Globus

The odds are you haven’t heard of Globus yet. But if you believe bigger is better, and nothing succeeds like excess, well…. pound-for-pound Globus may just be the best band in the world. Because with over 180 members, including a full orchestra and choir, and a rock band featuring composer and Globus-mastermind Yoav Goren, Skunk Anansi and Feeder drummer Mark Richardson and Manic Street Preachers keyboardist Nick Naysmith, everything about Globus is larger than life. Fusing epic orchestration with lashings of hard rock attitude, the band’s debut album Epicon draws on the best Europe has to offer, from the Spanish-style classical guitar of La Coronacion to the Arabian-style singing that highlights Spiritus Khayyam.

Eight years in the making, when the album was finally finished there was no way of knowing whether it would work live. So the band decided to premiere Epicon at The Grand Hall, Wembley. Twenty-four-year-old lead singer, songwriter and guitarist Dann Pursey’s eyes light up when he recalls their debut performance. “It was amazing man, an absolute dream come true. It was so loud on stage, big old Marky boy on the drums, just pounding the hell out of them, and the orchestra sounded amazing. It was just unbelievable”. He grins. “I’ve always wanted to be the show-off, the bloke at the front – not in a big headed way, but I just love trying to impress people. The feedback from the audience was really good. I was backstage having to sign autographs”.

For Dann it all began at the cinema, watching the trailer for a film called The Aviator. Listening to the music he thought, ‘Damn, I’d like to write something over that”. So he did. “I put it down on my computer at home and then I just went about my normal thing. Putting basic power chords over something that’s not basic at all”. And when you were finished? “I wrote to the guys and I said, listen. I’ve had a go at writing something and I think it’s really good. Can I send it to you? So I sent it down and they were pretty blown away”. He smiles. “After that they contacted me and said, we’ve got to work together”. ‘The guys’ included LA-based composer Yoav Goren, the man responsible for the epic trailer music for movie blockbusters such as Lord of The Rings and Spider Man 3. Successful in Hollywood for many years, Yoav had been working towards realising his music in a band situation, recruiting singers and musicians from around the world. Hearing Dann, another piece of the jigsaw fell into place. Dann pauses. Working as a sound engineer on television show X-Factor he’s had plenty of opportunity to judge for himself what makes a singer stand out. And he’s happy to be his own man, for better or for worse. “Nowadays everyone says, I want to sing like that guy. I won’t lie – I’m not the best singer in the world. But I just portray emotion. That’s all I think you can do with a microphone. I just think you’ve got to try and put your heart and soul into your words and give it all you’ve got”. He singles out Kurt Cobain as a favourite singer. “He was screaming like a bitch and it sounded good. And that was it”.

Globus’s music has been described as Cinematic Rock. It’s a label that might help the public understand where the band are coming from, but Dann isn’t so sure. While two or three songs on the album might fit the description, the way he sees it, “…it’s just moving. The songs can make you laugh, make you cry. It’s just emotional”. A good example would be Orchard Of Mines, the first single from the album and one of two songs on Epicon that Dann has co-written. More mainstream rock than some of the other songs on the album, it’s a direction he’d like to pursue when the band record their next album. He smiles. “Everything about it is how I wanted it. But then Yoav obviously has his take on things, so we’ve met somewhere in the middle on the rest of the stuff”. Making the video wasn’t without its dangers though, as Dann found himself surrounded by red-hot flashpots. “All of a sudden the second verse comes, the flames come up – instantly blisters appear on the back of my arms, just ‘cause I’m in a T-shirt…”

So what’s next for Globus? If Epicon is well received, Dann would like to take the band out on the road. As he puts it, “If we could get the right tour, and the right line-up and the right support acts, I think it could be massive”. But that’s easier said than done. Globus’s music may be commercial, but it’s far from easy listening. Or as Dann puts it, “I don’t think it’s something you just put on. If you haven’t got a big attention span I don’t think you’ll quite get it. I think you need to put your headphones on and actually listen to it”. But things are moving in the right direction. There’s an hour-long TV special on Sky featuring the band performing at Wembley, and Eighties supergroup Asia have decided to cover Orchard Of Mines – according to Dann, the first time the band have ever covered another artist’s song. All Globus need now is a break. - Eugene Coyne, Press Association

The odds are you haven’t heard of Globus yet. But if you believe bigger is better, and nothing succeeds like excess, well…. pound-for-pound Globus may just be the best band in the world. Because with over 180 members, including a full orchestra and choir, and a rock band featuring composer and Globus-mastermind Yoav Goren, Skunk Anansi and Feeder drummer Mark Richardson and Manic Street Preachers keyboardist Nick Naysmith, everything about Globus is larger than life. Fusing epic orchestration with lashings of hard rock attitude, the band’s debut album Epicon draws on the best Europe has to offer, from the Spanish-style classical guitar of La Coronacion to the Arabian-style singing that highlights Spiritus Khayyam.

Eight years in the making, when the album was finally finished there was no way of knowing whether it would work live. So the band decided to premiere Epicon at The Grand Hall, Wembley. Twenty-four-year-old lead singer, songwriter and guitarist Dann Pursey’s eyes light up when he recalls their debut performance. “It was amazing man, an absolute dream come true. It was so loud on stage, big old Marky boy on the drums, just pounding the hell out of them, and the orchestra sounded amazing. It was just unbelievable”. He grins. “I’ve always wanted to be the show-off, the bloke at the front – not in a big headed way, but I just love trying to impress people. The feedback from the audience was really good. I was backstage having to sign autographs”.

For Dann it all began at the cinema, watching the trailer for a film called The Aviator. Listening to the music he thought, ‘Damn, I’d like to write something over that”. So he did. “I put it down on my computer at home and then I just went about my normal thing. Putting basic power chords over something that’s not basic at all”. And when you were finished? “I wrote to the guys and I said, listen. I’ve had a go at writing something and I think it’s really good. Can I send it to you? So I sent it down and they were pretty blown away”. He smiles. “After that they contacted me and said, we’ve got to work together”. ‘The guys’ included LA-based composer Yoav Goren, the man responsible for the epic trailer music for movie blockbusters such as Lord of The Rings and Spider Man 3. Successful in Hollywood for many years, Yoav had been working towards realising his music in a band situation, recruiting singers and musicians from around the world. Hearing Dann, another piece of the jigsaw fell into place. Dann pauses. Working as a sound engineer on television show X-Factor he’s had plenty of opportunity to judge for himself what makes a singer stand out. And he’s happy to be his own man, for better or for worse. “Nowadays everyone says, I want to sing like that guy. I won’t lie – I’m not the best singer in the world. But I just portray emotion. That’s all I think you can do with a microphone. I just think you’ve got to try and put your heart and soul into your words and give it all you’ve got”. He singles out Kurt Cobain as a favourite singer. “He was screaming like a bitch and it sounded good. And that was it”.

Globus’s music has been described as Cinematic Rock. It’s a label that might help the public understand where the band are coming from, but Dann isn’t so sure. While two or three songs on the album might fit the description, the way he sees it, “…it’s just moving. The songs can make you laugh, make you cry. It’s just emotional”. A good example would be Orchard Of Mines, the first single from the album and one of two songs on Epicon that Dann has co-written. More mainstream rock than some of the other songs on the album, it’s a direction he’d like to pursue when the band record their next album. He smiles. “Everything about it is how I wanted it. But then Yoav obviously has his take on things, so we’ve met somewhere in the middle on the rest of the stuff”. Making the video wasn’t without its dangers though, as Dann found himself surrounded by red-hot flashpots. “All of a sudden the second verse comes, the flames come up – instantly blisters appear on the back of my arms, just ‘cause I’m in a T-shirt…”

So what’s next for Globus? If Epicon is well received, Dann would like to take the band out on the road. As he puts it, “If we could get the right tour, and the right line-up and the right support acts, I think it could be massive”. But that’s easier said than done. Globus’s music may be commercial, but it’s far from easy listening. Or as Dann puts it, “I don’t think it’s something you just put on. If you haven’t got a big attention span I don’t think you’ll quite get it. I think you need to put your headphones on and actually listen to it”. But things are moving in the right direction. There’s an hour-long TV special on Sky featuring the band performing at Wembley, and Eighties supergroup Asia have decided to cover Orchard Of Mines – according to Dann, the first time the band have ever covered another artist’s song. All Globus need now is a break. - Eugene Coyne, Press Association

Wembley Conference Centre closed on a suitably
apocalyptic note with Globus’ ‘Cinematic Rock’

Trailer tracks

UK: The gig itself sounds like a film
trailer. Cue thunder-throated voice-
over: “One man’s vision, a marriage
of heavenly choirs, sublime orches-
tras and some of the heaviest rock
musicians on earth… and the tech-
nical brief from hell. Thrill to
Transmedia’s race to stage Wembley
Conference Centre’s last and biggest
event as developers prepare to bull-
doze the venue to the ground.” But
it isn’t just the storyline for the gig
that reads like a film trailer. The
show was a trailer – for an album
of film trailer music.

There’s an entire Hollywood
industry devoted to trailer music,
which occasionally draws on the
actual film score but is more often
specially composed for the purpose.
The king of blockbuster trailers is
Yoav Goren, whose company,
Immediate Music, has written the
music to hook audiences for such
movies as Lord of the Rings, War of
the Worlds and The Da Vinci Code.
You can already hear his typical
soundtrack, all Carmina Burana-
driven choral crescendo and special
effects, fading to a black screen and
the legend “on release December
2006”. Except you can’t hear the
soundtrack anywhere else. This
music never makes it onto the album
of the film.

Nonetheless a cult following has
developed, and Goren’s vision is to
tap into that by turning the trailers
into full-blown songs, using the orig-
inal orchestration as the template,
and adding lead vocals plus rock
rhythm section. He terms it ‘cine-
matic rock’. Globus is Goren’s band
– actually a collective of singers and
musicians – and Epiconis their first
album. This gig, their debut, is the
launch, meaning there’s no
live-show template for Transmedia742.net's
Tony Henderson and Arthur
Anderson to work to as they
juggle with the logistics of
even setting up staging
for a seven-piece rock band,
50-piece choir and 60 piece
orches-tra, let alone retaining
some degree of separation
while avoiding encasing
everyone in perspex.

“We were constantly inventing
the wheel,” says Anderson. “We got
in early in the morning two days
before the show to start the build
and we didn’t even know how it
would all fit together on stage – I
had a dozen spare units of staging
round the corner just in case.”

By that time, rehearsals had been
going on at Sensible Music for a
week, though never the full monty.
The band was in full-time, joined
occasionally by Paul Englishby, the
conductor, and the orchestra’s sec-
tion leaders, while the choir
rehearsed elsewhere. “The first full
rehearsal was in the hall the evening
before the show. It just wouldn’t
have been financially viable to run
a full rehearsal schedule,” explains
Anderson. Which kept his hands full
at sound check.

The technical undertaking was
huge. Simply coping with the inputs
required two FOH desks, Richard
Oxley mixing 72 channels of choir
and orchestra on a Yamaha
DM2000 and sending two stereo to
Anderson’s Yamaha PM5d. There
they joined 48 channels of drums,
plus two percussion risers, two elec-
tric, one electro-acoustic and one
Spanish guitar, bass, submixed key-
boards and Goren’s Yamaha
Disklavier grand piano, with two
acoustic mics and stereo signals
from the onboard sound set. And as
well as the main vocals, Anderson
was handling five channels of per-
cussion effects from the onstage
computer, which was running the
show via Nuendo, providing in-ear
clicks for 26 of the onstage musi-
cians and driving the projector for
background visuals.

Monitoring was a similarly chan-
nel-heavy proposition using a 32-
channel Yamaha DM1000 for the
orchestral and choir monitor sub-
mixes, feeding a 52-channel
Soundcraft MH4. Pearce Hire,
whose Andy White was drafted in
by Transmedia to supply and design
the PA, used 12 L-Acoustics 115xt
HQ wedges as hot-spot supplements
to the in-ears.

White also chose L-Acoustics for
FOH, where the challenges lay not
only in providing Anderson with
control and separation, while deliv-
ering sound evenly throughout the
venue’s 240°seating area, but in
maintaining aesthetics and lines of
sight to suit the 10-man DVD-cam-
era crew. His solution was based on
an 8 x 2 mono cluster of Arcs with
supplemental fills following the stage
edge. But while control was essential
to the FOH mix, the sound also
demanded space, which was supplied
by additional Arcs clusters either side
of the stage for a stereo image.

Transmedia also arranged for FX
Rentals to supply and operate the twin
(main and backup) 72-channel
Pro Tools-based rigs used to
record the event for
DVD release. Greg Townley,
who had mixed Globus’s
Epicon CD, supervised
the recording, and was
also able to provide valuable
pointers to - Gez Kahan

Wembley Conference Centre closed on a suitably
apocalyptic note with Globus’ ‘Cinematic Rock’

Trailer tracks

UK: The gig itself sounds like a film
trailer. Cue thunder-throated voice-
over: “One man’s vision, a marriage
of heavenly choirs, sublime orches-
tras and some of the heaviest rock
musicians on earth… and the tech-
nical brief from hell. Thrill to
Transmedia’s race to stage Wembley
Conference Centre’s last and biggest
event as developers prepare to bull-
doze the venue to the ground.” But
it isn’t just the storyline for the gig
that reads like a film trailer. The
show was a trailer – for an album
of film trailer music.

There’s an entire Hollywood
industry devoted to trailer music,
which occasionally draws on the
actual film score but is more often
specially composed for the purpose.
The king of blockbuster trailers is
Yoav Goren, whose company,
Immediate Music, has written the
music to hook audiences for such
movies as Lord of the Rings, War of
the Worlds and The Da Vinci Code.
You can already hear his typical
soundtrack, all Carmina Burana-
driven choral crescendo and special
effects, fading to a black screen and
the legend “on release December
2006”. Except you can’t hear the
soundtrack anywhere else. This
music never makes it onto the album
of the film.

Nonetheless a cult following has
developed, and Goren’s vision is to
tap into that by turning the trailers
into full-blown songs, using the orig-
inal orchestration as the template,
and adding lead vocals plus rock
rhythm section. He terms it ‘cine-
matic rock’. Globus is Goren’s band
– actually a collective of singers and
musicians – and Epiconis their first
album. This gig, their debut, is the
launch, meaning there’s no
live-show template for Transmedia742.net's
Tony Henderson and Arthur
Anderson to work to as they
juggle with the logistics of
even setting up staging
for a seven-piece rock band,
50-piece choir and 60 piece
orches-tra, let alone retaining
some degree of separation
while avoiding encasing
everyone in perspex.

“We were constantly inventing
the wheel,” says Anderson. “We got
in early in the morning two days
before the show to start the build
and we didn’t even know how it
would all fit together on stage – I
had a dozen spare units of staging
round the corner just in case.”

By that time, rehearsals had been
going on at Sensible Music for a
week, though never the full monty.
The band was in full-time, joined
occasionally by Paul Englishby, the
conductor, and the orchestra’s sec-
tion leaders, while the choir
rehearsed elsewhere. “The first full
rehearsal was in the hall the evening
before the show. It just wouldn’t
have been financially viable to run
a full rehearsal schedule,” explains
Anderson. Which kept his hands full
at sound check.

The technical undertaking was
huge. Simply coping with the inputs
required two FOH desks, Richard
Oxley mixing 72 channels of choir
and orchestra on a Yamaha
DM2000 and sending two stereo to
Anderson’s Yamaha PM5d. There
they joined 48 channels of drums,
plus two percussion risers, two elec-
tric, one electro-acoustic and one
Spanish guitar, bass, submixed key-
boards and Goren’s Yamaha
Disklavier grand piano, with two
acoustic mics and stereo signals
from the onboard sound set. And as
well as the main vocals, Anderson
was handling five channels of per-
cussion effects from the onstage
computer, which was running the
show via Nuendo, providing in-ear
clicks for 26 of the onstage musi-
cians and driving the projector for
background visuals.

Monitoring was a similarly chan-
nel-heavy proposition using a 32-
channel Yamaha DM1000 for the
orchestral and choir monitor sub-
mixes, feeding a 52-channel
Soundcraft MH4. Pearce Hire,
whose Andy White was drafted in
by Transmedia to supply and design
the PA, used 12 L-Acoustics 115xt
HQ wedges as hot-spot supplements
to the in-ears.

White also chose L-Acoustics for
FOH, where the challenges lay not
only in providing Anderson with
control and separation, while deliv-
ering sound evenly throughout the
venue’s 240°seating area, but in
maintaining aesthetics and lines of
sight to suit the 10-man DVD-cam-
era crew. His solution was based on
an 8 x 2 mono cluster of Arcs with
supplemental fills following the stage
edge. But while control was essential
to the FOH mix, the sound also
demanded space, which was supplied
by additional Arcs clusters either side
of the stage for a stereo image.

Transmedia also arranged for FX
Rentals to supply and operate the twin
(main and backup) 72-channel
Pro Tools-based rigs used to
record the event for
DVD release. Greg Townley,
who had mixed Globus’s
Epicon CD, supervised
the recording, and was
also able to provide valuable
pointers to - Gez Kahan

Listeners' questions are directed to YOAV GOREN, Globus producer and co-founder of Immediate Music

Everyone at StreamingSoundtracks.com has thoroughly enjoyed listening to your new Epicon CD. Our listeners are anxious to learn more about you, your company, and what we can look forward to in the future from Globus.

For starters, could you please give us a quick overview of who and what Globus is?

About 7-8 years ago, Globus originated in my mind as a concept project. Conceptually, it was not terribly original; I wanted to juxtapose various vocal melodies and stylings from around the world and surround it with contemporary western music. I started on this journey when I traveled to Israel several years ago and set up some recordings of traditional vocal folk and religious music from various cultures – Arabic, Russian, Persian, Afghani, Turkish, Eastern European etc. Israel being a melting pot of cultures in a small place afforded the opportunity. I was armed with quite a bit of a capella vocal tracks, and my intention was to write songs around these “samples”. As the years passed the concept evolved into that of joining these ethnic vocal samples with the contrasting power of a traditional western choir and large orchestra. This all came together when Immediate Music (Jeff Fayman and myself) set out to record our “Themes For Orchestra & Choir” series for our trailer music catalog. Borrowing recordings from those sessions, I wrote new material around these short cues and turned them into more structured ‘songs’. I then searched and found talented collaborators such as Dann P, Lisbeth Scott, Anneke van Giersbergen et al to foment the vision. The end product is not nearly as ‘ethnic’ a project as was originally conceptualized, but it certainly allowed me to immerse myself more fully in orchestra & choir music, pushing that style into more of a song format than trailer cue format.
Globus is really a project more than a band, as the main thread throughout is the big sound of the orchestra & choir, and the cinematic writing of Jeffrey Fayman and myself, as well as other contributors.

How did you and Jeffrey Faymen meet and start working together?

Our friendship had humble beginnings. In 1991, I was working in a small music shop in Santa Monica, California while also tutoring people part time in the use of synthesizers and computers. MIDI was a fairly young concept, and during those days many composers discovered they could actually set up complete recording setups in their bedrooms. Jeffrey had a small composing setup in his apartment. One day, he walked into the store I was working, saw that I was proficient with MIDI gear, and hired me to teach him how to use the equipment in his current setup. We became friends and also started sharing with each other our compositions and love of film music. Just for the fun of it, we started writing together, and were able to get a few jobs writing for television shows and music libraries. Both our aspirations at the time was to get into film scoring, and to that end we thought we’d try to break into the trailer scoring market in order to gain experience.
Jeff had actually composed several B-movie trailers in the 80’s and knew the names of some of the trailer companies in LA. We put together a demo tape (cassette!!) and dropped it off at several trailer houses in town. Slowly, we started getting calls to score trailers. By the beginning of 1993, we were scoring one trailer per month, and in our down time, we’d be writing big thematic cues together which ultimately laid the foundation for our trailer music catalog.



There was a time when original trailer music wasn't so prevalent, since existing scores were edited to fit the trailers. Could you talk about when you started seeing a shift towards using original music for trailers?

In the early to mid 90’s, being a trailer composer, while lucrative, was a thankless job. Primarily the reason you’d be brought in to compose a trailer would be to replace the trailer’s “temp” score, usually an orchestral cue from an existing soundtrack of a different film. The scenario for getting hired today is not much different, except for the fact the results of composed trailer score today far exceed the quality usually heard back in the day. Back then it was always an uphill climb to match the intensity and emotion of a soundtrack cue. Today, thanks to technology, a big orchestral sound almost matching in production value to many soundtracks can be achieved in one’s home studio. Additionally, the industry of trailer scoring is now a mature one, with many seasoned composers experienced in composing and producing quality trailer scores, either electronically or with full orchestra. I think the shift started happening as studios and trailer houses forged solid relationships with newly respected composers who could prove they could deliver customized music which rivaled soundtrack material, yet probably cost less. Also, th - StreamingSoundtracks.com

Listeners' questions are directed to YOAV GOREN, Globus producer and co-founder of Immediate Music

Everyone at StreamingSoundtracks.com has thoroughly enjoyed listening to your new Epicon CD. Our listeners are anxious to learn more about you, your company, and what we can look forward to in the future from Globus.

For starters, could you please give us a quick overview of who and what Globus is?

About 7-8 years ago, Globus originated in my mind as a concept project. Conceptually, it was not terribly original; I wanted to juxtapose various vocal melodies and stylings from around the world and surround it with contemporary western music. I started on this journey when I traveled to Israel several years ago and set up some recordings of traditional vocal folk and religious music from various cultures – Arabic, Russian, Persian, Afghani, Turkish, Eastern European etc. Israel being a melting pot of cultures in a small place afforded the opportunity. I was armed with quite a bit of a capella vocal tracks, and my intention was to write songs around these “samples”. As the years passed the concept evolved into that of joining these ethnic vocal samples with the contrasting power of a traditional western choir and large orchestra. This all came together when Immediate Music (Jeff Fayman and myself) set out to record our “Themes For Orchestra & Choir” series for our trailer music catalog. Borrowing recordings from those sessions, I wrote new material around these short cues and turned them into more structured ‘songs’. I then searched and found talented collaborators such as Dann P, Lisbeth Scott, Anneke van Giersbergen et al to foment the vision. The end product is not nearly as ‘ethnic’ a project as was originally conceptualized, but it certainly allowed me to immerse myself more fully in orchestra & choir music, pushing that style into more of a song format than trailer cue format.
Globus is really a project more than a band, as the main thread throughout is the big sound of the orchestra & choir, and the cinematic writing of Jeffrey Fayman and myself, as well as other contributors.

How did you and Jeffrey Faymen meet and start working together?

Our friendship had humble beginnings. In 1991, I was working in a small music shop in Santa Monica, California while also tutoring people part time in the use of synthesizers and computers. MIDI was a fairly young concept, and during those days many composers discovered they could actually set up complete recording setups in their bedrooms. Jeffrey had a small composing setup in his apartment. One day, he walked into the store I was working, saw that I was proficient with MIDI gear, and hired me to teach him how to use the equipment in his current setup. We became friends and also started sharing with each other our compositions and love of film music. Just for the fun of it, we started writing together, and were able to get a few jobs writing for television shows and music libraries. Both our aspirations at the time was to get into film scoring, and to that end we thought we’d try to break into the trailer scoring market in order to gain experience.
Jeff had actually composed several B-movie trailers in the 80’s and knew the names of some of the trailer companies in LA. We put together a demo tape (cassette!!) and dropped it off at several trailer houses in town. Slowly, we started getting calls to score trailers. By the beginning of 1993, we were scoring one trailer per month, and in our down time, we’d be writing big thematic cues together which ultimately laid the foundation for our trailer music catalog.



There was a time when original trailer music wasn't so prevalent, since existing scores were edited to fit the trailers. Could you talk about when you started seeing a shift towards using original music for trailers?

In the early to mid 90’s, being a trailer composer, while lucrative, was a thankless job. Primarily the reason you’d be brought in to compose a trailer would be to replace the trailer’s “temp” score, usually an orchestral cue from an existing soundtrack of a different film. The scenario for getting hired today is not much different, except for the fact the results of composed trailer score today far exceed the quality usually heard back in the day. Back then it was always an uphill climb to match the intensity and emotion of a soundtrack cue. Today, thanks to technology, a big orchestral sound almost matching in production value to many soundtracks can be achieved in one’s home studio. Additionally, the industry of trailer scoring is now a mature one, with many seasoned composers experienced in composing and producing quality trailer scores, either electronically or with full orchestra. I think the shift started happening as studios and trailer houses forged solid relationships with newly respected composers who could prove they could deliver customized music which rivaled soundtrack material, yet probably cost less. Also, th - StreamingSoundtracks.com

Nowadays a commingling of diverse music genres seem to create and embody new genres. A current example of this musical hybrid is an album called “Epicon” by myriad composers, known quite apropos as, GLOBUS. (Think: Epic, globally.)

The group’s mastermind is Yoav Goren. Goren is also the founder of Immediate Music which licenses and promotes written music for movie trailers. Goren and other musicians collaborate on popular trailers such as “Spiderman 2,” “The Incredible Hulk,” and “Iron Man,” to list a few.

People wanted to hear more. In their search for trailer ‘soundtracks,’ (what a concept!) this new LP “Epicon” was formed to quell the roaring demand. Many of the songs featured on the CD have been re-tooled and enhanced in epic ways.

“Epicon” is pretty ear-gasmic. It’s got a flair for the dramatic, but it’s also accessible, and easy to listen to. It has the kind of sound that instrumentalists and virtuosos could produce – and envy at the same time. For example, many tracks offer sublime progression, tension-building percussion, vocals, and strings blended with drum and bass, and guitar. At times, it sounds like a rock-anthem, and at others a soothing, somber ballad.

It’s as if the Romantic poets of yore (Keats, Wordsworth, and Browning) put their words to music –a kind of rich, lavish, and aristocratic blend – with a modern twist.

Oddly, my favorite track is “Orchard of Mines” which is antithetical to the nature of the other songs on the CD. It’s got a down-tempo, lie-on-the-roof-of-your-car-and- gaze-up-at-the-stars-type of feel.

This CD is truly for music appreciation, not just music fans or lovers. But don’t just take my word for it. Pick it up. - Suzanne Baran, The Big Takeover Review

Nowadays a commingling of diverse music genres seem to create and embody new genres. A current example of this musical hybrid is an album called “Epicon” by myriad composers, known quite apropos as, GLOBUS. (Think: Epic, globally.)

The group’s mastermind is Yoav Goren. Goren is also the founder of Immediate Music which licenses and promotes written music for movie trailers. Goren and other musicians collaborate on popular trailers such as “Spiderman 2,” “The Incredible Hulk,” and “Iron Man,” to list a few.

People wanted to hear more. In their search for trailer ‘soundtracks,’ (what a concept!) this new LP “Epicon” was formed to quell the roaring demand. Many of the songs featured on the CD have been re-tooled and enhanced in epic ways.

“Epicon” is pretty ear-gasmic. It’s got a flair for the dramatic, but it’s also accessible, and easy to listen to. It has the kind of sound that instrumentalists and virtuosos could produce – and envy at the same time. For example, many tracks offer sublime progression, tension-building percussion, vocals, and strings blended with drum and bass, and guitar. At times, it sounds like a rock-anthem, and at others a soothing, somber ballad.

It’s as if the Romantic poets of yore (Keats, Wordsworth, and Browning) put their words to music –a kind of rich, lavish, and aristocratic blend – with a modern twist.

Oddly, my favorite track is “Orchard of Mines” which is antithetical to the nature of the other songs on the CD. It’s got a down-tempo, lie-on-the-roof-of-your-car-and- gaze-up-at-the-stars-type of feel.

This CD is truly for music appreciation, not just music fans or lovers. But don’t just take my word for it. Pick it up. - Suzanne Baran, The Big Takeover Review