Masayoshi Soken, Film Score | th

There are multiple artists under the moniker "The Score" 1.) The Score is a pop-rock outfit straight out of Watertown, NY. The brain-child of singer-songwriter Arison Cain, the Score combines catchy hooks and melodies with a highly original style of vocal delivery reminiscent of bands such as Weatherbox and Say Anything. The band is credited with having a sound very reminiscent of 90's rock bands such as Weezer, Smoking Popes and Foo Fighters. The group self-released an EP, "Steady Fingers! Steady Fight!" in 2007, In 2008, they followed up with the full-length release "Songs for a Halfway Home", produced in...

"Epic Score is a Los Angeles-based music production company owned by Gabriel Shadid and Tobias Marberger that concentrates on producing music geared towards trailers. We have recorded our own custom choirs, orchestras, percussion and many other elements to create our unique sound. Plus, we've been fortunate to work with a small team of wonderfully creative people. We love this kind of music and hope that our passion comes through in our tracks. Since the launch in 2006, Epic Score's music has been licensed into many film trailers, game trailers, television themes, network promos, inside games and more. Plus, Epic Score's...

electronic freakfolk pop - Grand Rapids, Michigan. http://fusionshows.com/artists/michigan/f https://filmloom.bandcamp.com .

Bill Majoros is the songwriter and lead vocalist / Multi-instrumentalist of Psychedelic pop act The Foreign Films. Born in Hamilton, Ontario, Bill is a Canadian musician who has toured, recorded and played with many Canadian acts including Universal Honey, The Paper Airplane Company, The Cloudsmen, and Altogether Morris. From 1997 to 2004, he worked as main writer & guitarist in Flux A.D., winning Hamilton Music Awards 2004 "Best Alternative Album of the Year"[1] .- fellow members in Flux A.D. included Julie Fader (from the Great Lake Swimmers and Sarah Harmer's band), and Graham Walsh from Holy Fuck.Bill has also worked...

"There are no songs in electronic dance music," lament The Film. "That bothered us. So we chose to take a human approach making music like rock n' roll musicians.' Frustrated by the sterile and faceless world of 808s and 909s, Guillaume Briere and longtime collaborator Benjamin Lebeau set upon hotly tipped project, The Film. Meandering soundscapes have been shunned in favour of snappy three minute song structures and devastating hooks. Blending technology with live instrumentation, they've struck upon a unique brand of irresistibly groove laden and unashamed pop rock. Drawn together by a common interest in music, the duo met...