FALCO (Original Television Soundtrack) Winner of Best Prime Time Show International Emmy Award

FALCO (Original Television Soundtrack)
Director Ernesto Contreras, Julian de Tavira
Music composed by Andres Sanchez Maher & Gus Reyes
Label Plaza Mayor Company Ltd

Winner of Best Prime Time Show International Emmy Award

Les histoires s’enchainent comme la vie peut passer en images et en couleurs. C’est du roman, c’est du déchirement, c’est de la réconciliation… enfin la vie quoi. Falco est un de ces personnages qui aura perdu une partie et sa vie et aura gagné l’autre partie. Mais gagner après avoir tant perdu, cela n’est pas si évident.

Musique angoissante, musique automnale, musique des fonds de couloir sombre pour exploser au grand jour.

Belle explosion puisque la Tv série Falco vient de gagner les Emmy Awards dans la catégorie des Tv séries.

C’est une très belle récompense, une reconnaissance internationale et un encouragement pour toute l’équipe de production : des réalisateurs aux acteurs et aux acteurs de la musique : Andres Sanchez Maher et son complice Gus Reyes.

Signature d’un très beau score, aux vraies sonorités, aux images tapies dans les notes de velours ou notes assassines. Un score digne d’une grande série. On aime, on aimera.

Hellen Page

It’s 1994 in Mexico City, and Alejandro Falco is a good policeman with a promising future and a young family. However, his perfect world is shattered when he is shot by a mysterious attacker in the line of duty. With a bullet lodged in his head, Falco falls into a coma – for the next 24 years. He awakes in 2018 with no memory of what happened, and to a world he doesn’t recognize – including the internet and mobile phones. But far more devastating is the news that his wife has remarried, and the baby daughter he once knew is now a grown woman.


FALCO (Original Television Soundtrack)

  • 01. Mi nombre es Falco – My name is Falco
  • 02. Falco Main Title
  • 03. Crimen Inesperado – Unexpected Crime
  • 04. Familia – Family
  • 05. El Testigo – The Witness
  • 06. En un Instante – In a Flash
  • 07. La Recuperación – The Recovery
  • 08. Volverte a ver – To see you Again
  • 09. Paula – Paula
  • 10. Un Nuevo Mundo – A New Word
  • 11. La Fiesta en Paz – The Party in Peace
  • 12. Bienvenido – Welcome Back
  • 13. Donde Pasa el Tren – Where the Train goes by
  • 14. Beisbol – Baseball
  • 15. La Casa sin Mi – A House Without Me
  • 16. Mi Padre sin Mi – A Father Without Me
  • 17. Preocupada – Worried
  • 18. Ni le Muevan – Don’t even try
  • 19. Cianuro – Cyanide
  • 20. Defenderte – Defend Yourself
  • 21. Anhelo de Otro Tiempo – Longing for Another Time
  • 22. Energia – Energy
  • 23. Respuestas Divinas – Divine Answers
  • 24. El Viaje – The Journey
  • 25. Adios Amigo – Goodbye Friend
  • 26. Las Llaves – The Keys
  • 27. Estaba Armada – She was Armed
  • 28. Sacrificios – Sacrifices
  • 29. Zapatos con Ruedas – Shoes on Wheels
  • 30. Falco Main Title (Unreleased Version)


Greatest Managers series profiles the best artist managers in the global business. This time, we speak to Regan Lethbridge and David Morgan of Lemon Tree Music – the co-managers of Tash Sultana and Tones & I, whose Dance Monkey is dominating worldwide streaming charts. The World’s Greatest Managers is supported by Centtrip Music, a specialist in intelligent treasury, payments and foreign exchange – created with the music industry and its needs in mind.

Next time you’re in Australia, maybe don’t take an Uber.

Try walking. And keep listening. You never know.

Tones & I, the world’s fastest-rising artist behind what might be the song of the year, Dance Monkey, was discovered (by Jackson Walkden-Brown), in Byron Bay, busking.

She is now co-managed (alongside Walkden-Brown) by Regan Lethbridge and David Morgan of Melbourne-based Lemon Tree Music Management, who first enjoyed global success with Tash Sultana, who was discovered, busking.

The duo’s management career began when they signed alt-folk duo, Pierce Brothers, who had been discovered, busking.

Before that, Lethbridge and Morgan (pictured) had been in a band together, Bonjah. It was the vehicle that took the native New Zealanders across to Oz where they managed to avoid proper jobs by… yeah, definitely cancel that Uber.

A lot of new music is often said to come from the streets. In the case of Lethbridge, Morgan and their most successful artists, they can literally name those streets.

Right now though, they probably spend more time in the air than on the ground, criss-crossing the globe as it surrenders, territory-by-territory to the talent of Tones & I and the insane appeal of Dance Monkey.

So far, the track has topped the charts in 20 countries (and counting), including the UK, where, having racked up eight weeks in a row at the summit, it is now the longest-running No. 1 ever by an Australian artist – and, almost unbelievably, closing in on the 10 week record for a solo female artist established in 1992/93 by Whitney Houston’s gravity defying I Will Always Love You.

In Tones’ homeland of Australia, meanwhile, Dance Monkey recently ticked off a 17th week at the top (the previous best run was 15 in a row by Ed Sheeran’s Shape of You). Globally, on Spotify, it has more than 560m streams, it remains No.1 on the service’s worldwide chart, and it’s consistently doing over 6m streams a day.

The US is the last major territory to fall, and, while it probably can’t be described as hitting the canvas just yet, it’s wobbling, for sure: Dance Monkey this week climbed inside the Top 20 (at No.19) of the Billboard Hot 100 for the first time.

MBW grabbed an hour from Lethbridge and Morgan’s frankly terrifying schedule to discover the roots of Lemon Tree – which launched its own JV label with Sony Music last year – and get the backstory and future plans for the globe-straddling Tones & I…

Regan: It just ran its natural course, we all grew up a bit – and we’re all still best friends. That was when Dave and I discussed seriously launching Lemon Tree, in 2013.

Our first signing was the Pierce Brothers, who were local Melbourne guys. We just laid out a blueprint and got to work. It helps that buskers have got this mentality where it’s do or die; they’re super focused on honing their craft and playing for people. They just seem to want it that little bit more.

Regan: Pat Pierce, one of the Pierce brothers, kept talking about this busker that pulls really great crowds. Tash came in for a meeting, and I started booking live dates in 2014; I’m still the booking agent in Australia, New Zealand and Asia.

And then, after maybe 18 months or so, one of Tash’s videos went viral on Facebook and I said, ‘Would you consider LTM managing you?’ It was a month of back and forth, then we signed on the dotted line and away we went.

We straight off went about going global with Tash and we’re really proud of all the work that we’ve done. Tash is truly incredible and still blows my mind to this day. We sold out Red Rocks recently, with co-manager for America, Jaddan Commerford, and that was just absolutely unbelievable, quite an emotional experience.


The Alex Hiele Paris Jazz Combo Album “Once Upon A Summertime”

The Alex Hiele Paris Jazz Combo
Album “Once Upon A Summertime”
A Michel Legrand Jazz Tribute…
Cd Digital & Cd Physical
Label Plaza Mayor Company Ltd
The Orchard

Un veloute d’archer de contrebasse, un mélo de swing, une passion du jazz et les Moulins de mon cœur peuvent tourner et tourner. Difficile exercice de s’attaquer à un Tribute de Michel Legrand. Exercice de patience, de tendresse et d’un amour pour les choses bien faites. Alex Hiele est un de ces perfectionniste. Maniant le sabre et l’épée, le courage et l’audace pour faire chanter les Demoiselles de Rochefort en un fringuant swing. Michel Legrand nous a diverti de tellement de mélodies et de formules magiques alliant l’image et le son que ces musiques sont intimement liées à notre vie passée et présente. C’est un festin d’images colorées, de tout ce que le cinéma a pu donner. C’est un refrain qui s’émerveille de choses simples et charmantes. C’est un recoin dans nos vies. Tous ces regards qui voulaient s’en aller et qui ont été retenus comme les vagues déferlantes. Car on s’enchante de passions et de fièvres, on s’enivre de toujours et d’ailleurs. Merci a Alex Hiele de nous avoir donner cette chance de retrouver un Michel Legrand facétieux et heureux. Nous partagerons ce bonheur encore et encore.
Hellen Page

Alexandre Hiele
Leader arrangeur et contrebassiste du groupe The Alex Hiele Paris Jazz Combo
Alexandre Hiele est ne a Paris et a participe a la scene du Jazz Parisien des annees 90/2000
Avec Mina Agossi, Mederic Colignon, Le Collectif Slang, Bruno Angelini et egalement des musiciens americains, Mark Turner, Georges Brown, Ronnie Paterson, Ted Curson et egalement Russe tel que Alexei Aigui et japonais ,Ichiro Onoe ,Il frequente regulierement les Jam sessions de l’epoque, tel que ,Le Studio des Islettes ,Les Fallaises, Le caveau des oubliettes, Le Petit Opportin ,et joue dans les clubs parisiens regulierement, Sunset, Duc Des Lombards, New Morning, Franc Pineau, les 7 Lezards, puis tourne en Europe, aux Etats Unis et en Afrique .En 2005, il Emigre Aux Etats Unis et a Philadelphie ,Il recommence sa carrière a zéro et joue dans les clubs de Philadelphie et de New York en tant que side man.il a maintenant son propre groupe intitule The Alex Hiele Paris Jazz Combo et viens d’ecrire des arrangement sur la musique de Cole Porter sur cd qui s’appelle I LOVE PARIS.
Son groupe se produit regulierement dans les clubs et centre culturels de Philadelphie
et de sa region

Legrand Project

  1. La chanson des jumelles
  2. I will wait for you
  3. Once upon a summertime
  4. Between yesterday and tomorrow
  5. Ask yourself why
  6. One at a time
  7. The summer knows
  8. What are you doing the rest of your life
  9. Whatcha what happens


Scooter Braun, painted as the villain of the piece by Taylor Swift in her ongoing complaints about the ownership of her masters, has spoken out.

Braun, manager of the likes of Justin Bieber, J Balvin and Ariana Grande, has just posted a lengthy open letter on social media, directly addressed to Swift.

In it, he reveals that, following the release of Swift’s own open letter last week concerning her performance on the American Music Awards, “there have been numerous death threats” directed at Braun’s family.

Swift claimed in that letter that Big Machine and Braun – whose Ithaca Holdings acquired the music company for $300m earlier this year – were blocking her from performing her old hits at the AMAs on Sunday (November 24) due to a legal re-recording restriction.

That led to confusion in some quarters, as Braun and Big Machine only own the recorded master of these songs, rather than the publishing rights. However, some have observed that, should the AMAs subsequently distribute the live recording of Swift’s performance on digital platforms, it could be argued that a new master had been made commercially available.

According to Big Machine, this situation has since been resolved, with Swift clear to perform her back catalog on the show.

In his new letter, Braun says: “As the world now knows you can and should perform any song you would like at the AMAs. I have never and would never say otherwise. You do not need anyone’s permission to do so legally but I am stating it here clearly and publicly so there is no more debate or confusion.”

He also calls on Swift and her team “to come together [with Braun] and try to find a resolution”.

You can read his letter in full below.

Since your public statement last week there have been numerous death threats directed at my family. This morning I spoke out publicly for the first time saying I wouldn’t participate in a social media war. However I came home tonight to find my wife had received a phone call threatening the safety of our children as well as other threats seen above. I won’t go in to the details of this past week. I have been at a loss. Thinking of my wife and children, my team and their families, I have gone through a range of emotions on how to deal with this. I write this now only after a deep breathe and much reflection. I am certain there is no situation ever worth jeopardizing anyone’s safety.

I assume this was not your intention but it is important that you understand that your words carry a tremendous amount of weight and that your message can be interpreted by some in different ways. While disappointed that you have remained silent after being notified by your attorney 4 days ago of these ongoing threats, I’m still hopeful we can fix this.

We are living in a time of pointless violence and as a husband and father I am concerned.

This is a world filled with toxic division where people express their opinions over social media instead of having conversations in person. I want no part in that. To be frank I was shocked and disheartened to hear that my presence in the Big Machine deal caused you so much pain as the handful of times we have actually met I have always remembered them to be pleasant and respectful. Knowing what I know now all I have wanted to do is rectify the situation. I’m open to ALL possibilities. My attempts and calls to have an open discussion with you over the last 6 months have all been rejected. While some on your team and many of our mutual friends have tried to get you to the table, all have had no luck. It almost feels as if you have no interest in ever resolving the conflict. At this point with safety becoming a concern I have no choice other than to publicly ask for us to come together and try to find a resolution. I have tried repeatedly through your representatives to achieve a solution but unfortunately here we are. This game of telephone isn’t working.

While I am frustrated with your accusations and respectfully disagree with many of your statements, it is important that I am clear – no artist should ever feel cornered or bullied. I have spent my entire career in service of creatives and artists, never the other way around.

As the world now knows you can and should perform any song you would like at the AMAs. I have never and would never say otherwise. You do not need anyone’s permission to do so legally but I am stating it here clearly and publicly so there is no more debate or confusion.

Moving forward I would like to find a resolution. I will make myself available whenever works for you. Many have told me that a meeting will never happen as this is not about truth or resolution but instead a narrative for you. I am hopeful that is not the case. I’m right here, ready to speak directly and respectfully. But if you would prefer to make large public statements while refusing to work towards resolving things amicably then I just pray that nobody gets seriously hurt in the process. I continue to wish you the best and hope we can resolve this.


PARADISE WAR: The Story of Bruno Manser (Original Motion Picture Soundtrack)

PARADISE WAR: The Story of Bruno Manser
(Original Motion Picture Soundtrack)
Director Niklaus Hilber
Music composed by Gabriel Yared
Label Plaza Mayor Company Ltd
Distribution Sergent Major Company Ltd – The Orchard

La fluidité des grands maitres. Le geste précis et toujours un petit air qui revient a la source, a la mémoire. Gabriel Yared est un de ces maitre de musique. Les compositeurs français ont mis en mémoire et en action quantité de films, qui sans les musiques, ritournelles, ne seraient pas ce qu’ils sont. Oui les compositeurs français sont passes des experts dans cette mémoire musicale. Oui Gabriel Yared est le parfait exemple d’une mélodie, d’un mouvement et d’une suite d’images. On pourrait croire a des orchestres Philharmonique, Symphonique, lourd, difficile a gérer ; Il n’en est rien. La simplicité, rien que la simplicité mais la précision et l’horizon devant soi. Le score de Paradise War, va s’inscrire dans les records de Gabriel Yared et certainement dans les records des sorties en salles de ce film riche et percutant. Image sublimes, histoires vraies et la conscience qui s’éveillent aujourd’hui avant demain et les lendemains.
Il y a une partition, il y a un vertige d’image… d’un grand film a une grande musique, une alchimie s’est créée. Un vent d’espoir et un temp de douleur qui vont se transformer en une formidable aventure mélodique.
Ecouter et regarder ensuite ou avant ou après… Mais n’oubliez pas vous avez un grand score d’un des plus grands compositeurs français : Gabriel Yared.
Hellen Page

1984: Searching for an experience that goes deeper than the superficiality of modern civilization, Bruno Manser travels into the jungles of Borneo and finds it with the nomadic Penan tribe. It is an encounter that changes his life forever. When the existence of the Penan is threatened by relentless deforestation, Manser takes up the fight against logging with a courage and determination that makes him one of the most renowned and credible environmentalists of his times. Eventually, it costs in him everything. Based on a true story.

Gabriel Yared Note

When Niklaus sent me a short 15-minute teaser of his film, I was immediately struck by the beauty and majesty of the images, and inspired by the authenticity of the tribes and the lead actor. I dived into this project straight away, putting all my energy and consciousness into searching for the right music. I thought it was important for me not just to “collaborate”, but to bring all my skills to help defend the film, the tribes, and the forests. Niklaus made so much space for the music, and allowed me the freedom to express the spirit of the forests, and the emotions of the Penan through my composition.

Although we have almost lost these tribes and the forests, we have gained a truly remarkable film, which I hope will make audiences around the world understand and wake up to these important environmental issues. I feel honored to have been a part of this journey, and to have had the wonderful opportunity to write the most beautiful themes I could.



Electronic music icon Jean-Michel Jarre has launched his latest project, EōN: a music app which produces ‘infinite, ever-evolving music’, accompanied by a constant progression of organic visuals.

Using original musical elements composed by Jarre specifically for the project, the app creates a never-repeating and unique musical experience every time.

Priced at $8.99 / €9.99 / £8.99, the iOS app will be updated regularly with new features and will also be available to other platforms, including Android, in the near future.

The press release announcing EōN’s launch at Web Summit in Lisbon, Portugal today November 7) describes the app as ‘a never-ending album with a rich variety of tempo, tones, and rhythms’.

Upon completing his compositions for the app, Jarre approached SONY CSL’s researcher, Alexis André, to bring the music to life visually by creating intricate graphics.

The encoding and final algorithm was delivered by Alexis Zbik and Vianney Apreleff from French music tech company BLEASS who, with Jarre’s artistic direction, defined the rules of the app and how it orchestrates the music.

EōN produces an individual piece of art for every user. Users will be able to listen to music generated by EōN both online and offline as the algorithm and audio engine are built directly into the app.

Jarre also recently entered into a partnership with TheWaveVR to allow users to experience his latest album, Equinoxe Infinity, in virtual reality.

Jarre said “I named this project EōN as it best defines exactly what it is – an infinite musical and visual creation. Personally, I truly feel that EōN is one of my most exciting creative projects since my debut Oxygene.

“EōN is a never-ending, never repetitive, organic art-piece that will live and grow forever in everyone’s own singular space-time continuum, at the tip of their finger.”

SONY CSL’s Alexis André, added: “An audio-visual journey that transcends time… I could not think of a better challenge, and it’s been a priceless experience to bring the sounds of Jean-Michel Jarre to the screen.”

BLEASS co-founder Vianney Apreleff said: “EōN revolutionises the sheer concept of “recorded” music as we have always known it by immersing the listener in a timeless sonic (and visual) experience which has no start nor finishing note.

“It’s an immense honour for BLEASS and myself to be part of this new artform envisioned by Jean-Michel Jarre.

L’UOMO DEL LABIRINTO / INTO THE LABYRINTH (Original Motion Picture Soundtrack)

L’uomo del Labirinto / Into The Labyrinth
(Original Motion Picture Soundtrack)
Director Donato Carrisi
Cast Dustin Hoffman, Toni Servillo…
Music Composed, Orchestrated & Conducted by Vito Lo Re
Orchestra: Bulgarian National Radio Symphony Orchestra
Label Plaza Mayor Company Ltd
Distribution Sergent Major Company Ltd – The Orchard

Les plus belles pages d’écritures s’écrivent dans les tourments et les cheminements de la mémoire. Tourment du quotidien qui tente de se faire place aux lumières des regards présents. Mémoire qui vacille et qui chemine dans des décor de carton pates et des miroirs de la félicite. Vito Lo Re a écrit et dirige sa musique au travers des violons du Bulgarian Radio National Orchestra. Son écriture suit le chemin des caméras de Donato Carrisi qui entre et polar et couloir sombre dépeint des caractères. La baguette de Vito Lo Re s’est attarde sur le symphonique des situations, sur la mélodie de la vie. Une baguette de chef d’orchestre qui dirige quarante à soixante musiciens dans la solitude du créateur. La fausse note ne pleut être ici ou là, la fausse partition serait dans le regard du spectateur. Déployer du talent pour cultiver le mystère et le partage. Déjouer le temps pour fondre en quelques mesures la synthèse musicale d’une passion. Chef d’orchestre et chef de musique. C’est ainsi que je nommerais le travail immense de Vito Lo Re. Un regard et une tendresse a la mesure du livret d’image de Donto Carrisi. Bravo Maestro.
Hellen Page

The film tells the sotry of Samanta (Valentina Belle) who’s abducted on the way to school by a giant rabbit. Fifteen years later, she’s in hospital, in shock but alive, with Doctor Green beside her trying to help her remember. Together, they negotiate Samantha’s memories of the labyrinth, an underground prison, apparently with no way out, in which someone forced the young woman to play games and solve riddles and puzzles, rewarding her successes and punishing her failures. Also eager to sole the mystery is Bruno Genko, a private investigator with a surprinsing talent. He doesn’t have much longer left to live and, as such, Samatha’s could be the last case Bruno work on…

       Each soundtrack has it’s own concept and from that notion the music attempts to express the visual and aesthetic idea of the director. The more the director is a perfectionist, the more the work of the composer becomes extremely challenging and yet satisfying as well. Particularly in thrillers, there are several composers whose influence is undeniable: Bernard Hermann, Jerry Goldsmith, James Newton-Howard, Howard Shore and John Ottman, among others. This is the musical world I moved into while never forgetting a typical Italian cantabile that evokes strong themes able to inextricably link to the movie as only skin could do.

         I used several synthesizers together with the orchestra, particularly to draw out the mystery of the labyrinth. The labyrinth is cold, wet and frightening. Electronic sounds are perfect to express these features. But when we need to convey not a situation but a character, there is still nothing better than the dear, old orchestra. No sample can do the same job as 75 people breathing and playing together. Even if it could be technically more perfect, it will always miss the soul. And that’s definitely the composer’s job: touching the soul. Only the audience and time will reveal if we have been able to achieve this goal.

                                                                                Vito Lo Re