Additional Programming: Christian Vorländer, Stephen Perone & Emad Borjian Music Editing: Melissa Muik Music Production Services by Michiel Groeneveld & Steve Kofsky Music Conducted by Nick Glennie-Smith Assistant Music Editor: Nevin Seus Supervising Orchestrator: Bruce L. Fowler Orchestrators: Walter Fowler, Yvonne Suzette Moriarty, Kevin Kaska & Carl Rydlund Orchestra Contractor: Peter Rotter Vocal Contracting: Japser Randall Pro Tools Score Recording: Joel Tawinaki Music Payroll: Gary Wasserman Score Coordinator: Czarina Russell Music Preparation: Booker White Score Mixed by Junkie XL Warner Scoring Stage Team: Tom Hardisty, Richard Wheeler Jr, Ryan Robinson & Jamie Olvera Score Mixed at Computer Hell Cabin, Santa Monica, CA
Album Mastered by Junkie XL Album Master Assembly: Stephen Marsh at Marsh Mastering Junkie XL is Managed by Michiel Groeneveld
Featured Musicians: Junkie XL: Drums, Frame Drums, Guitars, Bass, Synths, Dulcimers, Piano From Hell & Sound Design
Emad Borjian: Setar
Vocals by MC Rai & Hilda Örvarsdottir
Album Produced by Junkie XL Executive Produced by Gianni Nunnari, Mark Canton, Zack Snyder, Deborah Snyder & Bernie Goldman Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek & Darren Higman Executive in Charge of WaterTower Music: Jason Linn Music Business Affairs Executive: Lisa Margolis
Tom would like to thank: Saskia Holkenborg Dekker, Zack Snyder, Deborah Snyder, Hans Zimmer, Trevor Christie, Bob Badami, Barren Higman, Paul Broucek, David Altschul, Keith Zajic, Bill Learned & Amos Newman
Thanks to: Pete Axelrad, Tess Bonilla, Rocco Carrozza, Ariadne Chucholowski, Melissa Crow, Joe Kara, Kevin Kertes, Ny Lee, Kris Little, Kari Miazek, Genevieve Morris, John F.X. Walsh & Robert Zick
Release date : 03/04/2014
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Was this scored to picture or was it more suite based?
I finally got a chance to see the film (which is dumb as hell, but surprisingly fun) and was surprised to see how well the music works in context. This is one of those scores which are so simplistic, but equally effective. Definitely works wonders in the gym.
It's a shame the "War Pigs" variation on the credits was never officially released though....
Honestly this was one of those middle of the road scores for me. I enjoyed the more action oriented pieces Fog Battle and Greeks Are Winning, but at the same time it still just felt like a meek effort at best. Too much MOS on the mind and while I didn't hate that score, I was just hoping for a little more. Still better than Bates' score for the first though.
By the way, did anyone else think "Hey, the guitar bits in End Credits kind of have the same beat as War Pigs" before you saw the movie, then you see they play it just like that in the end credits? That part I will give Junkie XL props for. Rather clever and Ozzy's lyrics give it that badass feel.
Guess Man of Steel was pretty fresh in their minds when they worked on this. Still awesome though. It's like potato chips for the ears.
What an incredible bad score. Shall we get ear cancer? Junkie XL obviously has no talent.A shame ...
anAnymous: please correct your sentence, Junkie XL obviously has no talent TO PLEASE YOUR LITTLE EARS! Which I think is a rather good thing :-)
It's fascinating how much this score is polarizing people.
From the Thing I heard for the music sample, I do not like it either.
trent easton navarro
If they had asked a bunch of childeren to bang on various things as loud as possible, the result would have been the same. And those kids wouldn't have needed two weeks ;)
So basically you're saying that the drums are randomly played, which is totally not true. And you're saying that there's nothing else than drums in this score, which is also totally wrong (listen to tracks 1, 3, 5, 6, 7, 9, 11, 12, 14).
You're entitled to your opinion, but what you said is not an opinion, it's just a big fat lie. Trent the hater, welcome but not welcome!
trent easton navarro
Oh yeah, I forgot to add that they need to ask one of those kids to cry a bit like someone stole their favorite toy :P
trent easton navarro
Obviously, I was just joking a bit. Nice to see you have a sense of humor. Truth be told, the score left me indifferent. In a way it's similar to Bates' Conan score. Holkenborg has all the toys available to him, but doesn't know how to use it in an interesting way. The score was servicable in the film but that's it.
Fog Battle was pretty cool, especially the melody heard at the two minute mark. Shame he didn't used that more often.
It is a completely childish, infantile score. Nothing more. And by the way. This is not a question of taste.
What are you talking about? Of course it's a question of taste. Whether you like something or not is always a question of taste.
No, I must agree: It's not a matter of taste here... This score is ridiculously bad. You can like it, but you can't actually deny it is bad.
"Bad" and "good" with regards to music are impossible to quantify. You can say a score is good because it's complicated, varied, inventive, original, thematic or any number of other descriptors because our culture has generally come to accept that those things make for good music. But that doesn't mean that if someone says they think this is a good score that they are wrong. Is it less complicated than Star Wars? Yes. Is it less varied than Star Wars? Yes. Is it worse than Star Wars? 99% of people will probably say yes. But that doesn't mean it's a fact that it is.
And don't misunderstand me - I think this score is awful! But just because I think that doesn't make it true (or false) for anybody other than me.
The score is absolutely TERRIFIC inside the movie. Really. It captures the frenetic action as well as the bombastic glorious sequences. And I definitely cannot imagine any other style of music fitting this movie.
And above all, it is perfectly over-mixed. It's been a long time since I've heard a score so loudly mixed in a movie, louder than everything else. Finally, a director who understands that the purpose of an epic, bombastic score is NOT to get buried under CGIs and dialogs!
If only this was actually an epic, bombastic score...
I knew you were going to say that, Edmund. But actually, very honestly, while watching the movie I couldn't possibly imagine something different from Junkie XL's score. I'd be curious to know what you think about it if you get a chance to watch the movie.
Hans said Tom wrote this score in 2 weeks to replace the poor lost son Jusid ! lol
In 2 weeks? That's a performance. I start to understand why Hans finds him so amazing.
It wouldn't be the first time. James Horner came up with his Troy score in 10 days and while it's nothing special (and is full of pieces of his older scores), it's miles and miles beyond this score. Seriously. It's just drums and wailing!
Remember Troy has A LOT of wailing too... But again, drums and wailing are more suited to this movie than Horner's score was to Troy, in my opinion. It was the only thing I didn't like in Troy. I guess it's just a matter of perception.
Btw, I think it's ridiculous to call Junkie's score "just drums". What would you think if I called John Williams' Star Wars "just orchestra"?
Horner's "wailing"s did sound odd and overused.
On the other hand, Junkie XL's score fits beautifully.
An orchestra has far more expressive capability than drums do. Percussion can be a fantastic tool for composers to use but relying almost entirely on it just makes the music sound incomplete to me.
In 2 weeks?
Well they should let Bergersen do it then. If you hear what kind of creativite and technical power can pull off in 10 days with only a sampled orchestra and choir (That's a wrap)...
Anonymous, it's true but on the other hand "That's a wrap" is only 10min long, and totally unsuited to a movie - especially a movie like this one.
But to all of you that aren't happy with this score, i suggest one thing: watch the movie first, then discuss its score. Because i'm deeply convinced than anything more refined or orchestral would have been really out of place.
So you're basically saying this movie needed a bad score?
Bad or Good is a perspective innit? Some dig it, some others don't.
Yesterday I listened to the track "That's a wrap", which everyone here is said was great and Edmund even said it was like "Powell on meth". And I am sorry to say I was sorely disappointed. Yes, it had some nice arrangements but it wasn't anything which I haven't already listened. And I think Powell, even if we was on triple dose of meth would have given much much better ass kicking music than this.
And no I haven't listened to this soundtrack. And no I haven't seen the movie.
Right, but Ds specifically said he thinks that this score shouldn't have been refined. Lack of refinement is never a good thing. You can write an extremely aggressive score (which this is) and still make it sound refined (which this isn't).
Sorry to hear you don't like "It's a Wrap" though. What do you mean by "it wasn't anything I haven't already listened"? The themes in it or just the general style?
I am gonna see the movie tommorow so I am curieus if it sounds better then...
I liked the first 300 movie score. It had better themes and was way more epic. Even if the best bits where stolen as well from Titus.
Saw Pompeii yesterday. That score was brilliantly used in the movie (and also LOUD) but it sounds on album awesome too. Even without the images.
I Defer to 'Ds' and others who heard it about this refinement issue as I haven't :D
Well it's a bit of both actually. Mind you at some parts the arrangements were excellent but I felt the themes weren't anything special.
trent easton navarro
Gonna watch the film tonight, let's see if I like the score any better after that. On it's own the score is boring as hell...
Just percussion can be great. There's a track on the Rising Sun ost called Tsunami, it only uses taiko drums and it's friggin awesome!
It certainly isn't flawless score, but it works really well within the movie and it has some great and - I don't mind saying this - original moments. It's highly percusive and the MoS influence is really obvious, but considering that there were only 2 weeks to write it, it is a admirable result with it's own identity. Junkie is certainly showing some promise here.
Why couldn't this score have sounded more like "To Glory" by Two Steps From Hell? That's the kind of music I want to hear in my 300 movies, not Man of Steel table scraps... :/
if this movie were pg-13 and more light-hearted then yes. Otherwise certainly not. What makes this MoS scraps? The drums? Different drums, different style,different soundscape,different sound design,different instrumentation, different structuring etc. The drum writing is more dynamic and interesting here than in MoS imo.
So you can't have a heroic theme or music with actual personality in an R-rated movie? What bullshit is this?
Everything about the drum writing screams Man of Steel in this. No, they're not the exact same rhythms, but close enough. Just listen to Marathon, for crying out loud. And what is with the fixation on drums in this score anyway? Most of the action cues are 95% drums. It's just loud...there's no feeling to the music. Are the Greeks winning or the Persians? I can't fucking tell because the music sounds exactly the same no matter what. Drums, drums, drums, drums and more drums. Somebody MAKE IT STOP!
Two Steps From Hell can return to Hell, I don't want to hear from them for many reasons...
And if that's to mention some soul-less over orchestrated stuff, what's the point ? ;)
Two Steps have been routinely beating RC at their own game for the last five, six years or so. How is their stuff more soulless than Junkie XL slamming on his drumkit for 65 minutes on end?
The 2steps track you posted doesn't exude any little grittiness,machismo,aggressiveness that a movie like this suggests. Now if this movie were more realistic and less ridiculous it would be fitting.
History of the Greeks builds up to a very heroic crescendo. Greeks are winning arranges that theme to a badass whole.
Marathon is the closest you get to Man of Steel drumming. The rest is very different. This has lots of tempo changes, different drums(not just drum sets), also clapping, more drum fills, pattern changes and quite interesting structuring.
The drumming here is better than in most other scores even from top composers.
No aggressiveness in "To Glory"? Are you deaf? Did you hear that electric guitar part?
With most top composers there's actual MUSIC underneath the drumming! I don't care how intricate the rhythms are - it's still just noise to me after a minute or so. If there was something, anything going on alongside that percussion...even if it was just some string ostinatos, then at least there would be a bit of feeling to the music. As it is it just feels like loudness for loudness' sake. There's no narrative. Drums in and of themselves are incapable of creating emotional music.
Greeks Are Winning is indeed an okay cue. Probably the only one from this score I'd listen to again.
Hybrid, why do you hate TSFH? Since the album "Illusions" by Thomas Bergersen, I think he is the most talented composer on earth. No exageration. I can't get tired of his music. And I say that as a die-hard HZ fan.
The other guy from TSFH, on the other hand, doesn't look as talented as Bergersen is. Almost all their best tracks are by Bergersen.
Btw, Edmund Meinerts, do you know why you can't say if the Greeks or the Persians are winning? Probably because you haven't seen the movie yet :-)
Yeah, Nick Phoenix is only okay, but Thomas Bergersen is massively, almost ridiculously talented. Illusions is one of my absolute favorite albums of all time. Have you heard his latest cue, Ds, "That's a Wrap"? It's a 10-minute cue that sounds like John Powell on meth. Check it out on YouTube or something. It's insane!
Haha, maybe. I'm not sure if I'm even going to see the movie yet, I didn't really like the first one...I still feel like the music should give some indication of how the battle is going. Victory, despair, determination...something more than just brute aggressiveness. If you listen to a battle cue from Lord of the Rings or Pirates of the Caribbean for example, you can always tell what character, army, whatever is prevailing at any given moment.
I like that you mention "That's a wrap", it's indeed a wonderfully rich cue. Btw, if you follow Thomas Bergersen on Facebook, he provided a link to download it for free on his website. Have you heard "Into Darkness", Bergersen's last track? It's not really my type of music, but how amazing it is that a composer can put out two pieces so completely opposed from each other in less than a week? :D
But about "300", I think you kind of missed the point. This sequel looks like it's absolutely not character-driven (like LotR or PotC were), but just a pretext for heavy, gory, ridiculously epic, glorious violence. There won't be anything refined in there, and that's the exact purpose of such a movie. A violent, agressive, furious, extremely loud soundtrack is exactly what fits best to that genre of movie. And judging from what I've read so far, the score is perfect in the movie and, for once, mixed loud enough to fully hear it. It appears it's the most prominent thing in the movie. (if only Zack Snyder had paid attention to that in MoS...)
I do see what you mean. But you should be able to write aggressive music without making it quite so monotonous as this score.
The good old days of Two Steps From Hell are almost gone. They don't produce anything really nice lately. Thomas Bergersen is talented, no doubt about that, and he's experimenting with different styles lately, but the more he does that the less I like his music (that's just my preference though, but never mind). His latest cue "Into Darkness" is one of his worst for me personally. I always thought of "Illusions" as an ok album (yet a great move from the composer), but it's just my preference again - there are some tracks that I like a lot from it, but I never listen to it now. My fave album from Thomas is probably "Nemesis" ("Moving Mountains remains my fave classic 2SFH track ever), and my fave album from 2SFH in general is probably "Power of Darkness". Damn... good old days...
I couldn't agree with you less, Mortifer. I think Bergersen is going from strength to strength. Into Darkness might not be your thing but isn't it astounding how a composer can bounce from That's a Wrap to Autumn Love to Into Darkness within the span of weeks - three cues that are completely different in style and genre, but all of which are absolutely oozing with the composer's voice? Have you even heard That's a Wrap? That cue is absolutely phenomenal!
2011 for me, with the double-release of Nero and Illusions, was the apex of Bergersen's work so far; he's been less prolific since, but I don't think the quality has dropped. Skyworld, the last "proper" Two Steps album, was an amazingly varied collection of cues. Bergersen's work from 2006-2010 has plenty going for it (I love Nemesis and Power of Darkness as well), but in general it's much more derivative work that's more "typical" trailer music, or else really really obviously ripping stuff off. From Illusions onward I think he's really come into his own - still tipping the hat to favorite composers, but not just ripping them off anymore. Writing much longer, better-developed cues. Developing an instantly-recognizable voice while still exploring dozens of genres and styles. Could he be more consistent and prolific? Yes, but I think the quality of his music is higher than it's ever been. He's getting more experimental, which inevitably will lead to some tracks you don't enjoy as much (not a fan of the dubstep track from Skyworld, or of Into Darkness). But I'd rather have him do that than just write endless slight variations on the trailer music style we've heard for decades now.
Whew! Essay over. Now everyone here knows my secret fanboyism for Two Steps from Hell... D:
Yes, I have to agree, "That's a Wrap" is a pretty good track ;P
Couldn't agree more with you Edmund! I think exactly the same about Bergersen, who's getting better and better. He's been less prolific (except last week, with 3 tracks released), but that's because he's busy on his next solo album, "Sun", due to release later this year.
The only thing I'd like to add is that the "dubstep" track from Skyworld, "All is hell that ends well" is actually one of my favorite of that album, because it's not only a dubstep track, but a cue that litteraly merge a lot of very different styles of music. The classical parts are... well... instant classic, direct deep into my heart. I fell in love with "Sun and moon" and "Breathe", too.
this is crap...listen to clinton shorter - pompeii! amazing score!!!
Both are very good and epic on two different ways. "Pompeii" is more traditional, with strong themes, classical instrumentation and really beautiful tracks ("I won't leave you" left me breathless). On the other hand this "300" sequel music is pure badassness and violence, with ridiculously cool rythms patterns, guitar riffs and electronic stuff. You can't compare both, and I think they are both perfectly suited to their respective movie (haven't seen this "300", though).
Oh you mean the King Arthur / Crash / Trailer Music / POTC / Snow White & The Huntsman temptrack fest ?
and what is this? MoS reloaded?...
Harsch, hybrid. I noticed some similarities but it was not that bad imo. Was the track "i won't leave you" also temptracked?
@Hybrid Soldier: But this is not any better...
I'm pretty sure if hans zimmer was the main composer for this all the haters would love it. Give the guy a chance! Don't forget junkie help provide a lot of epic percussion on mos.
This is a great soundtrack...powerful, dark and epic! Great job Junkie XL!!
bought this CD and must say for me it was absolutely waste of money! it's not my style of music! nevertheless i can imagine it suites the film perfectly! but i think it's absolutely wrong to say this music from XL Junkie is bad! Film music isn't written for just listening to it, it's written for the motion picture, to give it an identity and make it live!
You're right, Phil...a score is there to give a movie its own identity. Which is why this collection of leftovers from Man of Steel with a duduk or voice or two thrown on top of it fails on both counts.
Is his first score and do it like a little boy with a computer....
Please...Zimmer go fast and talk with John Powell again!!!! With Bruce Fowler, Rupert GWilliams, Martin Tillman!!!!. Forget this kind of music or your reputation will be lost. Please. Hackman, and Junkiiii are your worst choice. Lorne is the best now.
Junkie made music with tools in a metal box!!!!
@Hector, nonsense. JunkieXL is a good composer, and an excellent remix artist.
That said this score is fairly generic, it has some interesting sound design going for it, but that's about it.
"I'm pretty sure if hans zimmer was the main composer for this all the haters would love it."
Not really, no.
"but i think it's absolutely wrong to say this music from XL Junkie is bad!"
Why? What if I think it's bad music. Not that I think this is.
"Film music isn't written for just listening to it, it's written for the motion picture, to give it an identity and make it live!"
This rationale has been wheeled out to defend a lot of generic scores. Most composers want to write something that works with the picture and stands on its own two feet as a composition as well. Even with that said, my biggest criticism is that I don't think this kind of music compliments a lot of these films either. It's just like "we have action here, we need some action drum loops", "we have drama, we need some wailing 'ethnic' vocals". It doesn't really do much other than sit there. It's really safe, predictable and pretty dull these days.
I don't think any of this music is bad, it's well-produced, coherent, cool, whatever, but it's also not very engaging. "They work in the film!", well in my opinion, they don't ruin the film, but they do little or nothing to enhance it either. Challenge me, the viewer. Throw something different at me.
NM your speach is great. Your words are great and perfect. I think, in a lot of ways, like you. But right now I hate a lot of new scores because just like John Powell said: was made it by a young guy with a computer. Music will be great even without the movie. Because we need art. We need art to love all the movies in a lot of ways not only and not because is a great part of a sistem. If you want a better movie you must put on this the best than you can. Sorry this time the music is very predictable and poor. If I do the same in my work will be a shame to me. I asked the same to a composer. More when is his first movie and when the movie is a big movie. If he start with a little movie sure I will be more generous, and finay I will buy the cd or the music. Regards, and thanks for understand and share your oppinion with me.
i agree with you badbu Pompeii is an amazing score completely orchestral. Whatever you say Hybrid about the Temptrack fest, it's a wonderful score, and i don't hear nothing about Crimson Tide / The Rock / The peacemaker / Gladiator / King Arthur / POTC / Snow White And The hunstman / Waterworld / Etc / Etc /Etc / Etc Temptrack Fest like you said
Is a Shame than Junkie XL made msic for RC. Is a very bad composer. Incredible than Zimmer who worked with Powell, Gregson Williams, Mancina, Orvarsson, Zanelli, Djawadi, Pereira, Smith, Walker...now have that guy poor. I buyed all the score for more than 20 years. I love Zimmer stuff but Zimmer hate himself with the last composers.
you may not like this score but I could easily name many scores by the composers you mentioned that are horrible. It's his first major score.
also this : www.youtube.com/watch?v=uzLk1Ar4DHw
is better than pretty much everything I've heard Djawadi,Orvarsson,Pereira,zanelli do
O-Cool, Go to a Hospital!!!! Quick.....You could lost your brain...
At least is not stolen from Goldenthal :)
But that doesn't mean that this is a good score - RCP pounding and women singing.
PS. Olivia Safe will be a part of Interstellar soundtrack. Is that true?
You basically have 2 types of music. Half of it a wailing woman from drama moments. The other half is the man of steel drumming without the actual cool bits of MOS.
Question, have you seen the movie ?
Nope I am a soundtrack fan first. I see most of the movies later on DVD. Most soundtracks provide a good stand alone listening experience anyway. Listen to the new Tarzan movie or Stalingrad for instance.
But however great the music works in the movie, copy and paste of rhythms and themes of another movie is never a good. Especially when nothing of interest is added.
No wonder Junkie XL makes usually remixes of radio hits. This soundtrack is more like Man Of Steel Underscore Dub Mix.
Then don't bother to give us your opinion ever again please.
I am a RCP fan. I have almost the entire discography. But this is shit :)
But you are right. I will do it as filmtracks then. Soundtrack as heard in film: no idea, could be great (or not) Soundtrack as heard on album: 1 / 10
I like the way you think, Anonymous. I didn't think I'd ever run into someone on this site who actually listened to Stalingrad - one of the best scores of last year!
You don't have to have seen the movie to judge a score ALBUM.
Go back listening to concert music Ed, you probably don't understand what FILM music is ! ;)
@Edmund: Yep. I am humming that Men Of Fire the whole day. And yes not everybody on here listens only to RCP material. In fact my favorite scores of 2013 are non-RCP scores like Hobbit 2 and Lockingtons' Journey 2
And Hybrid don't get me wrong. If there hadn't been a Man Of Steel, Dark Knight, God Of War and several other scores I probably would have liked this score a lot. But now it just sounds like a shallow mish mash of those.
Don't mention filmtracks here either...
And will you dare having some proper name instead of hiding ?
Anonymous, i think you need to open your mind a little more. Okay, there's a lot of drumming (more than half of the album, in fact). Okay, there's was drumming in Man Of Steel too. But that doesn't mean they are the same. And here, they are definitely very different.
If two scores are performed by an orchestra, will you pretend they are the same?
One other thing, you need to remember why Junkie XL was brought to this project in the first place. He conducted drums and composed some additionnal music on Man Of Steel for Zack Snyder. Snyder liked that and presumably thought this style could fit the 300 sequel, so he hired him. Do you think he hired the man to compose something 100% different and without drums? Would you hire John Williams to compose a dubstep-like soundtrack?
This is a percussion score. If you were searching for an orchestral or classical one, you are clearly at the wrong place. These frenetic, violent, agressive drums and guitar riffs will probably be awesome on screen, and that's the point of film music, isn't it?
I don't listen to concert music. I listen to film music. But I don't do that by watching the movie and I doubt that ANYBODY here has seen the movies of every single score they've listened to. I don't have time or inclination to go see crap like The Last Airbender or Journey 2 but I've listened to their excellent JNH and Lockington scores dozens of times. I don't have to have seen the movie to "understand" it - I like it just fine on its own terms. And even if a score works well in the movie (like this one may well do...I have no idea, as I haven't heard it or seen the movie), that doesn't make it magically better to listen to away from it.
And if the anonymous guy thinks this score doesn't hold up, then he has a right to express that opinion, Hybrid. You can't tell him not to, no matter whether your text is a different color or not. And you can't just ban discussion of Filmtracks either. This isn't Soviet Russia.
Kudos to that last comment in all respects, Edmund.
Yeah I don't know why RCP fans are alway so uber defensive about those scores while others don't so that. Film music is film music. Just like opinions are opinions. But it seems only "wow", "best score evaaah!" are wanted here.
Anyway. I am gonna listen to Castlevania 2 now. :)
Here Here Ed.
(Never seen Rush but love the score.)
Edmund you're damn right
Now, I remember why I stopped reading the comments on this website...
Wow! MacArthur and Edmund are of the same opinion. I think this a historic moment :P
I think what Hybrid is trying to say is that music is written for the movie first. It has to fit the movie. They then release the soundtrack for people who like the music. Those of us who haven't seen the movie but listen to the soundtrack may not like the music, but that doesn't mean it didn't work great for the movie, being the original point of the music. There are quite a few soundtracks that I've never seen the movie to, and I like them. Its probably heresy to say, but I don't really care for the first two batman soundtracks, but I think they are great in the movie.
Well, i think is a correct score, a lot percussion, dark atmospheres and Zod style, but is entertaing (and i not see the movie yet) ;)
I don't know where to post it but i found an incredible track from Clinton Shorter's upcoming "Pompeii". It's not from RCP, but it looks so much like King Arthur's little brother than i thought it might interest some of you!
You can listen to some samples from the score at the Film Music Reporter.
Or the score by Junkie XL is really noisy, or the audio quality of Amazon is really mediocre
probably the worst sound quality ever. That said the score will be loud. Metal-like . Totally appropriate for a movie like this
How the hell is Metal appropriate for a movie set in Ancient Greece?
@Edmund: it's appropriate when there are monsters, extra slow motion, big violence, blood spitting everywhere and when the purpose of all these fight scenes is to extend the limits of bad-ass epicness. No matter where/when the movie is set, metal seems appropriate to me :D
But actually there are plenty of "peplum"-like sonorities, along with heavy drums and guitars. So it's more a mix of both style, which is even better in my opinion.
it's not metal, there are just some faint stylistic similarities.
and these movies are certainly not about historical accuracy. 300 is one of the most ridiculous movie ever made. There is literally nothing old-fashioned about it. CGI six-packs
Cannot wait to hear that one! I'm expecting a very bad-ass score, hope i'll not be disappointed!
Junkie XL is the composer? Oh man, what happened to music? :(
Wait til you hear the score to pass judgment, Smith...but yeah, I can't say the composer choice thrills me much, either. Better than Tyler Bates though, I guess. :p
Junkie XL is a very talented musician although I don't expect high-art for a movie like this
Interesting No additional Composers Bruce Fowler as an Orchestator and maybe, as a Orchestra Conductor. It seems to be like a New Trevor Rabin
The credits are not complete, sir !
We'll see !
Ms. Örvarsdóttir has become quite popular lately. That voice deserves it, of course.
I hope Tom deliver a entertaining score...
To tide you over
I like it.
Joshua...."Arcade" much???? lol
Oh yeah very much so! I dig it though.
That track on the website makes me wonder how much Zimmer was actually was involved with the Arcade theme. I now feel certain that Arcade was predominantly JunkieXl and that Zimmer's involvement there was minimal.