Album Description
Get lost with the soundtrack to the hottest show on television. The mystical, mesmerizing and beautiful original scores for every episode ofLost have played an important role from the very beginning. A soundtrack release from Lost has become the most requested title we have ever encountered. Finally, to celebrate the continued success and acclaim of this landmark television series we are pleased to at last offer this soundtrack for the show’s millions of devoted fans.
Get lost with the soundtrack to the hottest show on television. The mystical, mesmerizing and beautiful original scores for every episode ofLost have played an important role from the very beginning. A soundtrack release from Lost has become the most requested title we have ever encountered. Finally, to celebrate the continued success and acclaim of this landmark television series we are pleased to at last offer this soundtrack for the show’s millions of devoted fans.
About the Series:
From J.J. Abrams, the creator of Alias, comes the action-packed adventure that became a worldwide television event. Stranded on an island that holds many secrets, 48 people must band together if they hope to get home alive.
From J.J. Abrams, the creator of Alias, comes the action-packed adventure that became a worldwide television event. Stranded on an island that holds many secrets, 48 people must band together if they hope to get home alive.
Lost became an unprecedented blockbuster right out of the gate, with an audience of over 14 million people every week. The ratings of the second season have climbed even further, to over 17 million per week. Everyone has their favorite characters… Matthew Fox (Jack), Evangeline Lilly (Kate), Josh Holloway (Sawyer), Terry O’Quinn (Locke), Dominic Monaghan (Charlie), Jorge Garcia (Hurley), Emilie de Ravin (Claire), Naveen Andrews (Sayid), Maggie Grace (Shannon), Ian Somerhalder (Boone), Harold Perrineau, Jr. (Michael), Malcolm David Kelley (Walt), Kim Yun-jin (Sun) and Daniel Dae Kim (Jin).Amazon.com
Michael Giacchino is the rare composer who’s graduated from video games (including the Medal of Honorseries) to high-profile big-screen fare (The Incredibles). But the most important aspect of Giacchino’s career may well be his collaboration with writer-director-producer J.J. Abrams, for whom he’s scoredMission: Impossible III and the television hits Alias and Lost. The latter is a hybrid show–part mystery, part psychological drama, part science fiction–and thus requires a nimble composer who can switch moods quickly. Culled mostly in chronological order from the popular series’ first season, this CD shows how the score contributes mightily to Lost’s artistic success (Abrams himself composed the 16-second “Main Title.”) Giacchino’s signature move is an abrupt surge of low-throated trombones, which creates a deep-seated anxiety and raises the viewer’s heart rate without fail (check out the end of “The Eyeland” for a typical example). But he deftly varies orchestrations and ambiences throughout, equally at ease in pulse-pounding dramatics (“Getting Ethan,” “Run Away! Run Away!”) and quieter atmospherics (“Thinking Clairely,” “Booneral”). –Elisabeth Vincentelli
Michael Giacchino is the rare composer who’s graduated from video games (including the Medal of Honorseries) to high-profile big-screen fare (The Incredibles). But the most important aspect of Giacchino’s career may well be his collaboration with writer-director-producer J.J. Abrams, for whom he’s scoredMission: Impossible III and the television hits Alias and Lost. The latter is a hybrid show–part mystery, part psychological drama, part science fiction–and thus requires a nimble composer who can switch moods quickly. Culled mostly in chronological order from the popular series’ first season, this CD shows how the score contributes mightily to Lost’s artistic success (Abrams himself composed the 16-second “Main Title.”) Giacchino’s signature move is an abrupt surge of low-throated trombones, which creates a deep-seated anxiety and raises the viewer’s heart rate without fail (check out the end of “The Eyeland” for a typical example). But he deftly varies orchestrations and ambiences throughout, equally at ease in pulse-pounding dramatics (“Getting Ethan,” “Run Away! Run Away!”) and quieter atmospherics (“Thinking Clairely,” “Booneral”). –Elisabeth Vincentelli