![]() ![]() We were dealing with the whole range, from big, ominous entrance music and super synthy huge arena rock, to telling tragic and heartbreaking stories.Ĭan you talk about the different approaches that you each brought to the project to create the show’s unique sound? As composers, there's so much for us to work with: so many different characters and the people behind the characters, the families and the tragedies. It can take someone who doesn't know anything about wrestling, and turn them into a super fan. But the real-life version of all this is so compelling that it can deeply draw people into the world of wrestling. Wade MacNeil: I really wasn't that into wrestling as a kid, because I didn't have an older brother or cousin that got me into it at a young age. We tried to play on some of the sounds of those themes when composing for the show. One of the big things that Jason Eisiner wanted to bring up with the show was that you knew whether it was Ultimate Warrior or Undertaker coming to the ring because of an audio cue before anything else. It was definitely an early education in the power of having a strong theme for a character. How did the history of music and wrestling inform your approach, and were you guys big wrestling fans before this project?Īndrew Gordon Macpherson: I was a big WWF fan, pre-Attitude Era. Noisey: Music has been so central to wrestling, particularly when thinking about wrestler’s entrance music. ![]()
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