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∇  DX:HR SOUNDTRACK REVIEWS 1

    “A phenomenal soundtrack.”

  • – IGN
    “…this is an amazing soundtrack album. Five out of five, buy it now, desert island disc-worthy…”

  • – G4TV
    “…one of the most memorable and dense video game soundtracks to ever brace the ears of a gamer. “

  • – Sputnik
    “The musical score is sublime.”

  • – Destructoid
    “McCann’s soundtrack for DX:HR is an understated triumph.”

  • – Kotaku (Best Game Music of 2011 Feature)
    “McCann takes the role of scoring the game, and to put it simply, it’s beautiful.”

  • – MCM Buzz
    “Hugely atmospheric.”

  • – OXM
    “The music is stupendous…It’s a moving, thoughtful soundtrack.”

  • – Planet Xbox 360
    “….echoes the sensibilities of Blade Runner and Mass Effect…It’s dark, moody, and futuristic – a soundtrack to smoke-covered alleyways…”

  • – Machinima
    “An absolutely stellar sci-fi score from Michael McCann…”

  • – RPGFan.com
    “- a great musical score that is beautiful…”

  • – PSX Extreme
    “Haunting musical score…The quality of music cannot be understated…the environmental soundtrack adds much to the totality of the experience. The music in DX:HR is a perfect fit for the tone of the game.”

  • – Worthplaying
    “…an unusually strong atmospheric electric wall of sound, so reminiscent of Vangelis’ soundtrack to Blade Runner.”

  • – GameStar
    “[DX:HR] features a sci-fi score that perfectly captures the mood.”

  • – GameBoyz
    “Special mention must go to Michael McCann’s soundtrack, which is a clear highlight.”

  • – Videogamer
    “The music is fantastic… a great atmospheric score that would do well standing on its own.”

  • – TotalPlaystation
    “…the entire album had me entranced and nodding my head.”

  • – Metal Machine

∇  DX:HR SOUNDTRACK REVIEWS 2

    “…one of the best soundtracks I have ever heard in a game. McCann, has done for Human Revolution what Vangelis did for Blade Runner.”

  • – The Sixth Axis (UK)
    “….the soundtrack makes the world hum with energy.”

  • – GameTrailers
    “…the score to Human Revolution ranks among some of the best in recent times. “

  • – Cheat Code Central
    “Epic, spirited…a great mix between the legacy of the series and the possibilities in recent years of recruiting top talent for this kind of work in videogames.”

  • – 3D Juengos (Spain)
    “The synthesized soundtrack is understated but absolutely essential.”

  • – Joystiq
    “…a wonderfully atmospheric soundtrack…”

  • – Gamer Revolution
    “Outstanding musical accompaniment…original music orchestrated with dramatic flavor that highlights every moment of the action…”

  • – 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
    “The synthesized soundtrack is understated but absolutely essential.”

  • – Joystiq
    “…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] really makes the mood…it became so menacing that I felt genuinely afraid of what would be round the next corner.”

  • – KitGuru
    “…what an awesome soundtrack. It’s all a bit Vangelis!”

  • – ABC (Australia)
    “McCann’s soundtrack is fantastic”

  • – Xbox 360 Achivements
    “…especially the soundtrack – beautiful.”

  • – XGN (Germany)

∇  XCOM: EU SOUNDTRACK REVIEWS

    “The music, and the audio, plays such a huge part in setting the stage for the agonizing, cathartic battles to come. Kudos to Roland Rizzo, Michael McCann, and the rest of the team at Firaxis for embracing the scary sounds of the past in order to breed a new kind of fear.”

  • – Kotaku
    “Michael McCann’s futuristic score is exceptional.”

  • – Game Informer
    “[XCOM: EU’s] soundtrack is easily the best aspect of the game’s audio…the perfect soundtrack for a futuristic war with an unknown enemy.”

  • – Inside Gaming
    “XCOM’s main battle theme is an incredible piece of work, an urgent military drumbeat battering up and against heavy electronic waves. Five stars would listen again.”

  • – Eurogamer
    “The game’s score deserves a mention too, piping in atmospheric synth-lines as the XCOM troops feel their way through different terrains, and then driving percussion and pomp when battles finally take place.”

  • – The Guardian UK
    “…an epic, engrossing score.”

  • – Daily Mail UK

∇  SC:DA SOUNDTRACK REVIEWS

    “…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.”

  • – MS Xbox WORLD – 9 / 10
    [Overall impression of game] “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….”

  • – EuroGamer – 9/10
    “…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.”

  • – G4 – 4/5
    “…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.”

  • – Game Zone – 9.2 / 10
    “Oppressive atmosphere of tension.”

  • – Games Radar – 9/10
    “…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…”

  • – Extreme Gamer – 8.5 / 10
    “…Sound is also fantastic, with an often perfectly understated musical score….”

  • – Official XBOX 360 Magazine UK – 9/10
    “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.”

  • – GameSpot – 8.5/10
    “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.”

  • – USA Today – 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.“

  • – GameSpy – 9/10
    “….Great voice work. Great sound. And great music. The holy trinity of sound work in videogames….”

  • – Killer Betties – 8 / 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.

  • – NZ Gamer – 8.5/10
    “…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…”

  • – Gaming Target – 9.1 / 10
    “…the soundtrack is once again brilliant…”

  • – 3D Avenue – 8/10

∇  IT’S ALL GONE PETE TONG REVIEWS

    “Thumbs Up!”

  • – Roger Ebert
    “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

∇  AWARDS & NOMINATIONS


    2015 Clio Award Winner

  • • Category: ad / trailer (audio / visual)
  • • Proj: Deus Ex: Mankind Divided ‘Announce Trailer’
  • • Studios: Eidos Montreal, Goldtooth Creative
    2012 BAFTA Nomination

  • • Best Original Music [DX:HR]
    2012 Canadian Video Game Awards Nomination

  • • Best Original Music [DX:HR]
    2011 Hollywood Music Awards Nomination

  • • Best Original Score [DX:HR]
  • • Best Soundtrack Album [DX:HR]
    2011 Spike TV VGA Nomination

  • • Best Original Music [DX:HR]
    2011 IGN ‘Top 30 People Working In Games’
    2011 G4TV X-Play Awards Nomination

  • • Best Original Score [DX:HR]
    2011 CUE Awards 2011 Nominations

  • • Best Score in Film / Media [DX:HR]
  • • Most Memorable Theme (Icarus) [DX:HR]
  • • Best Score In Videogame [DX:HR]
  • • Breakout Composer [DX:HR]
    2011 SEMO Awards

  • • Best Original Score (Contemporary / Alternative)
    2008 Hollywood Music Awards

  • • Best TV Theme [Regenesis]
    2007 AIAS Awards Nomination

  • • Best Original Score [SC:DA]
    2007 G.A.N.G. Awards Nomination

  • • Best Original Music [SC:DA]
    2006 IGN “Best of 2006” Award

  • • Best Original Music [SC:DA – Xbox 360]
    2006 Genie Awards Nomination

  • • Best Sound / Sound Editing [IAGPT]
    2005 Leo Awards

  • • Best Sound / Sound Editing
    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

∇  DX:HR INTERVIEWS

Sumthing Else Music Works (2013)
The Comet (Aug-11)
GameSpot (Aug-11)
Film Score Monthly (Aug-11, Subscription only)
Play Magazine (Issue 205, Print Only)
BSO Spirit [Nov-11, Translated]
Cinema Blend (Sept-11)
Nerd Reactor (Sept-11)
Canadian Musician (Volume 33-#4)
OXM Brazil (Aug-2011, Print Only)
OXM UK (Aug-2011, Print Only)
Sony PlayStation Blog (April-11)
Level Magazine (June-11, Print, Translated – Czech)
• I Am Entertainment (April-11)

∇  INTERVIEW ARCHIVE

Jeux Video Interview (June-09 / French)
IGN Interview (Oct-06)
• Music 4 Games Interview (Oct-06)
• 360 Magazine UK (Issue 56 / Print)
• GameZone Interview (Nov-06)
• Play Magazine (Jan-07 / Print)
Convergence Magazine (June-07 / Print)
• Computer Music Magazine (June-07 / Print)

∇  ARTICLES