His most known work includes Rob Zombie's Halloween, Halloween II, The Devil's Rejects, Zack Snyder's Dawn of the Dead, 300, Watchmen, and Sucker Punch; Neil Marshall's Doomsday, See No Evil and James Gunn's Slither. In 2011 he scored Emilio Estevez's The Way, William Friedkin's Killer Joe, Marcus Nispel's Conan the Barbarian, Chris Gorak's The Darkest Hour, and James Gunn's Super.
During his formative years the limitations of his home studio equipment became an integral part of his creative process; sparking an experimental approach in effort to complete his compositional ideas. At age thirteen he started daisy-chaining cassette recorders to produce multi-track recordings. An Echoplex and other sound mutation devices became the gateway to his atmospheric explorations and counter-rhythmic sensibilities, as he studied the effects of varying tape speeds on live and pre-recorded sound sources.
By nineteen, Tyler managed a trading firm in the stock market, while enjoying the beginnings of great success in Chicago-based bands. But he could not ignore the calling to expand his career in music. In 1993, fueled by an offer to score a movie that paid less than a months rent, Tyler returned to his native Los Angeles with zero experience in making music for films, and successfully produced his first score. This led to steady work on B movies while simultaneously developing the sound of his band, Pet, with singer songwriter Lisa Papineau. The duo created a stir in Los Angeles that attracted Tori Amos to a Los Angeles club show, after which she immediately began her campaign to get the band a major-label record deal by banging on the door of Atlantic Records President, Val Azoli. Pet was signed soon after, spawning Amos' Igloo/Atlantic Records imprint in effort to afford the band its greatest chance at success in the biz. After recording their debut album at Tori's hillside castle in rural Ireland in 1996, and with a platinum record to their credit for the song "Lil' Boots," from the "The Crow: City Of Angels" soundtrack album, the band began touring stints with Blink 182, Limp Bizkit, Helmet and Luscious Jackson. But the emergence of several rock & roll clichés led Tyler to the decision to leave the group to focus solely on scoring movies by late 1997.
With a sound foundation of twenty scores to his credit, Bates began his career as a film composer. The special quality of his music was recognized by director Stephen Kay, who contracted Bates to score his art house Be-Bop film, The Last Time I Committed Suicide, starring Keeanu Reeves, Adrian Brodie, and Thomas Jane. This was a great experience for both Bates and Kay, which led to their collaboration on several films since, including Get Carter; the catalyst to Tyler Bates' stylistic emergence as a film composer. After working with Matt Dillon on his directorial debut, City Of Ghosts, and Mario Van Peebles on Baadassss!, Tyler was introduced to director Zack Snyder, who responded to his concept of the score for Dawn of the Dead, which became an instant classic in the horror movie genre. Both Rob Zombie and James Gunn recognized the effect of Bates' music for Dawn, and recruited him to score their films, The Devil's Rejects, and Slither, respectively, which have also joined the pantheon of cult classic films.
Tyler Bates' music possesses a timbre of its own, attracting visionary filmmakers who aim to make distinctive films with commercial appeal. His recent work on Zack Snyder's battle epic, 300, embodies expansive orchestral and choral themes that express a sweeping range of color and emotion, while embracing a tonal palette unfamiliar to studio films of its nature. Much of the music on the soundtrack is, however, taken directly or indirectly from Elliot Goldenthal's score to the film "Titus", both soundtracks from "Troy", "Black Hawk Down" and a Macedonian etno song by Aleksandar Sarievski. This plagiarism has caused a controversy in musical circles.
Tyler Bates will compose the soundtrack for the upcoming PlayStation 3 game, God of War: Ascension.
Let Me In
Tyler Bates Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But I can't hear you
I see you, you're bleeding red and rage
But I can't feel you
But I can't hear you
But I can't feel you
But I can't feel you
We fought through Hell, hand-in-hand
Tried to save you from yourself
Night and night
You watch me burn
So you can save me from myself
First, it's you, now me
Night and night
We fought through Hell
Fought through Hell
Meet me in the fire
You hear me, I'm praying for a sign
But you can't see me
You feel me, I'm reaching for you now
But you can't reach me
Can you hear me?
We fought through Hell, hand-in-hand
Tried to save you from yourself
Night and night
You watch me burn
So you can save me from myself
First, it's you, now me
Night and night
We fought through Hell
We fought through Hell
Yeah
We fought through Hell, hand-in-hand
Tried to save you from yourself
Night and night
You watch me burn
So you can save me from myself
First, it's you, now me
Night and night
We fought through Hell
We fought through Hell
Meet me in the fire
Meet me in the fire
Meet me in the fire
I see your mouth moving back and forth
But I can't hear you
The lyrics of Tyler Bates's song "Let Me In" depict a sense of disconnect and frustration in a relationship. The singer in the song describes witnessing the other person's anger and pain, but not being able to truly understand or connect with them. Despite their efforts to support and help each other, it seems like they are both trapped in their own emotional turmoil.
The repeated lines "But I can't hear you" and "But I can't feel you" emphasize this inability to fully comprehend or empathize with each other. It conveys a sense of frustration and desperation to bridge the gap between them. The lines "We fought through Hell, hand-in-hand/Tried to save you from yourself" suggest a struggle to support and protect each other, but ultimately their own demons and internal battles get in the way.
The plea to "Meet me in the fire" could be seen as a metaphorical invitation to face their challenges together and confront their emotions head-on. It speaks to the need for both parties to actively engage and participate in the relationship, rather than being distant or emotionally detached.
Overall, "Let Me In" explores themes of communication breakdown, emotional detachment, and the struggle to connect and understand each other in a relationship.
Line by Line Meaning
I see your mouth moving back and forth
I notice that you're speaking, but I am unable to hear the words you're saying
But I can't hear you
However, I am unable to hear you
I see you, you're bleeding red and rage
I observe that you are visibly showing signs of anger and frustration
But I can't feel you
Nevertheless, I am unable to empathize with your emotions
But I can't feel you
Even so, I am still unable to understand your feelings
But I can't feel you
However, I am still unable to connect with your emotions
We fought through Hell, hand-in-hand
We endured great hardships and challenges together, supporting one another
Tried to save you from yourself
We made efforts to protect you from your own destructive tendencies
Night and night
Continuously, time after time
You watch me burn
You witness my suffering and pain
So you can save me from myself
In order to rescue me from my own inner turmoil
First, it's you, now me
Initially, the focus was on your struggles, but now the attention has shifted to mine
Night and night
Repetitively, throughout countless instances
We fought through Hell
Together, we endured immense difficulties and challenges
Meet me in the fire
Join me in embracing the intense and transformative experiences of life
You hear me, I'm praying for a sign
You acknowledge my presence, as I desperately seek guidance or reassurance
But you can't see me
However, you are unable to truly perceive my inner struggles or emotions
You feel me, I'm reaching for you now
You understand my attempt to connect with you emotionally and seek support
But you can't reach me
Nevertheless, you are unable to effectively provide the assistance or comfort I need
Can you hear me?
Are you able to comprehend the depth of my emotions and the message I'm trying to convey?
We fought through Hell, hand-in-hand
We persevered together through extremely challenging circumstances
Tried to save you from yourself
Made attempts to protect you from your own destructive tendencies and choices
Night and night
Repeatedly, throughout countless instances
You watch me burn
You witness my pain and suffering
So you can save me from myself
In order to rescue me from my own self-destructive behavior and mindset
First, it's you, now me
Initially, the focus was on your well-being, but now it has shifted to mine
Night and night
Continuously, throughout numerous occasions
We fought through Hell
We endured countless hardships and difficulties together
We fought through Hell
We persevered through extreme adversities and challenges together
Meet me in the fire
Come join me in embracing the intense and transformative aspects of life
Meet me in the fire
Join me in experiencing the profound and life-altering moments
Meet me in the fire
Unite with me amidst the intense and transformative experiences
I see your mouth moving back and forth
I am aware that your lips are in motion, engaged in continuous speech
Lyrics © BMG Rights Management
Written by: Maria Brink, Tyler Bates
Lyrics Licensed & Provided by LyricFind