We are proud to welcome you to Score Revolution, an unparalleled online catalog of original film music available for licensing. Our site includes great scores from leading composers and many new scores you will be hearing for the very first time.
By employing sophisticated search technology together with an expert sales and support staff, we are dedicated to being a leader in the expanding global market for film music licensing.
The entire Score Revolution team looks forward to you joining with us as we connect media creators with film music owners by Unlocking The Film Music Marketplace™.
The Home of Great Film Music
Score Revolution is fast becoming the home of great film music.
We’re excited to be presenting music from leading international film companies like Lionsgate, StudioCanal, Constantin Film, Cattleya, Voltage Pictures, and Lakeshore Entertainment, as well as major independent film companies and top composers from around the world. And the list is growing...
If you own excellent film music, we invite you to join us. If you’re looking for the best instrumental music to license, we’re putting it all in one place for you!
A Good Reason to Search Online
Let’s face it - searching for music online can be tedious. That’s why we’ve created an interface that brings some joy of discovery into the equation.
We've created a revolutionary new user interface and search space that redefines how to search, discover and license film music.
Got a great piece of temp music that you can’t use? Our Upload Search allows you to find similar tracks based on their acoustic profiles. Or, use our Keyword and Filter Tools to get right to what you need with out too much clicking or scrolling.
Score facilitator spreads wealth
From Variety Jan 10th 2013:
Launching this month, the service aims to simplify the process of licensing a traditionally convoluted area of music. The L.A.-based company has amassed 10,000 tracks of film music, with more than 165 composers represented, including Hans Zimmer, James Horner, Alexandre Desplat, John Barry and Jerry Goldsmith.
Hierons teamed with Seth Kaplan and Christine Russell, founders of talent agency Evolution Music Partners to develop a unique business model -- in short, to partner with rights holders, "untangle" the licensing process, and create a simple and elegant interface for a massive catalog of music. Read More
We're excited to announce that Denmark-based Syntonetic will be our exclusive search technology partner, providing music data analysis that is employed within our relational search engine.
Moodagent, Syntonetic’s mobile play-listing application, is currently in customer applications including Playlist DJ for Nokia phones, the Apple iPhone, iPad, iPod Touch, and Android phones. Score Revolution and Syntonetic are looking forward to bringing further innovations in search technology to the music licensing space.
Clinton ShorterKiefer Sutherland, Jared Harris and Carrie-Anne Moss anchor the toga-clad ensemble in director Paul W.S. Anderson’s (Resident Evil, Mortal Kombat, Death Race) 2014 epic love story set against the AD 79 eruption of Mt. Vesuvius and the subsequent destruction of the Roman city of Pompeii.» Read full feature
A prolific fixture in Canadian television before his breakthrough 2009 score for Neil Blomkamp’s District 9, Canadian composer Clinton Shorter delivers his most accomplished work to date for Pompeii, a savvy choral-orchestral effort characterized by thematic diversity and ambitious orchestration. Bookended by Gothic-inspired operatic tracks ("Main Titles", "Ashes to Ashes"), Shorter’s score is a construct of primarily short cues that alternate between suspenseful thrusts of narrative momentum ("Revenge Fight", "You Will Talk", "Shields Up") and alternatively reflective and heroic character- and relationship-driven themes ("I See Death", "The Senator", "He Dies First", "Proculus"). Other tracks, like the haunting, dissonant "Vesuvius", intrude like a Greek chorus, evoking the ever-present hand of fate.
The Two Faces of January
Alberto IglesiasOscar-nominated screenwriter Hossein Amini’s (The Wings of the Dove) acclaimed 2014 adaptation of Patricia Highsmith’s 1964 novel stars Viggo Mortensen and Kirstin Dunst as an American couple with a dubious past who, while vacationing in Greece, meet and forge a relationship with a shady tour guide (Oscar Isaac), leading them all into a deadly game of deception and murder.» Read full feature
Progressively vexing plot complications take on an increasingly ominous tone thanks to Oscar-nominated composer Alberto Iglesias’ (Tinker, Tailor, Soldier, Spy; Bad Education; The Spanish Gardener) deft string orchestrations – brooding bass and cello colliding with desperate violin and viola. Accented throughout with surprising flourishes of piano and assorted Mediterranean musical influences, it’s one of Iglesias’ most agile and inventive scores, subtle yet consistently compelling, a beguiling mix of cues both short and long. Highlights include “Father & Son,” the magnificent “Café Sultan,” “Looking for a Wife,” the chillingly nourish “Newspapers” as well as the effusively operatic title track, “The Two Faces of January.”
The Love Punch
Jean-Michel BernardBritish writer/director Joel Hopkins (Jump Tomorrow, Last Chance Harvey) reteams with Emma Thompson in this light-hearted romantic caper comedy about a divorced couple (Thompson and Pierce Brosnan) reluctantly forced to team up when their retirement funds are stolen, leading them on a progressively elaborate pursuit (with Timothy Spall and Celia Imre in tow) that finally devolves into uproarious shenanigans on the French Riviera.» Read full feature
Since emerging in the early ‘90s with acclaimed scores on such films as Claude Chabrol’s Madame Bovary, French-born composer Jean-Michel Bernard has developed a reputation as one of the industry’s most versatile and stylistically-adept artists. Working with director Hopkins to channel the legendary ‘60s era tandem of director Blake Edwards and composer Henry Mancini, whose collaborations the film most affectionately seeks to emulate, Bernard has crafted a score for The Love Punch that draws copiously on all his skills. Jovial and jazzy, the effort is best characterized by such tracks as “Manon Legs Arrival,” “Travel to Beach,” “At the Airport” and “Breach Reception Walls” – amiable frolics that evoke a dangerous, chaotic sense of fun laced with inescapable accents underlining Brosnan’s and Thompson’s years of pent-up frustration, happiness, anger, regret, forgiveness, joy and pain.-driven main theme and the hauntingly carnivalesque “Graffiti.”
David NewmanIn this contemporized, German-produced 3D computer-animated interpretation of Edgar Rice Burroughs’ famous tale, Tarzan is the son of an industrialist who perishes in the African wilds while searching for an ancient meteorite that may offer a solution to the world’s energy crisis.» Read full feature
Veteran composer David Newman – son of legendary composer Alfred Newman, brother of composer Thomas Newman and cousin to Oscar-winning songwriter/composer Randy Newman – here forges a pulsating, heroic orchestral score rich with African-inspired rhythms and sweeping, elegiac crescendos. A paean to the richness and resiliency of the human spirit as well as the sanctity of family, Newman’s score traffics in such refreshingly old-fashioned notions as romanticism and nobility, employing a wide range of thematic approaches – gentle (“Tarzan is Alive”), ebullient (“Growing Up”) and noble (“Reunion”) – to infuse the film with a gravitas typically reserved for live action efforts.
Johnny Klimek, Reinhold HeilKevin Grevioux’s revisionist graphic novel takes even more graphic shape in Australian writer/director Stuart Beattie’s live action film starring Aaron Eckhart as Mary Shelley’s famed monster, now re-imagined as an immortal whose centuries of relative anonymity come to an end as he is dragged, once more, into the eternal war between demons and gargoyles.» Read full feature
Best known for their collaborations with director Tom Tykwer (Run, Lola, Run; Perfume; Cloud Atlas), the Australian-German composing team of Johnny Klimek and Reinhold Heil here opt for action film grandiosity over traditional horror film Gothic to bolster the exploits of this reinvented, more heroically-inclined 21st Century Frankenstein monster. Dense, brooding, ominous orchestrations built atop an electronic undertow set the stage for an epic, centuries-spanning adventure in such tracks as “I’m a Monster” and “A Higher Purpose,” elsewhere shifting into action-adventure mode with pulsating suspense tracks like “Showdown,” “Naberious Wants it Alive” and “Chasing Halek.” Not altogether eschewing Gothic influences, however, Klimek and Heil offer a handful of “Carmina Burana”-style choral tracks, typically with a more modern techno-Gothic beat: “Ride of the Gargoyles,” “This Body is Mine” and “Bring Me Frankenstein’s Monster.”