Building the playlist is probably my most favorite part. You are given the option to search the turntable.fm database for songs or upload your own songs. The latter is great for any artists or people who like to make their own remixes or mashups and want to share them with others. Now the fun part comes when you begin to DJ for either a room of your friends or a random room. As you play songs, people can click a gauge on the bottom and choose if a song is “Lame” or “Awesome.” If the gauge gets too low, your song is automatically skipped. However the more “Awesome” clicks you get, you accumulate DJ points which unlock more avatars for you to choose from. And should you really like a song, turntable.fm gives you links to add it to your own turntable queue, find it on last.fm, iTunes or Spotify.

So yes this has helped me to distract myself during the work day, as well as share music with friends. I’ve formed several random rooms that I invite other friends to and we usually just have a general chat going for a couple of hours or even most of the work day. Plus we get to listen to one heck of a random setlist of songs ranging from nerdy to relaxing to metal. I’ve also found myself just going to one of the larger rooms to listen in to some techno or other music that is good for me to zone out on while staring at excel sheets.

Now how do I get involved in this? Well so long as someone you know on Facebook is already in, you can get involved! All you need to do is follow any turntable.fm links they post on Facebook or Twitter and you can login with Facebook to join in the fun. I have to say that when I first started I had no idea what this was, but after I joined I’ve thoroughly enjoyed myself!

“Imaginative, colorful…surprisingly   varied music.”
-Variety

Her portfolio includes Steven Spielberg’s Emmy award-winning miniseries Taken (DreamWorks), Emmy nominated TV series Odyssey 5 (Showtime), Annie nominated score for the animated film A Monkey’s Tale commissioned by the Chinese Government, and the highly anticipated network action movie Last Man Standing (Lifetime). Karpman’s previous scores for video games include EverQuest II, Untold Legends: Dark Kingdom, Field Commander, music for Clive Barker’s Jericho and Halo 3.  Karpman is on the faculty of the UCLA School of  Theater, Film and Television, and is a fellow of the The Los Angeles Institute for the Humanities.

Please Enjoy…

Hokulani: Being established as a composer in the industry, was there anything new about composing for the upcoming Kung Fu Panda 2 video game?

Laura Karpman: Yes, this was the first time I had ever done extensive work with looped cues.  In the past, I would simply write pieces with endings, but here we were much more interactive. We also used FMOD to implement the cues, and we did that here, in-house at my studio, and so that was a first as well. I was interested to explore that program and see what it is capable of. I also used Chinese instruments extensively, and although I had used them on several other occasions in the past, here I was using them for action music. The erhu in particular, is basically a lyrical instrument, so to use it in a fast driven way was a really interesting challenge.

What would you describe as the most rewarding experience you have had writing music for games?

I always love writing for games. I find that I have a tremendous amount of creative freedom, and I can be who I am as a composer. In video games, there is a real love and need for music. I don’t feel like I have to tone it down – I can tone it up!

Do your experiences differ greatly depending on what you’re working on; for example, would you describe composing for a film to be more demanding than for a game?

Every experience is both similar and different. Fundamentally, all music is about drama, whether it be for the concert hall, or for a game or for the moving image. Everything has its challenges and demands, and schedule is often more of an issue in television. Recently, I scored Lifetime’s first action film, “Last Man Standing, and that was 80 minutes of music in 13 days, with a very good and specific producer. THAT was hard!!!

Are you yourself a gamer?  If so, what platforms are you familiar with and what would you say was your favorite game?

Well, let’s say I am more of an analog gamer, like playing scrabble or chamber music!  Look, whenever I try to play anything, I am instantly killed. So maybe actually being a gamer is not in my skill set.  But I sure do love writing music for games.

Tell us, what was it that inspired you to become a Composer?

Well, my mother decided that I was going to be a composer when she was pregnant with me, so I guess I didn’t have music of a choice. I started writing music when I was seven, and haven’t stopped.

What advice would you share with other women, of all ages, who aspire to write music and are hoping to do it professionally?

I don’t think my advice to women would be any different than my advice to me here. Get educated. Know what you are doing with the orchestra. Learn everything you can about music. And maybe for women – keep trying – your path may not be linear. Be open and try lots of things.

Is there anything you can tell us about other projects you are currently working on or any future projects you may be a part of?

I have a bunch of concert music commissions, but the biggest is that I am lead composer and creative director for a major commission for the Cabrillio Festival’s production of “The Hidden World of Girls,” an evening length work in collaboration with NPR’s The Kitchen Sisters and Obsura Digital, who created the visuals for the YouTube Symphony.  I am really excited about this – it will be a tremendous evening with ground breaking multimedia.

GamingAngels: Tell us a bit about how you got into the game music scene. What was your first project?

Matthew Harwood: Sure!  I am Matthew Harwood, I am the Audio Director at Kaos Studios.  Heading up most of the sound design in the game and composing the music for Homefront is where I spent much of my time during Homefront’s dev cycle. I live in the Hudson Valley of New York.  I am 6’4”.   I love my wife,  my 4 kids, and playing outdoors with them and my dog Wilson.  I am a Christian.  The guys at work call me “Lumber Jack”.  I think it’s because I wear plaid a lot, I am tall, and can kick their butt’s.

I grew up in a musical family; my father played the bass trombone in the NewYork Philharmonic for 30+ years (currently retired) so I like to say that music is in my blood.  I have always studied music throughout school, various classes, and in college, but most of my experience comes from just sitting down and producing music for various projects.  Trial by fire!   Music and sound as a carrier was not entirely clear until an odd turn of events presented its self.

I was helping a friend of mine move his family down in Florida where I got my big break.  Jim Elston (the friend I helped) was an animator at Disney and knew a few guys making a Disney film pitch and he introduced me to them knowing my background.   Elliot Bour and Saul Blinkoff were pitching an idea about a pig that could fly to the big wigs and wanted music for it.   I composed a theme for them and they loved it.   I flew down later to do an interview and perform the theme at a studio there at the Disney animation studio in front of them and other suits.  They also loved it!  Later, the project was put on the shelf, even still, that was the motivating spark I needed to give confidence that I could do this as my career…

Explain your involvement in the Homefront soundtrack, how were you asked to do it and how did you get started with it?

When I worked on Frontlines at Kaos we were a relatively small team.   Frank DeLise was the GM and we talked about creative vision for the music on the game and it was just a good fit to have me compose the music for Frontlines.  Continuing that momentum through to Homefront also made sense, but I wanted to make sure that we built a different score that was fitting to the story and setting.  After Frank, David Votypka became the GM and we had many conversations on where to take the score.  Thankfully, they all enjoyed what I did for Frontlines and were receiving my early ideas for Homefront with excitement.

To get started, I would often find myself inspired by the concept drawings.  Many of these drawings were designed to capture the feel of the world and offer a visual narrative to the game’s setting.  These drawings were a valuable resource early in the production for inspiration.  America (according to these drawings) was something so foreign to me that it was very emotional and moving.  These images many times instigated a specific musical motivation, and I would build a tune based off of that picture alone.  Several of the themes came from this process; incidentally the main theme came from a very early drawing of a man in a yard with his gun, a downed heli in the back ground that crash landed in a house, his family inside the other house.  I imagined him protecting them and doing what it takes to keep them safe.  So confidence and steadfast resourcefulness were key emotions I wanted to evoke.  I used horns for their noble character, and a driving rhythm section based around taiko and koto drumming to add ethnic flair.   Other themes, like the Oasis, were almost completely based off of the inspiration from a drawing.  The drawing was of a huge tree in the middle of a backyard, kids playing under a thin veal of safety behind camo skrims keeping them from being detected and obliterated for not following the rules.  Temporary happiness, with elements of unsure, trepidation and an uneasy peace were emotions that I felt appropriate.  So the piano with strings and a few woodwinds were the instruments of choice here.  So early on, finding inspiration before the game was even playable, I would often look though these images to get a jump on the compositions.

Tell us about the atmosphere in the room when you´re working with an orchestra and musicans.  How are you to work with?

Recording the Orchestra is always a thrill!  And as a bonus we recorded here in NYC.  The caliber of musicians here in the city is just a treat to witness.  Personally, when recording, I wanted to make it a point for this to be an enjoyable experience for the orchestra as well.   (I knew it was going to be a great one for me.  Imagine your music, being performed by these amazing musicians?!)  I wanted to make sure I remembered when asking for various changes and re-retakes that I am extremely appreciative of their efforts.  I remember my father telling me how immense the pressure to perform is.  Playing in a recording setting can be a serious challenge.  They were expected to produce amazing quality (and they did) but it was personally important to me that we should also have some fun when doing it!

Also, I would be remised to thank my Orchestrator Jean Baptiste Bocle.  He had a lot to do with how great the orchestra sounded and how smooth the recording went.  I have a huge amount of respect for him and his talent.  Quite simply the score would not be what it is without him.  Jean, you deserve my appreciation!!

What inspired you the most when composing the music for Homefront?

By far the setting.  Thinking about what I would do in this situation, what I would do to protect my family, how would I feel?  Would I fight back?  Or would I become one of the faceless masses that get quarantined in a labor camp.  It’s a horrific proposition.  And because of this depth of introspection, there was much to pull from for inspiration.

Do you have any special routines that are important for you to achieve the right results?

One of the best examples of a routine is simply trying things in the game and iterating on it.   That was a common cycle for me.  As for my composition routine, it’s very hard to put a finger on it.  Many times I will start with a piano to get some of the ideas solidified.  From there I will then go on to produce the arrangements and ear-candy around that piano design.  However, more often than not I will start with a sonic texture, or a mood that I am trying to nail.  During Homefront I wanted to be sure to tie in the themes as much as I could throughout, so even if I started off a bit wandering, I would go back and intertwine some of the main melodies.  That was vital in keeping the score a cohesive whole.

How important do you think music is in a game?

Music is the most powerful form of sound we have because of its ability to associate.   We immediately recognize an emotion when hearing music.  It’s crazy how fast we are able to perceive this.   Music’s power also resides in its ability to change our physiology.   It can raise your blood pressure, or quicken your heart rate; it can even make you sweat!   All of this may point to me saying that it is fundamental in games (and it is), but when you think about, because of these qualities music contains; it may actually be a detriment depending on the situation.   I think back to when I first saw Castaway, where Tom Hanks was plane wrecked on a remote Fijian island.  2/3rds of the film did not have music.  Music would have taken away from the isolation that the main character was feeling.  It was not until he was leaving the island that music began to play.   There are spots in Homefont where music was removed so the sounds of the scenes are in the forefront, because of it power, music here would have subtracted from their impact.

But do I think music is important to games?  I believe it to be vital to the experience.

Are you a gamer yourself, if so, what are some of your favorites?

Yes, I am, although I have not played as much lately.  My favorites of recent are the uncharted games.  I love them!  So fun and entertaining.  Other favorites are the Super Mario Galaxy games, along with music games like Lumines or Rez.  Flower is also a very inspirational game.  I wish there were more games like these.  I can be a sucker for a good jrpg, but they take lots of time, a commodity I don’t always have.

How do you feel about the game being written in a modern setting, that this is something all too real for some people?

It could be a bit too nerve racking for some, and I can understand that.  But the game is purely speculative fiction.  THQ and Kaos did their job when they built a deep and detailed back story to support the fantasy for this “what if” scenario.  But that is just it.  A fantasy, an interesting, perhaps even plausible scenario, but it is simply speculation.  For me, it’s not to be taken literally that this will happen, but perhaps that it could, however likely or unlikely. Offering questions of “what would you do if this happened” are most definitely interesting to explore.

Could you give us some insight on what we can expect from you in the near future?  Any projects you’re able to tell us about?

We’re working on a few secret things here at Kaos already, and depending on how THQ would like to utilize my talents then perhaps more!

GamingAngels: How did you feel when you were first approached by Ubisoft to compose for Prince of Persia The Forgotten Sands?

Penka Kouneva: When I found out that Ubisoft had approved me to work alongside Steve Jablonsky I was ecstatic and remember jumping to the ceiling with joy. I was being given the one “lucky break” and had to step up to the occasion. Right away I immersed myself in Middle-Eastern and Persian music. I tend to think up ideas, sketch and revise motifs, and let them gestate. I began listening to Persian singers, Armenian duduk players and (on YouTube) to tons of instrumental soloists playing santour (Persian dulcimer), ney, tambour (violin), oud, etc. My sketches sat in the notebook for a few months until I started composing in earnest. By that time, I had distilled the best ideas from the sketch book and used them for the actual game music.

What inspired you most when composing for this game?

PK: Two things: I was given an opportunity to combine my life-long passion for non-Western music and instruments, and the fact that composing this score was going to be very challenging technically, and that I was going to learn tons about adaptive scoring for games. I also knew that my agent Cheryl Tiano had to fight for me and convince Ubisoft to give me a chance because “Prince of Persia The Forgotten Sands” was, technically, my first game score (on “Transformers 2009” game I wrote only about 15 minutes of in-game score. On “Prince of Persia The Forgotten Sands” my assignment was to compose 2 hours of game music.)

Starting piano lessons at age 6, when did you first feel music was your passion?

At the age of 12, I had an opportunity to compose incidental music for children’s theater. The producer was my mother’s friend. With 2 buddies, a flutist and percussionist, we, bookish 7^th-graders, played Saturday matinees of the show for a year. I had such great times, earned $15 per show, and began identifying myself as a “composer.” I was a quiet, shy girl and becoming a “composer” was one of the coolest experiences in my adolescence. Of course, it was not easy: some people thought it was cute, others thought it was weird, but I just kept doing it. I continued composing for theater, small ensembles and pop songs all throughout my high school and college years.

Does your personal taste in music vary or are you particular about the genre?

Like most composers I have very broad interests: classical (early music, chant, Baroque, 18-20^th centuries, postmodernism), film and game music (I listen to new scores daily), rock, 90’s electronica, jazz, roots music, The Lomax Collection, tons of authentic world music starting with a deep knowledge of Bulgarian and Middle-Eastern folklore, and on and on. However, when I am working on a project, I do very deep “research” of its vernacular. So for the duration of the project, my passion is in that genre of music.

Do you, yourself enjoy playing games?  If so, what is your favorite?

These days I play on “easy” and call myself a casual gamer. I, however, watch tons of games that my husband plays and truly enjoy them. My favorite games are Halo, BioShock, Uncharted 2: Among Thieves, the Prince of Persia games, Medal of Honor, C&C4, Assassin’s Creed 2. My favorite game scores are: Steve Jablonsky’s Gears of War 2, Halo 3, Outcast and the music for all Blizzards’ games, especially World of Warcraft and StarCraft II.

What advice would you give someone with aspirations to compose cinematic music?

One should continually develop their sense for musical drama and understanding characters, situations, story arc. One should study a vast number of styles, historical periods and musical genres. But the most important thing for a composer is to have a very personal, distinctive musical style. Naturally young composers imitate older composers, but soon comes a point where one must find who they are, and cultivate a unique voice and “style.” Another truth about our profession is that it takes years to master the craft. All composers I know work very hard on their craft for decades, learning and growing continually. On another hand, each composer forges their own individual career path. I encourage all my young composer friends to read many interviews with composers to gain insight. (I myself do it daily.) For those who aspire to write music for film or games, I would say being also a supreme collaborator and a decent, inspiring human is essential. One must continually cultivate their ability to work together and understand other people’s creative thinking – not easy at all.

Could you give us some insight on what we can expect from you in the near future?  Any projects you’re able to tell us about?

I remain loyal to Steve Jablonsky who keeps me busy with additional composing on a few of his upcoming games. I will also have premieres of 2 indie features, “Rough Hustle” and “Rejouer” and will begin another indie feature, “El Nacional.” Much of my time is also spent looking for composing work and cultivating new relationships.

—

Penka was born and raised in Sofia, Bulgaria; started piano lessons at 6 and wrote incidental music for children’s theater shows at 12. In 1990, she ventured out of post-communist Bulgaria and came to the US to make a life for herself as a composer. She had $130 in her pocket and a Duke University composition fellowship. In 1997, she made history at Duke by receiving the first-ever Doctorate in Composition from this distinguished institution. At Duke, she studied with Stephen Jaffe, Scott Lindroth and with the Dutch postmodern minimalist Louis Andriessen. Penka also enjoyed a successful career as a concert composer. Soon after Penka arrived in Los Angeles in 1999, she began her career as an orchestrator for Emmy-winning composer Patrick Williams. Later that year, Cliff Eidelman gave Kouneva her first scoring break, the Holocaust drama “SHADOWS.” In addition to Steve Jablonsky, other composers who played a major part in Kouneva’s career would be Bruce Fowler and Lee Holdridge. Penka Kouneva has since been honored with WorldFest’s Platinum Remi for Best Score, the Aaron Copland Award, the Sundance Institute Composer Lab Fellowship and Meet the Composer Award.

Some of her other works include the horror feature MIDNIGHT MOVIE, the crime drama THE THIRD NAIL, the Sci-Fi Channel thriller ICE SPIDERS and TV music for FORENSIC FILES on CourtTV, DOG FIGHTS and MODERN MARVELS.  In addition to scoring, Penka is an orchestrator on film soundtracks, including TRANSFORMERS 1, 2, PIRATES OF THE CARIBBEAN 3, ANGELS AND DEMONS, 9, HOSTEL I and II, MATRIX 2, 3, SISTERHOOD OF THE TRAVELING PANTS and videogames such as WORLD OF WARCRAFT, SIMS 3, TRANSFORMERS 1, 2, STARCRAFT 2, and GEARS of WAR 2.

Prince of Persia The Forgotten Sands is available for digital download HERE

Ramin Djawadi (Java-dee) is a known composer of orchestral music for both film and television.  You may know him for his Grammy-nominated score for Iron Man or his monumental score for Clash of the Titans but his repertoire covers a wide variety of film genres.  One of his latest endeavors was composing the score for Electronic Arts’ Medal of Honor. I was given the opportunity to ask him a few questions about himself and his experience with EA.

GA: How did you feel when you were first approached by EA to compose a score for their modern combat first-person shooter, Medal of Honor?

RD: Medal of Honor has a great history of powerful games and amazing scores.  I was very flattered to be asked to become part of the franchise. It was an exciting challenge and I hope people like the score.

GA: What inspired you most when composing for this game?

RD: The story behind Medal of Honor is very deep and emotional. We really tried to bring out the emotional aspect. It was great to be able to blend Middle Eastern and Western styles together.

GA: How do you feel about the game taking place in our modern war-town Afghanistan?

RD: I think it raises awareness about wars that are still happening all over the world today. It was quite emotional to work on this game.

GA: Were you involved with the creative process behind the game, anything beyond the soundtrack?

RD: No. I was plenty busy. There was 100 minutes of music to write.

GA: Does your personal taste in music vary or are you particular about the genre?

RD: My personal music taste is all over the map. I listen to a lot of classical music, but then switch to rock and pop. I go through these phases. I went through a period of just jazz.

GA: Do you, yourself enjoy playing games?  If so, what is your favorite?

RD: I love playing video games. I can get quite addicted, so I have to put my gaming console away, otherwise I won’t get any work done. My new favorite is actually the new Medal of Honor game. It’s been amazing seeing how it all came together.

GA: Would you work on another game Score in the future, if asked?

RD: Anything can happen. I really enjoyed working on this game.

GA: Could you give us some insight on what we can expect from you in the near future?  Any projects you’re able to tell us about?

RD: I just finished the score to “Red Dawn”, the remake of the 80’s classic.

The Complete Medal of Honor Soundtrack is available on itunes!

It’s amazing to think that the partnership between Danny Elfman and Tim Burton goes back 25 years. Twenty five years, 19 hours of music, 1000 collectible packages makes up the anniversary collection.

This holiday, Warner Bros is releasing The Danny Elfman & Tim Burton 25th Anniversary Music Box. The numbered set only goes up to 1000 and features 13 scores that Elfman composed for Tim Burton’s films.

The package has artwork by Burton, bonus DVD content where Elfman and Burton talk about their films and the scores.

The box is available for pre-order at www.burtonelfman.com/. It’s a bit pricey at $499.99 so be prepared for sticker shock.

Every Tuesday we bring you the DVD and CD releases for the week. What’s better than music and movies? Just video games, but we already told you what new games are out this week.

Here are the new CD releases today:

• Buckcherry: All Night Long
• Arcade Fire: Suburbs
• Bun B. : Trill O.G.
• Lady Gaga : The Remix
• Secondhand Serenade: Hear me now
• The Black Crowes: Croweology

New Movie releases:

• Kick-Ass
• Heroes
• Diary of a Wimpy Kid
• The Ghost Writer
• Mercy
• James and the Giant Peach
• Elvis on Tour

Enjoy!

New Movies:

• Kevin Smith’s CopOut
• The Losers
• The Runaways
• Jersey Shore: Season 1

New Music:

• Rick Ro$$: Reflon Don
• Sheryl Crow: 100 Miles from Memphis
• Jonas LA: Soundtrack

We asked her a few questions about her interesting career and found out a little bit more about what makes her tick (and why she made Sydney turn red).

GA: You have had an interesting journey through life, with classical training and being presented with the opportunity to study music at college and yet you turned that down only to be presented with some extraordinary experiences. Can you tell us a little more about that first step into the gaming industry?

Aubrey: Yes well, it was a toss up, whether to study in Boston or stay in LA. I worried that if I left LA for four years I may never return. It took so much effort to move here on my own from Ohio, that I didn’t want to miss the chance I’d given myself to break into the business. I took a detour however, and fell in love with aviation for a few years while I was going to college. Getting my pilot’s license was an act of pure passion and empowerment that I believe gave me the courage to pursue my dreams eventually. It wasn’t until after I released my debut album “Sleeping Virtue” in 2003, that I stumbled into the modern world of video games. After performing live acoustic shows in Hollywood for a couple years, life became increasingly challenging so I went after a job at Soundelux. I was hired to represent composers and sound designers and this is the door, which led me to performing on video game soundtracks.

GA: How exactly do you write songs for games? Do you sit down with the almost-finished game product and the head designer and developers and write to what you see, or are you involved from the very beginning of the conceptual stages?

Aubrey: I started out as a singer on games and then along the way, made it known to composers that I’m also a songwriter, and so I’ve been given opportunities to collaborate and write depending on the scenario. I am a sub, sub contractor. I am hired directly by the composer to either perform on their work or to develop song melodies and lyrics that work against the backdrop of their soundscape for a game. Sometimes I massage a pre-conceived melody in bringing it to life or I write something entirely on my own and then bring it to the composer to arrange and produce. Very seldom do I work to picture, it’s usually based on a concept summary and character artwork.

GA: Has there been anything that you have learned through working in the gaming industry that has changed the way you had thought about music through your prior training and experience?

Aubrey: Being an artist is not only about being talented; it’s about being someone that people want to work with. Can they rely on you? Are you a reasonable person? Do you have the big picture in focus? I’ve learned that you need all of these tools in order to succeed.

GA: Whose work do you admire? What games or developers would you like to collaborate for future projects?

Aubrey: I’m a fan of composers with integrity. I recently met Greg Edmonson, composer of Uncharted 2, and not only did he sweep the awards for that game but he is just an all around humble and optimistic man. I also like to work with development teams that are talented and passionate about their IP, whether a start-up group or a veteran developer. I prefer RPG’s and Fantasy MMO’s to First Person Shooters.

GA: Do you have any favourite games of your own that you play?

Aubrey: Although I don’t consider myself a gamer, I do enjoy playing Flower, Little Big Planet and of course, Rock Band & Guitar Hero. Oh yeah, and Just Dance on the Wii with my daughter. My husband is the one that plays the M rated games that I’m working on.

GA: What advice would you give to those considering pursuing a career in writing and performing songs for game soundtracks?

Aubrey: The industry is rapidly growing and there are still doorways into the biz. You have to be committed and familiarize yourself with the culture. I recommend reading industry magazines and listening to game soundtracks to see if what they’re delivering is what you can imagine yourself creating/performing. When you feel you have a great demo, take a chance and send your material to anyone who holds the position of Audio Director or Composer.

GA: You performed at A Night in Fantasia in Sydney last year; a collection of music from video games and anime performed by the Eminence Orchestra. How did you like Australia and the fans? And please tell us about experience – is it different to how you record vocals for soundtracks?

Aubrey: Sydney is a very beautiful and clean city, although the morning we landed there, there was a reddish dust storm that closed the airport for a time. They hadn’t seen something like that in 75 years (guess we brought the LA smog with us). I was surprised to find a large fan base there and for a couple hours following the concert we signed autographs for an eager audience.

There is nothing that can truly replace the excitement and sincerity of a live performance. Nowadays, I don’t get to perform live that often, so I was thrilled to be there and to be backed by a tremendous live orchestra. I would say there’s hardly a comparison to the atmosphere in a recording studio. A live performance is very immediate and present whereas, in the studio, I have no regard for audience or presentation, it’s strictly a creative moment.

You can buy the award-winning Dragonage: Origins soundtrack from iTunes or Amazon

This week starts off with Fireworks bang and from there you can keep the party going all week with brand new movie and cd releases! Every week here at GamingAngels, I list the new releases this week. Let me know if there is a certain genre you want to see highlighted!

New Movies:
Brooklyn’s Finest
The Girl with the Dragon tattoo
A Single Man

New Music:
Big Boi
Juvenille : Beast Mode
Kelis: Flesh Tone
Enrique Inglesias: Euphoria
Bret Michaels : Custom Built

I’ll probably check out Bret Michaels new album. Have to respect a guy that was in the hospital, gets out and is immediately back to work doing what he loves to do.

New in theater this week:
Grease Sing a Long
Predators
Despicable Me
[Rec] 2
The Kids are All Right
The Girl Who Played with Fire
Winnebago Man
Red Alert: The War Within