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Featured Interview (20 minutes audio) - scorenotes.com - Dececmber 2009
Featured Interview (40 minutes audio) - nontourage.com
Featured Interview (Career) - soundtrack.com
Featured Interview (Vulgar) - Film Score Monthly
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Career
• Ryan Shore is one of the last year’s most exciting discoveries. He has proven himself to be a most versatile and exciting talent. When you realise that Shore is first and foremost a dedicated jazz musician and composer - with great talents at both – you get the sense that he is just an absolute all rounder and will be able to turn his hand to anything. Jack Brooks: Monster Slayer and Shadows alone say so much, with the more intimate vibes of Numb, Kettle of Fish and Coney Island Baby, not to mention his presence in the Streep/Thurman rom-com Prime only increasing the scope and variety of the early part of what is likely to be a very fruitful career in film music. (MICHAEL BEEK, ON THE DESK)
Rex Steele: Nazi Smasher and Other Film Scores by Ryan Shore
• I’m left in little doubt that Ryan Shore is one of the most talented young composers on the scene today. While he remains a busy boy, he should surely be in line for a major motion picture score one of these days. If not, I say why not as the music showcased here is itself in a different league to many of the original scores for full length films being produced at the moment. (MUSICFROMTHEMOVIES.COM)
• Shore has seriously got what it takes. I was already pleased with Jack Brooks: Monster Slayer of Ryan Shore, but it didn't give me a full, honest and clear picture as to what Ryan Shore is now fully capable off. Luckily I've gotten this picture now. This series of short scores and selections provide us with music that's structured, developed and emotional in all boundaries. Whether heroic, emotional or comical, Shore is providing an original and thematic voice that can only lead him to something bigger, something better. Let's hope so for the future of film music that this happens one day soon. (MAINTITLES.NET)
• Shore proves, once again, that he is one of the most original and finest young composers working in the industry today.
(REVIEWGRAVEYARD.COM)
• This is a really fine collection of film music which serves as a splendid showcase for Ryan Shore's work. Named one of the "Most Enjoyable New Score Recordings of the Year". (SCREEN SOUNDS)
Jack Brooks: Monster Slayer
• Every year I catch myself midstream while strains of Elfman-esque cynicism toward film music and pessimistic tirades race through my unconscious brain. Am I really turning into a world-weary old curmudgeon who can’t hear the music through the scores? Am I turning into that guy? Then a score like Jack Brooks: Monster Slayer comes along and I think, “There! Was that so damn hard!?” Ryan Shore’s rousing portrayal of classic monster movie music is the perfect prescription for any film music aficionado mired in the swamps of banality. With each meticulously scored measure, Shore proves that film scoring remains a craft built upon the fundamentals of music composition. Whether it’s through the color (and clarity) of his orchestrations, the complexity of the harmonic language, or the searing lusciousness of his melodic phrases, the music contains a profound richness spurred by conventional and aleatoric orchestral textures. (AIN'T IT COOL NEWS - TOP 10 BEST SCORES OF 2008)
• One of the top soundtracks of 2008. An awesomely rampaging orchestral sound from Ryan Shore, whose soundtrack evokes everything from Zimmer-esque action to 1950’s monster-on-the-loose scores. (IFMAGAZINE.COM)
• Ryan Shore’s fun score recalled some of Danny Elfman’s better music and was a great fit for the film. (JOBLO.COM)
Articles of War
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Ryan Shore has raised the bar for himself with this wonderfully lush Americana score. It is safe to say that Ryan has amazing abilities in this genre especially, much in the likeness of the legendary maestro, John Williams. I have carefully thought out this comparison before making such a bold statement but it is my honor to say that Ryan has refined his style, and he is well on his way to being a household name. (INSIDE FILM MUSIC)
Shadows
• Another fantastic album of beautifully composed music from a composer who is going from strength to strength. Watch out for Shore, it's only a matter of time before he becomes a huge name in the industry. (REVIEW GRAVEYARD)
• Ryan Shore more than proves he’s got the chops for a sophisticated, psychological thriller- even one from Macedonia. His Shadows shows there’s a universal, musical language to conveying haunted characters, from creepy samples and a ghostly female voice to spine-chillingly beautiful themes, the kind of melodies that are all about achieving a personal, and spiritual transcendence as The Light finally comes a calling. It’s a hip way of hearing the age-old sound of a ghost story, a score whose creativity never says die. (iF MAGAZINE)
• Shore has provided a serious orchestral score... mournful and tense... with Shore's use of strings at times reminding of the late great Bernard Herrmann. (SCREEN SOUNDS)
• Ryan Shore has composed an atmospheric orchestral score that provides a dark and restrained emotional accompaniment to the film's story. A very, very nice score. (BUYSOUNDTRAX.COM)
Cavin Fever 2
• The soundtrack is terrific (something even Eli Roth reportedly claimed). (BLOODY DISGUSTING)
Offspring
• The evocative and sparse score, by Ryan Shore, was absolutely stunning and really made the hair on the back of my neck stand on end. If anything in the film created a foreboding atmosphere, it was Shore’s score. (FATALLY-YOURS.COM)
Kettle of Fish
• One of the most pleasant surprises of this anthology album of three Ryan Shore soundtracks (Numb, Kettle of Fish, Coney Island Baby) is discovering Shore's dual skills as a composer and musician – namely a fine jazz saxophonist. (MARK R. HASSEN, KQEK.COM)
• Shore simply shines on his sax. It definitely is a must for any jazz fan given Shore’s marvellous source contributions to Kettle of Fish. I can’t praise it enough! (MUSICFROMTHEMOVIES.COM)
• The jazzy score is bouncy and infectious, with a spry, versatile performance by Shore. (FILM SCORE MONTHLY)
Jack Ketchum's The Girl Next Door
• It's refreshing how Ryan Shore skillfully avoids the musical cliches that could've turned The Girl Next Door into a generic sexploitation film score. Writing a shocking sting is easy, but crafting a score that addresses serious social themes within a dramatic thriller takes balls. There's little melodic content here, and even when it's exquisitely poignant, it's either underdeveloped -- perfectly matching title character Meg's short life -- or struggles to rise above dense layers of benthic tones during the child abuse scenes. Cues such as "Torture" manage to transport the listener right into that nasty basement, and makes one feel like a shackled voyeur. Unlike Shore's tender theme for "David and Meg", his secondary material for stepmom Ruth is very lean and clean in the way he nails her as a dark presence lurking beneath an almost sterile facade of manicured neatness. Available as a download, the score reaffirms Shore's talent for tackling seriously tough material. (RUE MORGUE MAGAZINE)
• The first authentically shocking American film I've seen since Henry: Portrait of a Serial Killer over 20 years ago. If you are easily disturbed, you should not watch this movie. If, on the other hand, you are prepared for a long look into hell, suburban style, The Girl Next Door will not disappoint. This is the dark-side-of-the-moon version of Stand By Me." (STEPHEN KING)
• Composer Ryan Shore was tasked to enter the dungeon and express the brooding atmospheres necessary to propel the narrative through the firm acquiescence of the audience. It’s a very emotional film and hard watch yet Shore’s music helped ease us through the delicacies of the story with subtle efficiency. There are long haunting melodies and he’s careful not to comment upon the horrific images on screen directly but rather give them a soundboard for which to resonate. (AINTITCOOLNEWS.COM)
• Ryan Shore did an excellent job with the musical score. (AINTITCOOLNEWS.COM)
Numb
• Adding tremendously is a wonderful score by Ryan Shore. The music has a trippy, reverberating quality that lingers in the air like smoke. (OBSESSEDWITHFILM.COM)
Headspace
• This may be one of the most perfectly constructed musical scores for a horror film since The Sixth Sense. (NICKOLAS COOK)
• Ryan Shore’s score to Headspace is a mature work that stands up to repeat plays. With beautiful work throughout... this is no music to sit back to... and this score deserves your ear space. (MUSIC FROM THE MOVIES)
• Headspace is one of the most plain terrifying scores in a long time. It's chillingly effective and constantly rewarding. (MOVIE-WAVE.NET)
• Perhaps the most enjoyable aspect of the score for Headspace is its maturity in using restraint. It is a quiet and prime work that is best listened to in the dark. (SOUNDTRACK.NET)
• This clearly shows that Shore is innovative and creative, infusing his music with a plethora of styles. Shore is clearly a talent to be watched. (SCOREWARS.COM)
• I also want to mention Ryan Shore’s original score, which may be one of the better horror soundtracks I’ve heard in recent years. It’s refreshingly short on nu-metal and if I’m not mistaken, I’m pretty sure I heard… a non-synthesized orchestra. It is so nice to hear real horror movie music again. (JOEHORROR.COM)
• Creating a unique atmosphere of tension and horror, composer Ryan Shore has written a fascinating orchestral score for the science fiction thriller Headspace. (CINESCAPE.COM)
• Ryan Shore has created quite a different style of music from the typical horror film. So many of the horror films today are headache producing, teeth grinding, and metal sounding with so much slashing and banging that your normal listening level needs to be turned down to listen to it at all. Yes, Ryan has included a small amount of that, but there is much more to offer. The first time I listened to the main theme in the first track "Headspace" I remembered the theme! -- It's a five note motif which is very distinct and then expanded on the piano, strings and electronics. Recommended. (GOLDENSCORES.COM)
A Letter from the Western Front
• My favorite part of the film is the original score. (ROGER EBERT & THE MOVIES)
212
• 212 is a pleasure to experience, and when you include some perfect music choices, it becomes a triple-scoop romantic comedy with New York flavors. (JOHN COOPER, Director of Programming, Sundance Film Festival)
Cadaverous
• Ryan Shore's score for Cadaverous gives the film a special character that it would not have had without the music. A special marriage has taken place between the music and the film, such that the film would not have been the same without it -- this is paramount in my criteria for the award. (Academy Award® winning film composer ELMER BERNSTEIN, upon awarding Ryan the Elmer Bernstein Award)
Prime
• The original music from Ryan Shore is trendy and fits in perfectly with the song selections in the film. The composer has been working steadily for a number of years now and this project is certainly one of his highest profile scores to date. Uncle Howard will be proud. (MUSIC FROM THE MOVIES)
Shadowplay
• I have always thought that the simplest things are the most beautiful and the score for Shadowplay is a perfect example of this. It's emotional carriage is huge. (SOUNDTRACK.COM)
Vulgar
• Like all good composers, Shore knows how to use silence, and he does so to great effect. The score to Vulgar is a fine piece of work. (FILM SCORE MONTHLY)
Rex Steele: Nazi Smasher
• Ryan Shore's rousing score is well steeped in the traditions of the great adventure themes. The 110-piece orchestra does Shore's compositions proud and helps the action along with a pounding sound that sounds just as rich as the film's visuals are impressive. (DVD TOONS)
Janita (CD)
• One of the strengths of this album is the arrangements, particularly the use of a real string section. Nothing overdone, nothing in your face, everything perfectly in place and exactly suited to every single beautiful song. The amazing song That's How Life Goes has a stunning melody lifted even higher by the genius string arrangement. (SOULSORTS U.K.)
Inside Film Music: Composer's Speak (BOOK)
• Immediately one is impressed by his opening discussion with film composer Ryan Shore on the basic terms and techniques of film music starting with that old chestnut, "Why is there a need for film music?". In fact this is the best, most complete description of the process I can ever remember. (MUSICWEB-INTERNATIONAL.COM)
ADDITIONAL PRESS QUOTES
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