While composing the music for Warlands – The Soundtrack, I’ve taken cue from a plethora of post-apocalyptic movies such as Death Race, Doomsday, Escape from New York, Terminator, and many more. Movies such as 28 Days Later, Romero’s “Dead” movies, and a little Planet Terror have also been thrown in for good measure.
“Prelude to Armageddon” was added halfway through the writing process as an album intro because I felt the audience needed a primer to prepare them for “This is Warlands.”
“This is Warlands” was the sixth and final single released to promote the album. As with most of the album, it features Trevor Peters on guitars and is the heaviest rock song on the soundtrack. I wanted a song that embodied the emotion and the edgy sounds of the movies that inspired me throughout the writing process and “This is Warlands” delivers!
“Snakes on the Playground” was the first single released to promote the album. This song is the perfect theme song for any biker gang terrorizing the helpless across the Warlands. Inspired in part by the Drednoks found in GI Joe comics & cartoons, the idea of a “rock song” for Warlands (Post-Apocalyptic Miniatures Mayhem) was further embedded by the teaser trailers for Death Race which featured “Welcome to the Jungle” by Guns N’ Roses.
“Alone and On the Run” is the first of several rock / electronic / orchestration “hybrid” songs on the album. I hope the blend of sounds really surprises and moves the listener.
“Surviving the Wastes” started out as a “zombie song” early in the writing stages but quickly morphed into what I like to refer to as “The Survivors’ Guide to the Warlands.” Who knows…maybe I’ll actually write a book with that title.
“Get da Guzz” was inspired by the game’s promotional tag-line: “In the future the only way to get gas is with a gun!”
“Cruising the Old 66” was the third single released to promote the album. In the game, the Blackwood Mercenaries patrol old Route 66 – now referred to as the Devil’s Backbone – to keep it clear for supply runs and clear of raiders, mutants, zombies, and whatever else the Warlands have to offer. In a series of short stories written by Bryan “Stratos” Borgman and published in Aberrant’s Data Dump, the main character named Hunter Ortega begins his quest on the zombie-filled streets of Chicago before following the old 66 deep into the Warlands of the former USA. “Cruising the Old 66” once again features Trevor Peters on the talk box (as on “Snakes on the Playground”) and gives a nod to some of the jangly rock of yesteryear. Toss in some rockin’ and thrashin’ guitars, along with some zombies, and you have the desolate setting of Warlands.
Theme – Roll down the windows, warm up guns, and get your kicks on the old 66!
“Monkey Wrenchin’” was the fifth single released to promote the album. In the tabletop miniatures game Warlands, factions and gangs hash out a day-to-day living by doing whatever is necessary to survive against the living, un-living, and their post-apocalyptic surroundings. Many of these survivors, including members of the LoTeks and Nomads, rely on scavenged and plundered goods to keep their bellies and gas tanks filled. This song is in honor of those dedicated to the craft of keeping their vehicles and machinery in working condition.
Theme – A song for the mechanics, tinkerers, fiddlers, grease monkeys, engineers, etc. who strive to keep things operational while others in their team get all the “hero glory.”
“Nomads and Road Runners” is the classic double entendre title. Deep in the Warlands, it is very likely visitors may encounter nomads, roadrunners, and various other animals, people, and vehicles.
“Escape from Lost Vegas” is inspired in part by the two “Snake” movies that share similar titles. Also, in the game Warlands, Lost Vegas is still very much the pinnacle of sin and debauchery, and is the home of the infamous Warlands Deathrace.
“This Cursed Earth” is another theme song for the chaotic atmosphere of the Warlands.
“The End is Extremely Nigh” is a somber tune to invoke a more reflective emotion amidst all the chaos.
“Zombie Nation” was the fourth single released to promote the album. In the game Warlands, the Eastern seaboard is under control of the Zombie Nation. While “intelligent” zombies are holed up in New Armageddon (formerly New York), undead of the “shambler” and “runner” variety can be found anywhere… including the waste of the Warlands. This song is one of their themes. “Zombie Nation” is an example of the more “cinematic/film score” music for Warlands – The Soundtrack and features Trevor Peters on guitar.
“The Streets of Despair” is the second of the “zombie songs” on the album. As mentioned above, many of the cities throughout the former USA are infested with undead creatures. “Streets” is set in one of those cities – possibly Chicago where Hunter Ortega’s story begins.
“The Zombies Are Taking Over” was originally part of “They’re Everywhere!” but halfway through the writing stages I decided that some listeners might not like the speaking part intruding on the dark ambience of the song so I cut it up and made it into its own track on the CD.
“They’re Everywhere!” is the first “zombie song” I ever composed; all the other zombie songs on this album are based on or borrowed from this song in style, structure, and theme.
“Undead Walking” is the fifth “zombie song” and final “dark ambience” track on the album.
“Left Coast Lingo” was the second single released to promote the album. This Orange County-styled rock song features Trevor Peters on guitar, and is sort of a party song for the post-apocalypse survivors living day-to-day on the Pacific shoreline.
“Look to Tomorrow” is the happy ending of the soundtrack. In my opinion, every great story needs a happy ending… or at least a nod to the fact that some day, somewhere, it’ll get better and this song is that “hope” for a brighter tomorrow.
“Bailey Records Fanfare / Age of Apocalypse.” In 2006, with the release of both the Slade Chronicles: Riftwalker – Official Mix-Tape and Amazing Universe – The Superheroic Music EP, T.W. Cory and I composed the “Bailey Records Fanfare.” The purpose of the Fanfare is to tie all our soundtracks together under a common “umbrella,” just as movie studios like Fox and Universal do with their opening fanfares. This is the fifth CD that the “Bailey Records Fanfare” has appeared on, and as with the previous incarnations it includes an album-specific tag ending.
Bryan “Stratos” Borgman
April 13, 2009