Bear McCrearyEmmy-winning composer/score producers, whose work draws parallels to Howard Shore, Hans Zimmer, John Williams, and other contemporary classical musicians. He has demonstrated his ability to create music for all kinds of settings, from the eerie to the sublime, which enhances the viewer’s experience. Here is our list of McCreary’s best soundtracks from a selection of video games, shows, and movies.
The Walking Dead (2010-).
McCreary provides the perfect backdrop for the AMC series about the zombie apocalypse. Some may think the show’s body horror is its most important asset; however, for scenes where gruesome visuals are hidden by dark lighting and shadows, sound is vital to balance everything out. The songs aren’t limited to the hair-raising abrasiveness of the opening title. Gentle guitar and piano accompaniments are used for moments like Rick reading Carl’s letter Season 8. McCreary is also capable of evoking intense emotions in intimate and heart-wrenching scenes such as the episode’s penultimate episodes. Every key change or drum beat signals a shocking reveal for the audience.
Call of Duty: Vanguard (2021).
As you face the end of World War II in this first-person shooter game, you’ll be accompanied by a beautiful string-heavy score throughout quiet moments and large-scale action sequences. The orchestrations used in these epic fighting scenes could be reminiscent of Hollywood action films. Hans Zimmer’s epic crescendos in scores like Inception.
Child’s Play (2019)
The score for a film about a homicidal robotic doll is obviously supposed to be creepy, but the brilliance of McCreary’s work is his use of noises from real children’s toys throughout the soundtrack. He adds to the soundtrack’s unsettling quality by using toys such as xylophones, otomatones, and making chirpy, childlike noises. “The Buddi Song”The brilliant vocals of the main theme feature are used by the brilliant Mark HamillIt creates an atmosphere just as disconcertingly disconcertingly than Chucky.
God of War (2018)
Since 2018’s God of WarMcCreary uses low, dark, and menacing Norse vocals to create the 2018 soundtrack. This shifts away from Ancient Greek mythology to Norse mythology. Kratos’ theme, layered with a repeating three notes dominated by low male vocals, is featured throughout the soundtrack both melodically and in deeper, heavier interpretations. It has a harsher, more brassy tone than songs like “A Giant’s Prayer”Beautiful, light strings can evoke passionate emotions. “The Summit”This orchestration features mournful vocals that reflect Atreus and Kratos’s sadness.
Perhaps the best-known track on this soundtrack is its main theme. It was sung by Raya Yarbrough, McCreary’s wife. McCreary is revered by many. Outlander for its fantastic depictions of history, and McCreary’s use of traditional Scottish instruments, including bagpipes and accordions, help to immerse viewers into the setting. He actually updated the score as the setting changed to include new instruments. Along with the folk-style Scottish fiddle, McCreary also includes lush orchestrations that reflect the calm tranquility of Howard Shore’s The Lord of the Rings soundtrack. He was nominated for Outstanding Music Composition for Series at the 2015 Emmy Awards.
Battlestar Galactica (2004-2009)
This soundtrack contains a diverse array of sounds all strung together by McCreary’s use of leitmotifs. In is one of the most famous melodies. “Wander My Friends,”Set to beautiful Gaelic songs. This theme can also be heard throughout the series, whether it is an instrumental or grand orchestration. The angelic strings “Passacaglia,” duduk melody in “Kobol’s Last Gleaming,”A striking electric guitar “Kara Remembers”These are just a few examples. Battlestar Galactica’s heterogeneous music.
Godzilla: King of Monsters (2019).
McCreary also included elements from Akira Ifukube’s original score into the King of the Monsters soundtrack. His composition is a modern interpretation of the classic Japanese films. It is an epic orchestration that includes songs that are reminiscent of John Williams’ heroic themes. Songs like “Battle in Boston” mimic the howling horns and pounding drums of Hans Zimmer’s most intense songs. McCreary’s score is more than worthy of being compared to its predecessors.
Agents of S.H.I.E.L.D. (2013-2020)
McCreary’s work on Marvel’s longest-running TV Show, Agents of S.H.I.E.L.D.This should be a testimony to how deserving he is to work on larger-scale MCU programs. Tracks like “Rocket Launch”Skye’s secret loyalty to an enemy group of S.H.I.E.L.D. It shows how a pleasant tone could quickly become ominous. Another example of McCreary’s versatility, this score includes electronic rhythms that represent S.H.I.E.L.D.’s upper-class technology while the sweeping strings provide the epic feel of heroism.
The Rings of Power (2022-20).
The Rings of PowerThe original Howard Shore song is included in the soundtrack. Some may notice callbacks to Shore’s earlier works in the songs “Khazad-dûm”And “Galadriel.”Tracks like “Khazad-dûm” sweep you into the magic of the series as the waterfalls and lush greenery of the dwarves’ realm are accompanied by striking strings and haunting vocals. Though Shore composed the main title, McCreary holds his own in creating a soundtrack that enhances the story, and we can’t wait to see how the music is utilized in upcoming episodes.
10 Cloverfield Lane (2016)
This soundtrack is Cloverfield 2’s sequel, and it proves to have a worthy successor. Michael Giacchino’s work in the first film. McCreary uses unusual instruments such as the blaster beam and yayli Tanbur (which McCreary used previously). Da Vinci’s Demons()To give the film its unique sound. The opening song. “Michelle,”Here you will hear the most tanbur. It sets the mood for all the movie’s scenes. It also contains a haunting harmony progression that you will continue to rehearse long after the film is over. The film also features the blaster beacon, an instrument that was featured in it. Star Trek: The Motion PictureMcCreary uses the sound to create a disturbing electronic sound. It isn’t used often in film score.