Quality Film Music Since 2006

Producer Mikael Carlsson.

Soundtrack record label MovieScore Media was founded by former journalist Mikael Carlsson in November, 2005. It has released nearly 500 score albums, received one Grammy Award nomination and multiple nominations for the ‘Soundtrack Label of the Year’ award by the International Film Music Critics Association.

MovieScore Media has always focused on up and coming talent, and was the first label to recognize the quality, ambition and unique voice in composers who are now firmly established in Hollywood working on major blockbuster movies, for example Benjamin Wallfisch (Shazam!, Blade Runner 2049, It), Daniel Pemberton (Steve Jobs, King Arthur: Legend of the Sword, Spider-Man: Into the Spider-Verse), Pinar Toprak (Captain Marvel, Skyfire, Stargirl). While always on the look for new composers, the label also released music by well-known composers such as Michael Kamen (Back to Gaya), Marco Beltrami (1864, Mathilde), Patrick Doyle (Man to Man), George Fenton (Red Joan), Angelo Badalamenti (Stalingrad) and Basil Poledouris (The Legend of Butch and Sundance).

Since 2020, the soundtrack label business is part of Swedish registered company Carlsson Bjarnegård AB. This also houses ‘Soundtracks Live’ which is devoted to film music concerts with activities ranging from arranging and preparing concert suites of film music (clients include Marco Beltrami and Terence Blanchard) to producing film music concerts. Mikael Carlsson is also a composer in his own right, writing music primarily for choir and concert use.

Read more about MovieScore Media

ASTURSCORE INTERVIEW (2016) – “Everyone seems to be afraid of music and the worst thing you can be accused of is that the score is trying to manipulate the audience! Well, of course it is. So is the editing, lighting, acting, visual effects, sound.”

MOVIE MUSIC INTERNATIONAL INTERVIEW (2016) – “The market is changing in quite revolutionary ways, but there are still a hardcore collectors segment that would only buy physical product.”

UNDERSCORES INTERVIEW (2014, in French) – “I like working with composers who have a vision, a style, who bring something new.”

KQEK INTERVIEW (2006) – “I wanted to concentrate on these unknown composers and give them some exposure, and to introduce their work to the film music community and to the industry.”


MOVIESCORE MEDIA @ DISCOGS

MOVIESCORE MEDIA @ INTERNET MOVIE DATABASE


SOUNDTRACKS LIVE

MIKAEL CARLSSON: COMPOSER

What They Say About MovieScore Media

MovieScore Media is the consummate company for all aspects of soundtrack production, distribution and marketing. Their talents with music selection, track ordering, graphic design, use of the latest technologies, and promotion of their releases – combined with their attention to detail, commitment to the highest standards, and professionalism in everything they do – are all second to none.

I have had the great pleasure in releasing several titles through MovieScore Media who enthusiastically support, promote and celebrate new film music. I am a fairly varied composer stylistically, and have found that MovieScore Media has understood and ably marketed scores from extremes of the medium, from period children’s movies, through light comedies all the way to rancid horror, shocker music complete with hours of screatching sound design!

Mikael Carlsson is simply amazing and innovative. He is giving a voice to a whole generation of composers who would probably never be heard of otherwise. He gets these albums out to people, gets reviews, gets people talking and, most importantly, gets unknown composers and their high quality work heard! That is what all composers ultimately want: to be heard, to have an audience, to have people respond to their music.

Mikael Carlsson’s Moviescore Media is all about the music. He is passionate about good film scores and righteously believes that they deserve to have a life of their own, for people to be inspired, entertained and moved. What’s more, this exploitation can be the very start of a very long life for the score; it may end up as temp music on another film, or on a commercial for example.