posinepi yakyrah colyne
Leda Billock
The ever popular netflix original series, Stranger Things, has released its original soundtrack on vinyl records for its third season. Award winning and Grammy nominated composers, Kyle Dixon and Michael Stein, scored the soundtrack of the latest season. The tracks were just the perfect music to bring out the appropriate emotions of the scenes.
The neon pink custom vinyl record version of the soundtrack is an exclusive one for countries outside of North and South America. The vinyl album includes double neon pink LPs, a deluxe heavyweight gatefold jacket and printed inner sleeves. The packaging was graced with the awesome artwork done by Kyle Lambert.
Dark is a three-season German-language Netflix original series set in a fictional town in Germany named Winden. Due to the disappearance of children in the town, four estranged families, their double lives and fractured relationships, have been exposed, including a time travelling conspiracy that spans for generations.
For season one of the series, or also known as Cycle 1, the score was composed by Australian composer Ben Frost. Dark: Cycle 1 soundtrack was pressed on anorak yellow custom vinyl records that were packaged inside heavyweight spined single sleeve jackets printed with great artwork.
The front cover features Dylan Minnette who plays Clay Jensen, the boy who had a crush on Hannah Baker and is the focus of the series. When the jacket is opened, one side of the vinyl is printed with the credits and the other is printed with Clay Jensen and Hannah Baker.
Lost in Space is a sci-fi series produced by Legendary Television and a reimagination of the 1965 Lost in Space series. The series revolves around the Robinson family who was tasked to colonize the Alpha Centauri star system, but was stopped midway through the journey by an alien robot.
The album artwork is created by Matt Talbot and sees the journey of Jesse Pinkman (portrayed by Aaron Paul) from the end of Breaking Bad (where El Camino picks up) and the end of El Camino. Meanwhile, the record is pressed on either 180-gram black vinyl or a special 180-gram teal and gold splattered vinyl.
The full score composed by Dave Porter was pressed either on two 180 gram standard black vinyl or on two 180-gram custom vinyl records. One of the custom vinyl records is a teal and gold splattered vinyl and the other is a clear and white splattered one.
Bright is a film that revolves around a human LAPD police officer and his orc partner as they face racism and corruption in the field along with protecting a magic wand and its wielder, and elf girl
Maniac is a dark psychological science fiction series that focuses on two strangers, with mental disorders, who form a connection during a pharmaceutical trial they willingly participated in. It was released by Netflix on September 21, 2018.
After its premiere at the Sundance Film Festival, Netflix followed suit and released it on March 16, 2018. The vinyl album of the soundtrack for the film was released more than a month after the Netflix release with Western Vinyl as manufacturer.
The vinyl album of the soundtrack is a limited one with only 1000 copies. The tracks are pressed on to two red vinyl records with black splatter housed by a gatefold jacket featuring Heron on the front cover.
The soundtrack for the series is another masterpiece from Deadpool 2 and Atomic Blonde soundtrack composer, Tyler Bates. The vinyl album of the soundtrack includes a gatefold jacket printed with a skull on the front cover and a vinyl record that is either full black or one that is white striped with bllack at the center.
The OST is composed by Martin Phipps which showed a neo-minimalistic score which is a mixture of different tempos, string-based undertones, and brass chorus-lines. For the vinyl album, the vinyl jacket is printed with the promotional poster of the series. And to match the cover, the tracks are pressed on dark green vinyl records.
The Devil All The Time is a psychological thriller film revolving around a young man determined to protect his loved ones from anything and everything that threatens them. The film is a highly acclaimed one with its soundtrack being a key element.
The soundtrack album features classic, bluegrass, and traditional hit country tracks. There are also additional tracks, two from Pokey LaFarge and six from Saunder Jurriaans and Danny Bensi. The 18 tracks of the album are pressed on standard black vinyl records housed by a single sleeve vinyl jacket printed with the official release poster of the film.
The Prom is a satirical musical fantasy film following Broadway stars as they shake up an Indiana town as they push behind a teenage lesbian girl who just wants to go to the prom with her girlfriend.
The original soundtrack of the Netflix film was released in a vinyl deluxe edition. The album consists of a gatefold jacket, two printed inner sleeves, and two purplle colored vinyl records. The front cover was printed with the official poster of the film.
Rebecca is a romantic thriller film revolving around a young woman who must face obstacles that come with marrying a widower. The film is based on the 1938 novel by Daphne du Maurier with the same title.
The tracks are pressed on two translucent marble vinyl which are packaged inside a gatefold jacket and two inner sleeves. The gatefold is printed with awesome artwork from front to back cover, and the inner sleeves are also printed on both sides. Additionally, the album included a download card.
Money Heist creator, Alex Pina, presented another great series with White Lines. The 10-episode series revolves around Zoe Walker, the sister of 20-year missing Axel Walker who was DJ-ing in Ibiza. Zoe travels and investigates after her brother is found dead after 20 years.
The soundtrack of the series was pressed on limited copies of 180 gram Mediterranean blue vinyl records housed inside a hype-sticker PVC protective sleeve and gatefold jacket. The front cover of the jacket is printed with the dead Axel among the vertical white lines.
The album comes with double colored custom vinyl records housed by separate single sleeve vinyl jackets. One is a half-red and half-black vinyl record housed in a black jacket and the other is a half-white and half-black one housed in another jacket printed with a photograph.
Now we have another Marvel Comic character, Luke Cage, with his very own Netflix series named after him. It stars Mike Colter who plays Luke Cage, an ex-convict with superhuman strength and unbreakable skin, who now fights against criminals.
When Far Cry Primal [official site] was unveiled, I shrugged with semi-feigned disinterest, aware that the series has hit milking point, but unable to dismiss the inner teenager tugging at my inner sleeve saying "But it's got cavemen and tribes and woolly mammoths and you can ride them, and throw spears and stuff!" Yes, the prehistoric era taps into a primal fantasy in me, but when that's overlaid with an advanced radar, an owl endowed with the abilities of a military drone, and heat-vision that conveniently colour-codes every object, footprint and smell, the fantasy kind of tapers off.
Convenient though these appurtenances of Ubisoft are, they end up funnelling the stunning locations and great sense of time and place in franchises like Assassin's Creed and Far Cry into a formula that can undermine the setting. Instead of engaging with their impressive worlds, we spend most of our game time looking at mini-maps, 'detection indicators', and pause-screen maps cluttered with enough arbitrary Things To Do to trigger an anxiety attack in closet completionists like myself.
The one liberty I took was with the pause-screen map, limiting the icons to only include Main and Secondary Missions, as unfortunately Morrowind-style spoken quest directions ('head to the fork in the road, then take the rough trail along the coast') don't exist in Primal.
While playing without a UI certainly ups my receptiveness to the game world, Oros also happens to be a very loud and visually busy place, giving me plenty of environmental cues to respond to and to look out for.
For all my skittishness, I'm enjoying not being a master of my own surroundings from the get-go. I'm having to learn the ways of the wilderness rather than merely applying the things I'd already learned in previous Far Cry games to a new setting. Before long, I come to identify animal sounds so that I can distinguish between creatures and better understand when I'm actually in danger, and when those screaming goats are just playing tricks on me. Other skills I pick up include not getting stomped by a rhino when I nearly walk into the side of its paunch, and how to scout out enemy outposts without Hedwurg the mesolithic drone owl.
I seek out campfires and side-missions by following the sounds of violence. My first such intervention proved disastrous, as I tracked down a group of Wenja hunters (goodies) being assailed by a couple of Udam (baddies). It was one of those moments when I wish there was a button that let me scream 'WENJAAAA!', as I charged into the fray and helped club the assailants to death. My heroism was short-lived however, as a fusillade of arrows and spears flew out of the dense foliage into our stupid Wenja faces. See, without a mini-map or hunter vision, foliage is just as useful to the AI as it is to the player, particularly in a world as fecund as Oros. In fact, this is the first time in a AAA game that I can recall foliage actually being of any use to AI, making the enemy seem much smarter...and more menacing.
Chasing sounds is great for finding scuffles and animals, but to get a bigger picture of the world, I climb Oros' clifftops and peaks, where I scan the formidable landscape for pillars of smoke rising from outposts and bonfire towers waiting to be lit. By night, I can see the glow of distant fires from my lofty perch, or if I'm creeping through the haunting night-time forests, I spy camp-light creeping among the trees. As with the foliage, the lack of superimposed visual aids has turned what would otherwise be little more than an aesthetic flourish into a whole new layer of gameplay. Each time I take out the final enemy at an outpost that I find and infiltrate without the aid of the UI, the carnal rush of bloody victory feels pure, raw, and undiluted.
90f70e40cf