"Requiem for a Tower\", was recorded especially for the trailer. The orchestration was arranged by Simone Benyacar, Dan Nielsen, and Veigar Margeirsson. \"Lux \u00c6terna\" has since become popular, with both the original and the \"Requiem for a Tower\" version having appeared in a wide variety of advertisements and trailers, including the trailer for the Red Sox\u2013Yankees games in the 2007 Major League Baseball season, and trailers for the films Zathura, The Da Vinci Code, Sunshine, Babylon A.D. and the TV series Lost and Top Gear. It was also used on Sky Sports News and as the theme for Soccer Saturday from 2007-2009. In 2006, the theme was used in EuroSport LIVE trailers. The theme was also used by America's Got Talent as an introduction of the judges before being changed slightly. The new variant is now a regular piece on the show. Another well known trailer cue is \"Death Is the Road to Awe\" from the score for The Fountain which was featured in a trailer for the 2007 film I Am Legend, the trailer for the film The Mist, as well as the trailer for the film Frost\/Nixon, and toward the end of 2007 The Final Cut trailer for Blade Runner.Scoring credits Pi, 1998 Requiem for a Dream, 2000 World Traveler, 2001 The Hole, 2001 Knockaround Guys, 2001 Rain, 2001 Abandon, 2002 Murder by Numbers, 2002 Sonny, 2002 The Hire: Ticker, 2002 11:14, 2003 Suspect Zero, 2004 Sahara, 2005 Doom, 2005 The Fountain, 2006 Trust the Man, 2006 Smokin' Aces, 2006 Wind Chill, 2007 In The Wall, 2007 Definitely, Maybe, 2008 The Wrestler, 2008 Blood: The Last Vampire, 2009 Moon, 2009 L'affaire Farewell, 2009 The Rebound, 2010 Black Swan, 2010 Last Night, 2010 Faster, 2010 United, 2011 Mass Effect 3, 2012 (TBA) Filth, 2013http:\/\/www.clintmansell.com","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/3868_h_0.jpg","feeRange":"please contact"}

{"key":"3887","name":"Max Richter","bio":"Composer Max Richter was born in Germany in 1966 and grew up in the UK. He studied composition and piano at Edinburgh University, the Royal Academy of Music and in Florence with Luciano Berio. Though he has a strong background in the canons of classical music, his influences were more modern composers and in particular, Iannis Xenakis whose musical compositions applied mathematical and physical laws and Philip Glass whose sound was a major influence on Richter. His influences also include rock bands The Beatles, Pink Floyd and The Clash, as well as electronic music groups Kraftwerk and Autechre.After finishing his studies, he co-founded Piano Circus, a contemporary classical ensemble, where he stayed for ten years. With the ensemble, he commissioned and performed the works of experimental artists like Steve Reich, Arvo P\u00e4rt, Brian Eno and Julia Wolfe. Piano Circus's performances incorporated found sounds and video, allowing Richter to integrate his love of sampling and electronics. After he left, he became involved in the UK's thriving electronic scene, collaborating with The Future Sound of London and Roni Size.He has released four solo albums: Memoryhouse (2002), Blue Notebooks (2004), Songs from Before (2006), and latest, 24 Postcards in Full Colour (2008), a collection of miniatures meant to be used as ringtones.Recently he has scored the soundtrack to the critically acclaimed film Waltz with Bashir by Ari Folman as well as INFRA, Max's new score for The Royal Ballet, made with choreographer Wayne Macgregor and fine artist Julian Opie. He has also produced the score for the short animated film Lost and Found based upon the children's book by Oliver Jeffers. Recently, Richter's score, \"On the Nature of Daylight\", has been included in the acclaimed film Shutter Island.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/3887_h_0.jpg","feeRange":"please contact"}

{"key":"80497","name":"Michael Riesman","bio":"Michael Riesman has been a long time collaborator of legendary composer Philip Glass. Michael Riesman works with Glass in many capacities. He is the musical director of the Philip Glass Ensemble (while also serving as a keyboard player therein), synthesizer technician, producer, and \"orchestrator\" of Philip Glass's ensemble music.Michael Riesman and Dennis Russell Davies are the most frequent conductors of Glass's musical recordings and live performances. During live performances, Michael Riesman is the conductor when the Philip Glass Ensemble plays while Dennis Russell Davies has generally performed this duty when other orchestras perform Glass's works.Michael Riesman is an accomplished pianist and composer in his own right with several releases. In addition he has released three solo piano interpretations of Philip Glass's works: Philip Glass : Dracula, Philip Glass : Music From \"The Hours\" Solo Piano and Philip Glass Soundtracks.","featuredImage":"https:\/\/assets.allamericanmusic.com\/images\/80497_h_0.jpg","feeRange":"please contact"}