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As some of you may know, I’m a sucker for any spots with good soundtracks, and this is yet another example of that. Shown above is the latest commercial for Australian T-shirt company Bonds. It tries to capture the spirit of teenage angst, in part by following a group of teens on a road-trip but also through a deeper story involving the fragile nature of young love. One of the girls in the story hooks up with a boy throughout the trip, only to witness him together with another female road-warrior at the end. We then see her shrugging it off on the beach in the final scene. The music is a personal favorite of mine, it’s Weekend Wars by MGMT. If you like it I recommend you go check out their latest album (which features the song you just heard) called Oracular Spectacular.

The agency behind this commercial was The Campaign Palace, Sydney and it was conceptualized by Georgia Arnott and Jon Burden (Meredyth Judd was the Agency Producer).

Christopher Riggert from @radical.media was the Director along with Tim Hudson as the DP. Rob Galluzzo and Victoria Conners-Bell were the Executive Producer/Producers for the production company. Post-production was by The Lab, Sydney. Marcus Timpson was the Colorist and Stewart Reeves from Guillotine was the Editor. Simon Lister at Nylon Studios was the Sound Designer.

Once again the song used in this commercial was MGMTWeekend Wars

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Here’s a spot showing an interesting view on a modern-day Swiss Family Robinson, also known as the folks who live in trees so that they can’t be cut down by big business.

Joanna Newsom’s chilling song Clam, Crab, Cockie, Cowrie plays as the soundtrack for this piece as we’re shown a group of tree-dwellers being ripped down from their make-shift homes and arrested by the police.

The commercial goes on to say,

We recognize how people value things differently.

So what we learn from one customer helps us better serve another.

Interesting creative for a bank commercial…what do you think (answer that yourself before you read what has been said over at Adrants).

Michael Ashley and Dinesh Kapoor were the Creatives from JWT for this piece along with Dean Baker as Agency Producer (Axel Chaldecott was the CD). Vince Squibb from Gorgeous Enterprises was the Director and featured Alwin Kuchler as the Director of Photography (Spencer Dodd was the Producer). Treehouse North (fitting) was the service company and Chris Oddy was the Production Designer.

Paul Watts from The Quarry was the Editor with Telecine by Paul Harrison from The Mill. Jay Bandlish was the FLame Artist and sound was by Munzie at Grand Central.

Once again the music used in this commercial was Joanna NewsomClam, Crab, Cockie, Cowrie.

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Here’s the latest commercial for the upcoming Mercenaries 2 video game. The music selection is uniquely awesome. We’re so use to seeing combat games being dressed up with special effects and a dark soundtrack that this one immediately stands out….High School Musical style. Also, THIS IS THE DIRECTORS CUT! Enjoy! (Original “on-air” version is posted below)

Draft/FCB, San Francisco was the agency responsible for this spot with Dan Watson as the Senior Broadcast Producer.

The folks over at Shilo directed this spot with co-founder Jose Gomez as Creative Director. Gomez, along with Curtis Doss, was also Lead Designer. Nate Davies, Eugene Gauran Ed Laag, Jon Lorenz and Curtis were the 2D Animators. Tamir Sapir, Cody Smith, Blake Guest and George Longo did all the 3D Modeling. Blake Guest, Trentity DeWitt, Nate Davies and George Longo also did all the 3D Animation. Kiel Figgins, Blake Guest, Jorma Auburn and Bren Wilson did the Character Animation.

Santino Sladavic and Jake Hibler were the Executive Producer/Producer team for this piece with Dara Norris as the Sound Producer for Wojahn Bros Music. Scott and Rojer Wojahn were the composers for the on-air version of this cheery-yet-badass soundtrack. You may have noticed that the music used in the directors cut is different from what was used in the “on-air” version, it’s because the directors cut audio was created by a team from Beacon Street Studios. Special arrangements for that song’s use were made between Shilo and Beacon Street for that release.

Here’s the version that made it to broadcast -
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