Original Motion Picture Soundtrack (OST) from the film 1917 (2019). The soundtrack music was composed by Thomas Newman (The Highwaymen, The Shawshank Redemption, The Man with One Red Shoe, Passengers).
1917 is a British-American war drama film written by Krysty Wilson-Cairn and Sam Mendes, directed by Sam Mendes. The film stars Benedict Cumberbatch, Colin Firth, Mark Strong, George MacKay, Dean-Charles Chapman, Richard Madden, Andrew Scott, Daniel Mays, Adrian Scarborough, Jamie Parker, Nabhaan Rizwan, Claire Duburcq.
The movie was filmed by DreamWorks Pictures, New Republic Pictures, Amblin Partners, Neal Street Productions, and Reliance Entertainment, distributed by Universal Pictures.

《狮子王》应该是好莱坞历史上最成功的卡通片，它的故事情节由莎士比亚名着《王子复仇记》改编而来，但是没有保留那个悲剧的结尾，影片末尾狮子王带着小狮子感受生命的循环，主题曲响起，真是荡气回肠。
这部电影的配乐拿了奥斯卡，牛人Elton John的Can You Feel The Love Tonight有数不清的语言版本，中文版的是张信哲和李玟唱的.

Donald McKinley Glover Jr. (born September 25, 1983) is an American actor, comedian, writer, producer, director, musician, and DJ. He performs music under the stage name Childish Gambino and as a DJ under the name mcDJ.

Amalaratna Zandile Dlamini (born October 21, 1995), known professionally as Doja Cat, is an American singer, rapper, songwriter and record producer.

关于这张专辑，John Mayer解释说：“这次曲风是以抒情蓝调和灵魂乐为主，是一张重新发现自我、探索人性的专辑。”专辑还将特别收录John Mayer上张Live专辑中的《Vultures》和《Gravity》两首单曲的录音室版本，以及翻唱Jimi Hendrix的 《Bold As Love》。此张专辑也继续和Steve Jordan, Pino Palladino合作..

John Boyne's wonderful novel The Boy in the Striped Pyjamas is aimed at teenage readers but this rather-older reader was fully engaged. It's about the Holocaust, told through the eyes of a young boy whose father is sent to be the warden of Auschwitz and takes his family with him. Poignant and moving - though slightly implausible at times - it has now been made into a film, directed by Mark Herman. With much of the book's power coming from the reader discovering things at the same time as Bruno, the little boy whose tale it is, and from him (and consequently the reader) being unable to deduce things from what he sees - things that the viewer of a film would instantly be able to deduce, so it will be interesting to see if the filmmakers have managed to pull it off, particularly the ending, which in the book is absolutely devestating.
James Horner would not be an obvious choice to score a film like this, but has delivered what is the year's most impressive score album so far. Several reviews of the film I have seen have been critical of his music (The Times described "the lachrymose score from the dreaded James Horner") but purely from listening to the CD, it is hard to see how that description could apply. The elegant, classical opening theme ("Boys Playing Airplanes") is the most beautiful I've heard in a film score in a very long time - it sounds suspiciously like it might be something Horner has borrowed from someone else, but given that nobody has accused him of stealing it from anywhere (apart from his own score for Swing Kids!) I guess it can't be. Horner himself plays the piano solo, and as the theme develops and the strings appear it is certainly not hard to conjure up the mood of childhood innocence at the heart of the story. What a piece of music it is - whenever it appears in the score, it impresses.
"Exploring the Forest" presents another piano-based theme, recalling the light, airy feel of certain passages of The New World (Horner's last exceptional album) before reprising music which is extremely similar to A Beautiful Mind (and others). Your ability to move beyond the recollection of previous works will dictate your ability to admire this score as much as I do - while sometimes it's hard to forgive composers for it, when the end product is as startlingly good as this, I can move on and leave it alone.
Horner subtly uses different textures to create different moods, even when maintaining the same thematic material - the use of synths at the start of "The Train Ride to a New Home" creates an unsettling feel before the main theme is reprised and the mood lightens considerably once more. There's a distinct feeling of tragedy running through "The Wind Gently Blows Through the Garden" (Horner strikes again with these track titles!) and again, this is affecting music. A solo female vocalist is used in "An Odd Discovery Beyond the Trees" - again recalling A Beautiful Mind - and the unusual way this is combined with synths certainly makes for a captivating listening experience. "Black Smoke" uses the piano in a very different way, adding dissonant textures to the otherwise-sweet music to once again produce a very impressive atmosphere.
Horner saves his biggest emotional punches for the final two cues. "Strange New Clothes", almost ten minutes long, takes the listener on a somewhat draining journey. It's mostly fairly subtle, but very affecting, building to an extremely powerful climax. "Remembrance, Remembrance" is the lengthiest, most impressive presentation of the main theme. Unfortunately this wonderful album has only been made available as a digital download - while such a method seems entirely sensible if releasing something more obscure, for music by James Horner for an Oscar-bait movie it seems absurd. Hopefully a proper CD will follow at some point, because this is music which deserves to be heard. It's one of Horner's most beautiful and poignant scores, a very impressive achievement.

The Whiplash soundtrack consists of 24 tracks sequenced in 3 distinct parts: Original jazz songs written for the film, original underscore written for the film, and classic jazz standards by Stan Getz, Duke Ellington and more. There are also choice snippets of dialog included on the soundtrack that sum up the narrative of the film and help to put the music in context (à la Pulp Fiction). The Original Score & Big Band Songs were created by Justin Hurwitz. The original jazz songs were created by Grammy nominated composer, Tim Simonec.

Gone Girl Soundtrack (aka Gone Girl - Soundtrack From The Motion Picture) was scored by Trent Reznor and Atticus Ross for David Fincher's film Gone Girl, which is adapted from the bestselling novel by Gillian Flynn. This is the third soundtrack that Reznor and Ross have worked on together, preceded by The Social Network Soundtrack and The Girl With The Dragon Tattoo Soundtrack, also for David Fincher.

洛杉矶流行音乐四人组合The Honeysticks于2017年6月16日发布单曲《Out Like A Light》。
歌词：
Woo woo woo woo…
Take me up tight
抱紧我吧
Strung up like a kite
如同牵紧一只风筝
Dumb, wicked and wile
无言，为恶，欺骗
Love me in spite
一往情深
If I betrayed our lonely nights
若我辜负寂寞良辰
Spent out like a light
酣然入梦
With no kiss goodnight
不道一句晚安
Would we never fight when I'm away
我们能否好聚好散

（絮语）
Did your mother always seem to hate me
伯母似乎一直不待见我
I'm sicker every day
我日渐消沉
And now I'm terrified of talking to my friends
如今畏惧交流
Only to stay still
只愿一人独处
Dreaming of our first born
梦到我们有了孩子
And your hair covered in popcorn
发上沾满爆米花的你
You never leave, You never leave, You never leave
许我地老天荒，许我地老天荒，许我地老天荒
You leave me up tight
抓紧我的心吧
Strung up like a kite
如同牵紧一只风筝
Dumb, wicked and wile
无言，为恶，欺骗
Love me in spite
一往情深
If I betrayed our lonely nights
若我辜负寂寞良辰
Spent out like a light
酣然入梦
With no kiss goodnight
未道一句晚安
Would we never fight when I'm away
我们能否好聚好散

Woo woo woo woo…
歌词贡献者：坚瓠
翻译贡献者：坚瓠

美国流行女团The Pussycat Dolls回归单曲"React"。

On February 21, 2013, Ocean confirmed that he had started work on his second studio album, which he confirmed would be another concept album. He revealed that he was working with Tyler, The Creator, Pharrell Williams, and Danger Mouse on the record.He later stated that he was being influenced by The Beach Boys and The Beatles. He stated he was interested in collaborating with Tame Impala and King Krule and that he would record part of the album in Bora Bora.
In April 2014, Ocean stated that his second album was nearly finished. In June 2014, Billboard reported that the singer was working with a string of artists such as Happy Perez (whom he worked with on nostalgia, ULTRA), Charlie Gambetta and Kevin Ristro, while producers Hit-Boy, Rodney Jerkins and Danger Mouse were also said to be on board.[5][6] On November 29, 2014, Ocean released a snippet of a new song supposedly from his upcoming follow-up to channel ORANGE called "Memrise" on his official Tumblr page. The Guardian described the song as: "a song which affirms that despite reportedly changing labels and management, he has maintained both his experimentation and sense of melancholy in the intervening years". On April 6, 2015, Ocean announced that his follow-up to channel ORANGE would be released in July, as well as a publication, although no further details were released. The album was ultimately not released in July, with no explanation given for its delay. The publication is rumored to be called Boys Don't Cry, and the album is slated to feature the aforementioned "Memrise".
On July 2, 2016, he hinted at a possible second album with an image on his website pointing to a July release date. The image shows a library card labeled Boys Don't Cry with numerous stamps, implying various due dates. The dates begin with July 2, 2015 and conclude with July 2016 and November 13, 2016. Frank's brother, Ryan Breaux, further suggested this release with an Instagram caption of the same library card photo reading "BOYS DON'T CRY #JULY2016".On August 1, 2016, a live video hosted by Apple Music showing an empty hall was launched on the website boysdontcry.co. The website also featured a new "boysdontcry" graphic. The video marked the first update on the website since a "date due" post from July.
On August 1, 2016, a video appeared that showed Frank Ocean woodworking and sporadically playing instrumentals on loop. That same day, many news outlets reported that August 5, 2016, could be the release date for Boys Don't Cry. The video was revealed to be promotion for Endless, a 45-minute long visual album that began streaming on Apple Music on August 19, 2016.[16]
The following day, Frank posted a new picture on his website advertising four pop-up stores in Los Angeles, New York, Chicago, and London. Later in the day, the album went up on iTunes.

《Channel Orange》目前获得的评价都十分积极。《娱乐周刊》的梅丽莎·马尔斯（Melissa Maerz）称赞了该专辑中的情歌，并认为他的音乐完美地攫取了话题的关键。[10] 《时代》的梅丽莎·洛克（Melissa Locker）则称奥申为“一颗冉冉升起的演奏家新星”，并称他的歌词“将该专辑从一张仅仅是好过一般水准的节奏布鲁斯唱片提升为一张充满才华[...]的成熟专辑，特别是考虑到它的创作者却如此年轻”。[11]AllHipHop.com的乔·加西亚（Jon Garcia）批评一些人将关注点放在围绕奥申的争议上，而不是关心他的音乐所表达的信息，“弗兰克·奥申通过《Channel Orange》，将自己置于音乐流派区隔和身份标签之上。这不是一个夏季休闲音乐，也不是深刻的音乐，亦不是灵乐，也不是奇怪的音乐，更不是同志音乐”。[12]The Lantern则在点评该专辑时称，“《Channel Orange》是性感的，我如果要形象的描述，它就像是80年代城市的夜晚。这就是它给我的感觉。‘Sierra Leone’就是一个好例证……我在韦斯特2010年的巨著《My Beautiful Dark Twisted Fantasy》之后，还从未被如此感动过”。评论者给给专辑的评级是“A”。[13]Billboard.com发表的专辑评论也趋向正面，表示“……无论在该专辑中奥申是怎样的情绪，这些歌曲听起来都太棒了。标准化的音乐制作流程并没有扼杀歌手那多变的声线，这些声音绕梁三日，给听者以前所未有的感受，《Channel Orange》中没有一首烂歌，尽管有些时候奥申可以把持的更好。”评论者表示“Pyramids”是该专辑的中流砥柱，并且盛赞了它的结构。

Until a late flurry of percussion arrives, doleful guitar and bass are Solána Rowe’s only accompaniment on opener “Supermodel,” a stinging kiss-off to an adulterous ex. It doesn’t prepare you for the inventively abstract production that follows—disembodied voices haunting the airy trap-soul of “Broken Clocks,” “Anything”’s stuttering video-game sonics—but it instantly establishes the emotive power of her rasping, percussive vocal. Whether she’s feeling empowered by her physicality on the Kendrick Lamar-assisted “Doves in the Wind” or wrestling with insecurity on “Drew Barrymore,” SZA’s songs impact quickly and deeply.