Star Trek, as a franchise, has had an incredible history with music. Going back as far back as the original series, music has been a key element in the versatile series. La-La Land Records has put together a limited edition set of the some of the best music written for the classic Star Trek: The Next Generation, bringing more of the seminal music to the general public.

Star Trek: The Next Generation featured music by the likes of Dennis McCarthy, Don Davis, John Debney and Jay Chattaway, and represented some of the best TV music to come off late ’80s, early 90′s TV. The limited edition set features over three hours of previously unreleased music, and will be limited to 3000 units. The album will be sold exclusively at this year’s Comic-Con and will later become available through inline outlets starting August 2nd.

This release is another in a long line of interesting and exciting releases from La-La Land records who have consistently put together quality score releases. Hopefully the release of classic Star Trek TV music will sell well enough to encourage future releases of some of the later series. Deep Space Nine especially has some phenomenal music that few people seem to remember these days.

Big summer super-hero movie scores carry with them a certain set of expectations. The broadness of the source material opens the doors for large and exciting music that should play with the imagination and enhance the very feel of the movie. Of course with great expectation comes great pressure and not all blockbuster scores can resonate beyond the background of the scene. The X-Men franchise has always been one to deliver the goods on the soundtrack, and the newest installment continues that trend nicely.

The franchise has yet to have a single recurring composer, and the new film doesn’t break tradition with Henry Jackman stepping up to the podium for this round. Jackman has not done much as yet in his career, but has written music with Hans Zimmer on some high profile projects and has two other scores later this year. As a relative unknown he is a wild card, it is hard to know what to expect.

Well, we now know that we should be expecting great things from Mr. Jackman. The score for X-Men: First Class is a solid and often rousing musical experience. One that stands shoulder to shoulder with most super-hero scores of the past decade. It might lack the bombast of Spider-Man or the sheer scope of X-Men 3, but it packs a serious punch and excels in all the right places.

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Super is an odd film, it is hard to take it out of context from the other recent films that it resembles. Both Kick-Ass and Defendor came out last year, and they all tackled very similar subject matter. From a film perspective Super is late to the party, and doesn’t really do anything that the other films didn’t do already. However, there is one area where the film stands out as very much the superior, it’s soundtrack!

Like the previous two films mentioned the soundtrack is populated with quirky tracks that epitomize the title character and their awkward journey through super-heroism. Super excels here with music that perfectly captures the tone of the movie and flows from one track to another with relative ease, which is a tall task when you are combining such different types of music. The selected source music tracks are generally fun to listen to and the score elements are universally excellent with Tyler Bates bringing some truly epic tracks that frankly are way better than the film deserves.

My first listen to the album was before I saw film which usually makes it harder to get wrapped up in the soundtrack because you have no visual base from which to tie to the movie. In that raw, first impression I was already taken with how the music promised a lighter tone with some several dark undertones. The track titles referenced god and religion several times and when the soundtrack needed to be epic, it delivered in spades. I would easily say that on a sound track level it was everything an independent superhero film needed it’s soundtrack to be.

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There is a fantastic new trend in the world of film music, more and more main stream artists are bringing their talents to feature films.  These artists are crafting music that serves to make the films better and stand on their own. Last year two of the best scores were written by Trent Reznor for The Social Network and Daft Punk for Tron Legacy, the line between film composing and main stream music is blending, and we all win for that.

The latest established act to venture into the cinematic music world is the Chemical Brothers. The long standing electronica duo lend their considerable expertise to the film Hanna, an action adventure movie that is high on adrenaline, and they deliver a score to match.

The music sounds very much like The Chemical Brothers would make. That is to say that we don’t get an orchestral hybrid, or their best impressions of John Williams. What we do get is music that pumps and flows with all the frenzy and furry expected from a standard Chemical Brothers album.

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