BRITANNIA Soundtrack Neil Davidge

Album Info

Album Veröffentlichung:


Label: 7Hz Productions, ADA US

Genre: Soundtrack

Subgenre: TV

Interpret: Neil Davidge

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  • 1Make Amends04:01
  • 2The Sun Will Not Rise Tomorrow03:10
  • 3You Spoke02:25
  • 4The Scariest Thing02:26
  • 5War With The Regni03:41
  • 6Hope01:52
  • 7The Romans Attack04:23
  • 8Will Of The Gods01:46
  • 9Where's Islene02:18
  • 10The Sacrifice Of Pellenor10:26
  • 11The Gods Don't Deal02:49
  • 12You Still There Mate00:53
  • 13Why The F**k Am I Here02:11
  • 14Who Wants To Go First04:28
  • 15On A Nice Big Stick03:47
  • 16The Prophecy02:27
  • 17Dawn Of The Cantii02:37
  • Total Runtime55:40

Info zu BRITANNIA Soundtrack

Brand-new epic 10-part series, Brittania, scored by Cool composer client Neil Davidge is available to watch on Sky.

Set in 43AD, the anarchic drama follows the Roman army as they return to crush the Celtic heart of Britannia, a mysterious land led by warrior women and powerful Druids who claim to channel the powerful forces of the underworld.

Stars David Morrissey, Kelly Reilly, Zoe Wanamaker, Ian McDiarmid and Mackenzie Crook. Created by Jez Butterworth.

Neil Davidge
As co-writer and key sonic facilitator on the lauded Massive Attack albums Mezzanine, 100th Window and Heligoland, Bristol, England’s Neil Davidge has been integral in birthing some of the most arresting and innovative sounds of recent times. He has also enjoyed a parallel career composing for Film and Television.

To date, feathers in his cap have included The Storm That Brought You To Me, from Louis Leterrier’s, Clash Of the Titans, and his co-write score for Trouble The Water, a moving study of Hurricane Katrina victims that won a Sundance Film Festival Best Documentary award. In 2014, Neil scored Henrik Ruben Genz’s feature thriller, Good People, starring James Franco and Kate Hudson, and finished work on Vertigo Films’ Monsters: A Dark Continent, director Tom Green’s follow up to Gareth Edwards very well received 2010 feature, Monsters. More recently, Neil completed the soundtrack to Canal+ and Tandem Communications’ 2015 crime drama, Spotless, co-created by Corinne Marrinan (CSI, Crossing Lines) and Ed McCardie (Shameless), BBC’s 7-part crime drama, New Blood, created and written by Anthony Horowitz, and Sky’s epic historical 10-part series, Britannia.

Neil won over an entirely new audience in 2012. Microsoft / 343 Industries, the company behind famed multi-million-selling franchise Halo, commissioned him to write the score for the quantum leap in fun-filled alien slaughter that is Halo 4. As Neil explains, a certain hands-on experience was as vital as his musical credentials when securing the gig: “I don’t really play a lot of video games, but I’ve always played Halo. I started when I was making 100th Window with Massive Attack; it was how I entertained myself while I was waiting for the band to show up. Even later on, if I was in the studio and feeling frustrated, Halo was one of the first things I’d turn to get my head straight.”

Neil was born in Bristol, England in 1962. As a teenager he loved to paint, creating both fine-art works and more abstract pieces. Prior to studying graphic design at Brunel Technical College, he became enamoured with the late 1970’s UK punk and reggae scenes and began painting likenesses of the Banshees’ Siouxsie Sioux and the dub poet Linton Kwesi Johnson, amongst others.

Having learned guitar in line with the punk DIY ethic of the time, Neil later embarked upon long hours of alchemical, ‘suck-it-and-see’ experimentation during which time he learned the complex but rewarding art of sound recording. Happily, he was in situ at Bristol’s Coach House Studios when famed trip-hop act Portishead recorded parts of their debut album Dummy there between 1991-1994, and in 1996, he hooked-up with Massive Attack on The Hunter, a song for the Batman Forever soundtrack that featured Everything But The Girl vocalist Tracey Thorn. That same year, Massive Attack won a ‘Best Dance Act’ Brit Award, cementing a working relationship with Neil Davidge that would continue for some 17 years.

It was Massive Attack’s stately, cinematic sound – together with Neil’s longstanding affinity with visual mediums that lent his scoring for film, TV and advertising an air of inevitability. After auteur Luc Besson approached Neil and Robert Del Naja of Massive Attack to commission music for his martial arts thriller Unleashed, a swathe of other, attractively varied coups followed. Among them were scores for the films Bullet Boy and Battle In Seattle, advertising campaigns for Jaguar and Adidas, and Neil’s collaboration with Snoop Dogg while scoring music for In Prison My Whole Life, a feature documentary about US death-row journalist Mumia Abu-Jamal.

It’s an impressive résumé as it stands, but it’s his score for the release of Halo 4 – the latest incarnation of the wildly successful gaming franchise – that Neil Davidge is understandably most excited about. This, after all, is the video game franchise that has already sold over 40 million copies and generated some $2 billion of merchandising revenue. The game whose worldwide community of fans is known as the ‘Halo Nation and the game that has spawned a series of much loved comic books, and anime films. Some would say it is… THE GAME.

“To be honest, I can’t think about all that”, laughs Neil. “If I did I might go mad! I just have to concentrate on the music and hope that, if it moves me, the fans and the people at 343 Industries will get a similar feeling. If they do, I’ll have done my job. Halo is a very iconic game, so composing the score for Halo 4 is a dream gig for me. I’ve got a huge amount of respect for what Martin O’Donnell did in the past, and I suppose there’s a subtle homage to his music in my own indirect way. I’ve tried to keep things sounding like Halo, but we’re in a different galaxy now!” Neil Davidge, April 2012.

Naturally, Neil visited 343 Industries’ development HQ in the Seattle, Washington suburb of Kirkland prior to starting work on his score. The company’s vast, open-plan, airport-hangar premises were an inspirational sight, and their workforce’s energy and appetite for excellence soon rubbed off. “I came back to Bristol on a high and immediately starting writing”, says the composer. “I wasn’t even officially engaged yet, but that period generated a number of major themes that we’ve ended up keeping.”

Halo 4 was released in summer 2012. Neil says his soundtrack is a fairly even split between orchestral and electronic elements, this a tailor-made match for him and his co-arranger Andrew Morgan since both men are well versed in both fields. The orchestral elements were recorded at Abbey Road with the Chamber Orchestra Of London, and the electronic pieces were hatched at Neil’s mysterious and moniker-less studio complex in “an apartment building somewhere in Bristol.

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