Michael McCann - Behavior Music Inc.


SOUNDTRACK REVIEWS FOR DX:HR "A phenomenal soundtrack." IGN "The musical score is sublime." Destructoid "Human Revolution has one of the best soundtracks I have ever heard in a game. Composer, Michael McCann, has done for Human Revolution what Vangelis did for Blade Runner." The Sixth Axis "Hugely atmospheric." OXM "The music is stupendous...It’s a moving, thoughtful soundtrack." Planet Xbox 360 "Michael McCann really knocked this one out of the park." Gaming Age "an absolutely stellar sci-fi score from Michael McCann..." RPGFan.com “We get a great musical score that… is beautiful and fitting.” PSX Extreme "Haunting musical score...The quality of music cannot be understated, as the environmental soundtrack adds much to the totality of the experience. The music in Deus Ex: Human Revolution is a perfect fit for the tone of the game." Worthplaying "... McCann has woven an unusually strong atmospheric electric wall of sound, so reminiscent of Vangelis' soundtrack to the sci-fi classic film Blade Runner. Goosebumps!" GameStar "Deus Ex: Human Revolution features a sci-fi score that perfectly captures the mood." Game Boyz "Special mention must go to Michael McCann's soundtrack, which is a clear highlight." Videogamer "The synthesized soundtrack is understated but absolutely essential." Joystiq "Electronic synths of the soundtrack make the world hum with energy." GameTrailers "The music is fantastic… a great atmospheric score that would do well standing on its own." TotalPlaystation "Sound and music act in concert with Human Revolution’s graphics to create a whole new world. The game’s soundtrack echoes the sensibilities of Blade Runner and Mass Effect...It’s dark, moody, and futuristic–a soundtrack to smoke-covered alleyways..." Machinima "Michael McCann's soundtrack is fantastic" Xbox 360 Achivements "Epic, spirited and reminiscent of the compositional work of the first two games, the music of Human Revolution is a great mix between the legacy of the series and the possibilities in recent years regarding the recruitment of top talent for this kind of jobs in the world of videogames." 3D Juengos (Spain) "The soundtrack is so wonderfully good that we listened to it day after day while were busy with our daily work, which says a lot." PSFocus "...a wonderfully atmospheric soundtrack..." Gamer Revolution “Outstanding musical accompaniment...featuring original tracks orchestrated and dramatic flavor, which will highlight every moment of the action with great emphasis." Spazio Games (Italy) "...wondrously effective complimenting soundtrack." MSXbox World "...a fantastic soundtrack... The entire mood of the game’s “Cyber Renaissance” is absolutely fantastic. " GearedforGamers "Very impressive music." 4Players.de (Germany) “...endlessly atmospheric soundtrack." Atomic Gamer "...soundtrack is just perfect fit throughout the game...creates a great cyber-Renaissance world." Vandal "The music is terrific, most notably the main theme." The Vine (Australia) "The music within Deus Ex: Human Revolution is must-have for anyone who is into dark and memorable visualizations of environments, with music that harnesses the power of cybernoir, electrosymphonic, and future renaissance ambiance within all themes." WhatifGaming "[The music] really makes the mood – for example, when I first entered the final level at the communications tower, it became so menacing that I felt genuinely afraid of what would be round the next corner. The voice acting is also top notch." KitGuru “Michael McCann takes the role of scoring the game, and to put it simply, it’s beautiful.” MCM Buzz "Its storyline is excellent, its characterisation, voice acting, score and script are very well done, and its aesthetic is deliciously dystopian." NZGamer "The music helps get you in the mood too - what an awesome soundtrack. It's all a bit Vangelis!" ABC (Australia) “Furthermore, also the sound, and especially the soundtrack - which is reminiscent of what the movie Requiem For A Dream - beautiful.” XGN (Germany) “...the score to Human Revolution ranks among some of the best in recent times. “ Cheat Code Central • IT'S ALL GONE PETE TONG Thumbs Up! ROGER EBERT, EBERT & ROEPER This funky hipster fairy tale about a modern-day Beethoven (comedian Paul Kaye even has the hair for the part) works whether unspooled as fact or fiction. Like Trainspotting, it's as perversely amusing as it is genuinely harrowing and it's got a much more danceable soundtrack. ENTERTAINMENT WEEKLY This mock rave-umentary succeeds as a light comedy fueled by relentless beats. ROLLING STONE The music isn't merely a soundtrack, but a complex emotional language. LA Weekly The same propulsive, punk rock vibe as Trainspotting and 24 Hour Party People. New York Post	I N T E R V I E W S DEUS: EX HUMAN REVOLUTION INTERVIEWS • The Comet (August 2011) • GameSpot (August 2011) • Film Score Monthly (Subscription only) • Play Magazine (Issue 205 - Print Only) • Cinema Blend (September 2011) • Nerd Reactor (September 2011) • Canadian Musician (Volume XXXIII - No4) • OXM Brazil (August 2011 - Print Only) • OXM UK (August 2011 - Print Only) • Sony PlayStation Blog (April 2011) • Level Magazine (Czech Republic - June 2011 - Print Only) • I Am Entertainment (April 2011) ARCHIVE • 360 Magazine UK (ISSUE 56 - PRINT ONLY) • Jeux Video Interview (JUNE 2009 - FRENCH) • IGN Interview (OCT 2006) • Music 4 Games Interview (OCT 2006) • GameZone Interview - Part 1 (NOV 2006) • GameZone Interview - Part 2 (NOV 2006) • Play Magazine (ALSO JAN 2007 PRINT ISSUE) • Convergence Magazine (JUNE 2007 PRINT ISSUE) • Computer Music Magazine (JUNE 2007 PRINT ISSUE) AWARDS & NOMINATIONS • 2010 E3 Awards & Nominations For DX:HR 14 AWARDS & NOMINATIONS FROM 1UP, IGN, GAME INFORMER, THE NEW YORK TIMES, GAMETRAILERS, JEUX VIDEO, GAMEPRO & MORE. • 2008 Hollywood Music Awards: Best TV Theme NOMINATION FOR 'REGENESIS' • 2007 AIAS Awards: Best Original Score NOMINATION FOR 'SPLINTER CELL: DOUBLE AGENT' • 2007 G.A.N.G. Awards: Best Original Music NOMINATION FOR 'SPLINTER CELL: DOUBLE AGENT' • 2006 IGN "Best of 2006" Awards: Best Original Music WON FOR 'SPLINTER CELL: DOUBLE AGENT' • 2006 Genie Awards: Best Sound / Sound Editing NOMINATION FOR 'IT'S ALL GONE PETE TONG' • 2005 Leo Awards: Best Sound / Sound Editing WON FOR 'IT'S ALL GONE PETE TONG' • It's All Gone Pete Tong • Winner: 2004 Toronto International Film Festival • Winner: New York Gen Arts Film Festival • Winner: HBO Comedy Film Festival • 8 Genie Nominations incl. Best Picture HOLLYWOOD MUSIC AWARDS BEST TV THEME: REGENESIS Behavior's song Anywhere But Here was nominated for "Best TV Theme" at the 1st Annual Hollywood Music Awards! The track is the opening theme for the critically acclaimed TV series Regenesis. You can watch the opening sequence in our Video section • IGN - "Best Original Score of 2006" IGN has awarded Michael's score for Splinter Cell: Double Agent, "Best Original Score of 2006" for the XBOX 360. This is what they had to say: "Why It Rocked: Composer Michael McCann hit the nail on the head with the outstanding score in Tom Clancy's Splinter Cell: Double Agent. Of course, Splinter Cell features plenty of digital sound influenced from heart-pounding spy movies and episodes of 24. These elements are prevalent early in the game as an homage to the earlier titles. But as the deep story begins to progress, so does McCann. He truly excels in his more traditional, organic pieces that help make Double Agent sound more like an action movie rather than a videogame about spies..." (read more) • 2007 AIAS Award Nomination - "Best Original Score" Michael's score for Double Agent was nominated by the Academy of Interactive Arts & Sciences for "Best Original Score". The 2007 awards show was held in Las Vegas at the Hard Rock Hotel & Casino. For information on the AIAS & the awards please click here. • 2007 GANG Nomination - "Best Interactive Score" Michael's score for Double Agent was nominated by Game Audio Network Guild for "Best Interactive Score". The 2007 awards show was held in San Francisco at the GDC Conference. For information about GANG and the awards please click here. Splinter Cell: Double Agent Soundtrack Reviews: • MS Xbox WORLD - 9 / 10 "...The ambient sound is nothing short of perfect, either, as the background music has been tweaked to match the exact degree of tension experienced by the player in game at any given time. This helps to immerse you even further, as the highs and lows of excitement blend naturally, in and out, without a hitch in the music’s play." • EuroGamer - 9/10 "On the basis of the solo mode alone it's worth a nine, not just because it's by far the best game in series to date, but because it's finally delivering on the rich potential that's been apparent since the beginning. By giving players a real incentive to be the stealthy super-spy, it's opening the game up to being what it should have been...." • G4 - 4/5 "...and it's in these nail biting moments when the game really excels. The game's soundtrack swells as tension mounts and then, pow, Sam chops the dude in the neck then pulls him into a headlock. There are few experiences in gaming as satisfying." • Killer Betties - 8 / 10 "....Great voice work. Great sound. And great music. The holy trinity of sound work in videogames...." • Extreme Gamer - 8.5 / 10 "...Finishing up the presentation is the audio which like the graphics always excels. In Double Agent we are treated to the same high level of effects from the wind to walking over metal, pushed along with the dramatic music of Michael McCann, and excellent voice work of Mr. Michael Ironside..." • Gamer Node - 8.2/10 Audio gets the big-ups, too. Michael Ironside and Don Jordan return as their respectful roles of Fisher and Lambert. Renowned Canadian composer Michael McCann makes his video game debut, handling all the music in the game..." • Official XBOX 360 Magazine UK - 9/10 ...Sound is also fantastic, with an often perfectly understated musical score...." • GameSpot - 8.5/10 There are only good things to be said about the game's new soundtrack, which is perfectly fitting superspy-sounding stuff that gets louder and tenser when Fisher gets up close to an enemy.” • USA Today - 9/10 “….Presentation is dark yet powerful, maintaining a high level of suspense. The various locales look vibrant, particularly the Arctic level in eastern Russia. Music ramps up as the alert levels peak, while the sounds of nervous bosses talking n your ear keep you on the edge of your chair.” • GameSpy - 9/10 "...I couldn't help but feel the hairs on the back of my neck stand up when the dramatic music swept in after I engaged an enemy." • NZ Gamer - 8.5/10 " [Music] not only enhance the stealth aspects of the game, but also the emotional and often dark twists the storyline takes.....The score does just that, adapting to in-game decisions that players make, while still managing to stay cohesive throughout each level...Splinter Cell Double Agent sets an impossibly high standard for sound. Other games ought to feel ashamed. • Games Radar - 9/10 "Oppressive atmosphere of tension." • Game Zone - 9.2 / 10 "...Another really outstanding point for this game is the soundtrack. The music for this game fits every situation that Sam is forced upon, if he is in Iceland, prison, and other locals that he will visit." • Gaming Target - 9.1 / 10 "...Sound wise the game fires on all cylinders, with great music, excellent voice acting (particularly Ironside, who is Sam Fisher, he owns the role) and the digital sounds of warfare and espionage..." • 3D Avenue - 8/10 “…the soundtrack is once again brilliant...”