"I usually have a pretty solid idea for temp on my films but on Layover I had absolutely no idea what to do. It was all over the place. Bill was starting with a completely blank canvas and he delivered a beautiful, evocative and emotional score. I have no doubt that the success of the film is largely derived from the emotional journey Bill created with his music."
- Joshua Caldwell - Director/Executive Producer
"When I heard Bill’s variety and depth of work I was impressed but when we met I was all in. Bill was an absolute joy to work with."
- Ross Clarke, Director of Dermaphoria
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"As a DJ and Sound track geek I spent a huge amount of time researching composers for Dermaphoria. I worked with Klaus Badelt on Skid Row my documentary and Jim Abbiss (Adele) previously to great effect but i knew that we needed something very different for Dermaphoria. When I heard Bill’s variety and depth of work I was impressed but when we met I was all in. Bill was an absolute joy to work with. Full of ideas but inclusive, fun and creative. The whole process of making Dermaphoria was fascinating but the time in Bill’s studio was particularly rewarding as he transformed the movie and lit up my eyes and ears with his beautiful score. Would I work with him again? Undoubtedly. He’s a genius and a great guy too - a fantastic experience working with him."
"The level of passion Bill put into this score far exceeded anything we could have expected and it shows. Watching the way that each of these cues were masterfully put together truly was a work of art.”
- Josh Mills and TJ Amato, directors of Brother's Keeper
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"I remember when Bill's samples were first sent over to us, as soon as we heard his music we knew he was our man.. We needed a beautiful score that could capture the essence of the story, using it as an emotional catalyst, stimulating each scene to it's fullest potential. If you close your eyes, losing the visual stimulation but still experience the story through the music, you know you've got a winning composition. We were very fortunate to have worked with Bill Brown, who has delivered a soundtrack above and beyond our expectations. During the initial spotting sessions we faced some challenges. The films' total run time is roughly two hours. We needed a score that would capture the mood, keep the audience involved and simultaneously increase the pace of the film. Brother's Keeper is an emotional film, filled with sequences of high drama and tragic loss. We needed to underscore the scenes of hope and levity by increasing their impact through music. The level of passion Bill put into this score far exceeded anything we could have expected and it shows. Watching the way that each of these cues were masterfully put together truly was a work of art. TJ and I both want to thank Bill for making this one of the highlights of our film making process."
"When we started working on Captain America Super Soldier we were using Bill’s WOLFENSTEIN music as temp. The temp music was so good we had to have Bill create the score for Super Soldier.. He pretty much nailed all the cues on the first submission. We were looking for an Epic theme based score and we couldn’t be happier with the results. Bill is a class act and a pleasure to work with. We would love to work with him again in the future. One of my favorite composers… period!"
- Alex MacFarlane - Audio Director - Next Level Games Inc.
"Combing surreal samples, a female voice, watery percussion and beautiful piano playing, Brown mines PROPHECY's despairing depths to achieve the kind of rustic, soaring somberness that Thomas Newman found within the walls of THE SHAWSHANK REDEMPTION and GREEN MILE- a symphonic, spiritual transcendence that once again shows Brown's music belying the darkest pits of humanity."
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www.filmmusicmag.com CD Review - Dark Prophecy "As a rising composer who keeps getting propelled into the heart of darkness with the likes of THE DEVIL'S TOMB, the videogame WOLFENSTEIN and his episodic scores for CSI: NY, it's almost amazing that Bill Brown's able to keep his melodic head up high given the suffocating evil he's often dealing with. It's also likely the media his music has atmospherically graced won't get more intriguing than the origins of DARK PROPHECY, a combo book / online series created by CSI's Anthony E. Zuiker, all of which deal with a detective's dogged pursuit of another of those fiendishly clever serial killers. Brown's score for the "cyber bridges" that link the printed pages and video adventures of Zuiker's "Level 26" series is intriguingly cohesive, with a listenability factor that's surprisingly high for music that plays such gruesome doings. Combing surreal samples, a female voice, watery percussion and beautiful piano playing, Brown mines PROPHECY's despairing depths to achieve the kind of rustic, soaring somberness that Thomas Newman found within the walls of THE SHAWSHANK REDEMPTION and GREEN MILE- a symphonic, spiritual transcendence that once again shows Brown's music belying the darkest pits of humanity."
The Devil's Tomb
"Terror is let out of the box most explicitly in Hallucinations, as percussive shards of and relentless, string-driven cadences stride viciously through dark, echoing corridors. Quiet harmonies of cello and choir and varying timbres give 'Do You Believe?' its chilling quietude, while Rumblings takes on more an attribute of stark thunder with cyclonic swirls of synths and strings, gruesome howls of horns, and soul-hammering pounding drums."
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www.buysoundtrax.com CD Review - The Devil's Tomb "Bill Brown, known for his prolific and high-intensity scores to video games like the Ghost Recon, Castle Wolfenstein, and Command & Conquer series and his music for five seasons of CSI: NY, has composed a dark and exciting orchestral score for Jason Connery's science fiction/action thriller The Devil's Tomb, starring Cuba Gooding Jr, Ray Winstone and Ron Perlman, about an elite group of soldiers on a covert mission to retrieve a scientist from an underground lab who encounter an ancient evil in the facility. The rousing score combines orchestral parts recorded in Prague, along with sampled choral elements, pounding rhythm programming, and atmospheric electronics. Released on CD and digitally by MovieScoreMedia, the score ripples with progressive atmospheres, beginning with a 4:26 overture that introduces Brown's primary musical elements. Shifting layers of orchestral sound are enhanced with sheets of synth tonality that drift hauntingly nearer to evoke a mysterious and compelling sonority. Sandstorm is more of a percussive action cue, staunch keyboard notation over electric guitars and driving percussion; you can almost feel the heat and stinging of the sand splitting the skin of your face and arms. After some rather standard percussive cues for the initial military mission music, the score really gets going when the ancient evil makes its wicked presence known, starting in Track 8. With its haunting textures, exuding reflections from massed choral and synth reverberations, and malevolent sonic mysterioso, What is That? instantly and excellently evokes the flavor of Goldsmith's Alien music, opening into an onrushing blackness charging hugely closer, Brown's clear toned growling synth tones piercing flesh and his heartbeaten drum cadences sounding out what may well be someone's final cardiac rhythms. Afterbirth fumes with massive intonations of chorus, while The Temple progresses steadily with layered textures and furtive movements into large shifting strata of heavy sound. Terror is let out of the box most explicitly in Hallucinations, as percussive shards of and relentless, string-driven cadences stride viciously through dark, echoing corridors. Quiet harmonies of cello and choir and varying timbres give Do You Believe? its chilling quietude, while Rumblings takes on more an attribute of stark thunder with cyclonic swirls of synths and strings, gruesome howls of horns, and soul-hammering pounding drums. You might not want to listen to this score alone at night. Return of the Father and God's Plan wax more eloquently with brooding and spiritual synth and string atmospheres as the story takes on a haunting metaphysical turn; in Incantation/Escape, disturbing whispers and creepy, scuttling electronica textures open into smooth-walled atmospheric chord progressions and finally a headlong flight of panic and hysteria driven by frantic drumming and revolving synth/string and a dazzling slow glissando of sound that rises to a feverous intensity and suddenly dissipates like black vapor. Resolution provides a warm sonority of relief and survival, as the dark horrors depart with the rising light of the theater auditorium. A potent and likable horror score with moments of fine expressiveness as well as sheer panic."
Captain America: Super Soldier
"The music is absolutely superb. Composer Bill Brown, whose extensive credits include many of the Tom Clancy games, really outdid himself with Captain America: Super Soldier. He created compositions that perfectly fit every scene of the game. I would even put his work on par with legendary composer John Williams." - Sean Engemann, CCC Contributing Writer
Return to Castle Wolfenstein
"Musically, Wolfenstein shines. A full, active symphonic score makes you feel like you are in the middle of a great action/suspense movie, and represents one of the better soundtracks I have heard in a first-person shooter." StratosGroup
"Return represents an advance in story line beyond Doom, but retains its rewards... There's a pulsing soundtrack..." USA TODAY
"...incredible music and sound effects give this game a solid experience. The music sounds like something straight out of a movie." (VideoGameRadio awarded Return to Castle Wolfenstein "2001 - Best Sound/Music in a Game") VideoGameRadio
"Once you hear the opening cinematic music, you're going to want to run out and try and find the music, I know I did. Unlike some of Bill's works, RTCW seems much darker and full of dissonance - within good reason! It features more of the newest music composed by Bill and once again, it is Bill composing his best!" ScoreCentral
Tom Clancy's "Ghost Recon"
"Bill Brown, the composer for Ghost Recon, was excited to play me some new music cues.. This sound just fits perfectly. A touch of Russian themed instruments mixed with sensations of traditional American military music, Bill has touched on some new standards in game music." Excerpt from Redstorm's Ghost Recon Designer Diary
"A soaring, almost operatic song leads you into the game, and the menu music is equally rousing... Engaging background music makes way to the tense, rich atmosphere of warfare. Top stuff." MadGamers
"I've always been a fan of Bill's action music. And with Ghost Recon, you get some of his best action material! There are times when the score blasts with repeated action, and then there are the more somber and heroic moments, where you just want to start singing your national anthem!" ScoreCentral
"The aura of an American war movie remains: with heart-stirring soundtrack..." DeviantPC
"Best of all, Bill Brown, the composer behind the Rainbow games, will be scoring the game." (Xbox Preview) IGN
"Between each "Ghost Recon" mission players are treated to a music score that wouldn't feel out of place if it were part of "Hunt for Red October," "Patriot Games" or "Clear and Present Danger" (not to mention of course "The Sum of All Fears"). Yes, the soundtrack is that good!" PSXNation
Clive Barker's "Undying"
"The music was very well-integrated into the game, successfully matching and enhancing the uncomfortable feel, helping to build the participant's tension at critical moments in the narrative. Intelligent sound woven into the fabric of a filmic genre." (Undying was nominated for the British Academy of Film and Television Arts 2001 Interactive Entertainment Award in the Music category) BAFTA
"The scintillating background music sounds as perfectly executed as that in a Hollywood horror movie and is a major contributor to the shivering goose bumps you experience the longer you play.. Some of the melodies are sufficiently memorable that I cannot get them out of my head long after a play session ends." Avault
"The music is, quite possibly, the best I've ever heard. Very celtic flavored and varied, you will never be bored. I played levels over for the sheer beauty of the score. If EA brings a soundtrack for this mother, it's got one seller." PC Game Review
"Clive Barker + Bill Brown = A match made in heaven. Was it just luck that the two of these people got together? And delivered not only just one of the most enjoyable and scary games of the year, but also one of the most enjoyable and scary scores of the year. The music in the trailer worked perfectly and equally, the music within the game works like a dream. Full orchestral sound and live chorus, and great synths along with it. Hands down, this is Bill's best work." ScoreCentral
Excerpt from Well Rounded Entertainment's Interview with
DreamWorks Brady Bell, producer of "Clive Barker's UNDYING":
WR: "How important is the soundtrack to the game?"
Brady Bell: "More important than normally, I think. More than any other genre, much of what makes horror effective is in the music. Steven Spielberg said sound and music make up more than half of communicating a story, greater even than what you're seeing..."
WR: "You plan to use Celtic-inspired spiritual tracks. Will those be synthetic or a live recording?"
Brady Bell: "Most of what we have planned is live recordings. We're fortunate to once again work with Bill Brown, an incredibly talented composer who writes for both film and games. Bill has a unique talent of working wonders with very little direction and the ability to create underscoring themes that never leave you." Well Rounded Entertainment
Michael Crichton's "TIMELINE"
"The music is outstanding. A fantastic orchestral score by Bill Brown has been integrated into the gameplay, and I've already copied the MP3s to my music folder for regular listening." GameSpy
"Timeline features one of Bill's most enjoyable themes, in my opinion. The theme is fully stated with strings with a very elegant sound. Lots of thematic and moving material can be found within the music to Timeline, which makes it one of my current favorites of Bill's." ScoreCentral
"The music was worthy of any adventure movie." Audyssey Magazine
"As a gamer, I found this game to be exactly what I hoped for. It's simple to play and very beautiful. I was transported back to 14th century France and played out a fantastic adventure. The game is scored just like a movie. It's fantastic! I can listen to the music from the game forever." BarnesAndNoble
Tom Clancy's "Rainbow Six"
"BEST MUSIC - PCXL 1998 ALL-STAR AWARDS: Tom Clancy's Rainbow Six. The epic soundtrack that nearly brings tears to TK-ers eyes is easily the most memorable score in all of gaming." PC Accelerator Magazine March 1999 issue
"The top-notch orchestral music score in Rainbow Six is probably one of the best examples of how well a soundtrack can accompany the atmosphere and action in a game." RogueSpear3dRetreat
"The music (and sounds) sweep the game up to a heart-pounding tension." GamersCentral
"The sound in this game is second to none, the musical scores are straight out of the movies and tremendously add to the feel of the game. I have always really dug classical musical scores from movies (like Dances With Wolves etc..) with their heart pounding dramatic overtones. The game is riddled with them and it really pumps you up and sucks you in." AGN
Tom Clancy's "Rogue Spear"
"Musical Score: 5 stars
Bill Brown, composer and music producer, should win an award for the work he's done here -- it's simply the best I've heard from any title. Like the John Williams of computer game scores, Brown has put together a collage of tracks you'll find yourself humming long after you've put Rogue Spear to rest. The musical score is artfully mastered and is sometimes powerful enough that it becomes the driving force in the immersive experience." Avault
"The themes are strong, the scoring is intricate, and the music is so compelling that you'll find yourself stalling in the menus just to hear the rest of the track." Game-Revolution
"The music is amazing; so good in fact that the music alone almost justifies the purchase of the game. The music fits the mood of the game perfectly, and would be just as good on the big screen as it is on your computer monitor." dth tech
"The music during the title screen and while a level is loading up is absolutely magnificent. It'll blow away any box-office music hands down. Brilliant." PC Game Review
"These two projects (Rainbow Six and Rogue Spear) are probably Bill's most memorable of projects. Seriously, these two scores simply just kick butt! It is debatable which Rainbow Six score will become your favorite, both are fine pieces of work. Both themes, are rich of texture and action." ScoreCentral
"The audio side of this title is absolutely fantastic and the quality will hit you as soon as the initial theme music kicks in, reminiscent of espionage/thriller movies." EAGB
Trespasser: The Lost World
"The quality of our music is outstanding. A composer named Bill Brown (out of Soundelux) has worked some serious magic. Spielberg himself commented on how impressive this relatively unknown composer puts music together." 3DSoundSurge Interview with Brady Bell of Dreamworks Interactive.
"...Surpassing that feeling, still, is Trespasser's wonderfully executed music. Wow. Perhaps you may remember the first time Hammond shows you a dinosaur in the original Jurassic Park. On came some very beautifully orchestrated music, embracing the mood of the movie and bringing smiles to those captivated by the moment. Trespasser does the same. The music is absolutely top-notch, and will either make you want to take a screen shot or, more likely, run like hell because you hear footsteps growing louder." Trespasser Central
"It's excellent orchestral music worthy of the silver screen." OGR
"...the first dinosaurs that Anne (voiced by Minnie Driver) spots are a pair of majestic Brachiosaurus near a watering hole. The music instantly plays a melody which denotes a sense of accomplishment and instills a sense of awe." Sharky Extreme