Album Produced by Junkie XL Executive Score Producer: Hans Zimmer Additional Music by Christian Vorländer & Dave Fleming Score Vocalizations by Ellie Goulding Additional Percussion by Satnam Ramgotra Music Production Services by Steven Kofsky Music Conducted by Gavin Greenaway Music Editors: Bryan Lawson & Adam Smalley Score Recorded & Mixed by Alan Meyerson & Nick Wollage Assistant Engineer: John Witt Chapman Studio Manager Remote: Shalini Singh Soundtrack Score Mixed by Alan Meyerson & Junkie XL Music Mixed at Remote Control Studios Orchestra Contractor: Isobel Griffiths Assistant Orchestra Contractor: Jo Changer Orchestra Leader: Perry Montague-Mason Junkie XL Plays Guitars, Piano From Hell, Drums, Percussion, Bass, Dulcimers & Sound Design
Album Mastered by Junkie XL Junkie XL is Managed by Michiel Groeneveld
For Interscope Records Soundtrack Executive: Anthony Seyler Business Affairs: Jason Kawejsza Production: Gretchen Anderson Music Coordinator: Roslyn Tarroza
For Summit Entertainment Executive in Charge of Film Music: Carter Armstrong Music Business Affairs: Lenny Wohl Music Executive: Trevon Kezios Music Budget Supervisor: Chris Brown Music Contract Administration: Karen Sidlow Music Coordinators: Ryan Svendsen & Nikki Triplett Assistant to Mr. Armstrong: Rona Rapadas
Tom Would Like To Thank: Saskia Holkenborg, Julian Holkenborg, Hans Zimmer, Michiel Groeneveld, Steven Kofsky, Doug Wick, Lucy Fisher, Neil Burger, Gillian Bohrer, Carter Armstrong, Randall Poster, Chris Catone, Alan Meyerson, John Chapman, all at Air and Abbey Road Studios, 1st Viola – Peter Lale, 1st Cello – Caroline Dale, 1st Bass – Mary Scully & Allen Walley, 1st Horn – Richard Watkins, 1st Trombone – Richard Edwards, Tuba – Owen Slade, Enzo, Monty
Additional Thanks To: Adrian Amodeo, Brenda Romano, Brianne Widaman, Brooke Michael, Caroline Ellis, David Cohen, Dennis Dennehy, Gary Kelly, Hannah Gold, Ike Youssef, Jimmy Iovine, John Janick, Joie Manda, Jurgen Grebner, Kerry Hickey, Larry Khan, Larry Jackson, Lauren Citek, Martin Kierszenbaum, Michelle An, Nino Cuccinello, Samantha Tripses, Steve Berman, Susan Hilderley, Tal Oz
Release date : 03/18/2014
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Hybrid, do you think there's any chance that Tom will return to do the last 2 movies in this trilogy? The second score was horrendous and I think it would work if Tom came back and brought his old themes with him.
No, I don't think so. His score was terribly butchered in the first and not so much was used in the final cut. Not sure he wants to return to that.
And he has much more interesting to do.
True dat. Like Deadpool!!
Yea but Diverent was such a damn good score. Would be great to see development of themes and of course new ones!
That butchering was really a shame. I remember watching the movie after having listened to the score a few times, I could not believe my ears. Fortunately Tom released a nice album with many great cues, so that we can forget the film and keep only tj music :-p
Yes it was a shame, but the album was awesome and considering the fact that Tom is a big guy now (not literally) they probably wouldn't butcher the sequel score if he were to do it.
Wow. Listening to Joseph Trapanese's score for Insurgent and talk about dropping the ball. None of Junkie's themes are used and most of the music is just atmospheric crap. The new theme is halfway decent though, but kind of generic.
I totally agree! Listened to the OST and was like, where's the music? It's such a dull score and it lacks emotions, good action material and a good theme, such as Tom created for the first movie.
I wonder if it was due to scheduling issues that Tom didn't end up doing it or if it was the new director. Anyway I hope he will score the last 2 movies because anyone must have noticed that Joseph's work didn't work at all.
The first film was a "difficult" experience apparently for everyone, I never expected Junkie to come back...
And... Yeah, that second opus lacked pretty much everything while the first score had like 3 or 4 main themes...
Which is especially a shame because out of all the scores Tom has composed, this is the only one that I really like as a whole.
300 had, like, 3 tracks I would listen to more than once, whereas Divergent's soundtrack is a legitimately fun piece of work.
Hopefully Mad Max knocks it out of the park.
Considering how badly Tom's score was butchered in the first film, I really am not all that surprised he didn't want to return.
And as far as his scores go, Run All Night isn't half bad actually. The thematic part at least. ;)
I just saw the movie and have one word: HORRIBLE. The great music composed by Junkie XL has been completely butchered, the best tracks aren't featured at all, or have been replaced by songs or bland alternate versions. For example, the cool vocal parts of "Choosing Dauntless" or "Capture the Flag" are not even in the movie, and the great "Fight the Dauntless" plays only for 20 seconds.
Worst of all, the score plays extremely low and far in the background, which makes it inaudible from start to finish, even when there's no dialogue or action. The sense of rythm and excitement present in the album release is totally absent from the movie.
It is incredible how music with such a great potential and so much intensity, can be toned down and become next-to-nothing in a movie. I wonder who was in charge of cutting Junkie XL's tracks to picture. If he did it himself then I really don't understand.
I think perhaps whoever was in charge of the music decided to replace some scenes with whatever pop music that ended up replacing it. Cause there are cues on the album not in the film, so it may have been a later thing after it was scored to change things up a bit - but hey, at least we got all the music unlike some other releases *cough*man of steel*cough*
In that case, not gonna see the movie.
BTW, I still don't have a film version for MOS Flight. :(
After listening to the score over and over this weekend, I've come to the conclusion that Fighting Dauntless is one of my favorite musical pieces from the last few years. The mixture of the epic and personal is great.
I'll just echo what others are saying and say that this score is really not bad at all. Much better than I expected after the terrible 300 score.
It's the softer thematic parts that really shine, like the opening cue. The action music still relies too heavily on uninventive hammering MoS percussion for my taste, though (the 14-minute track just goes on and on and on and on and on...). But...okay. I'm gonna have to give Junkie XL the benefit of the doubt from now on.
well, the title of the 14min track warned you man ;P
I can't stop listening to those cues Hybrid mentioned earlier, I even get the chills, dammit! :D
Especially "Capturing the Flag", holy shit.
T thought it comes out the 18th
One word. Awesome....
It may help to have Hans as score producer.
And what's with Lone Survivor. in Tris.
This might be Junkie's best till date. And I haven't even listened to the full score yet. :D
The best out of what, three scores? That's not such a super superlative... :p
I think it's a good score. The main theme is very catchy and it blends nicely different genres together, i love it very much. But for the moment I didn't notice anything particularly outstanding, apart from this main theme.
But i guess it'll grow on me in the next few days!
Tracks 1, 3, 4 are (for now) my favorites.
The Main Theme, let's talk about that : Listen to Balfe's Girl Rising track I put on the player... lol
There's some weird, I don't know, similarity... haha
Very, very good score and the cues Hybrid mentioned are truly the best (especially "Choosing Dauntless", I simply love that one). It's really imaginative in its use of percs and Goulding's vocals, and although the MoS influence is still felt here and there, the score certainly shows that Junkie is more than able to bring his own musical identity to the game.
Listened to it twice. Loved it. Now I really don't know wtf went wrong with 300. It's probs because Zimmer (I think)didn't help much with it. The MOS percussion, Lone Survivor acoustics, and with Ellie Goulding's voice and Junkie XL's electronica blend surprisingly well. I can't wait to see the movie and I am sure it will fit great (guy's it is a perfect date movie!). Here's to hoping it fairs well critically! 3.5/5 for me. Screw 300 lol.
89 minutes?? I'm assuming this is a digital only release then, or how the heck do they plan on putting that on a CD?
Interesting that this already has a "HZimmer.com rating". Who exactly decides those? :p
It does say "Label: Lionsgate Records (Digital Download Only)"
Cannot wait for this.. :)
Agree with Edmund, very interesting release!
Because I've already listened to it...
It's not exactly like 300... Yeah it has some "usual" Junkie MOS percs, but it's more like a mix between the lighter action parts of MOS with Craig Armstrong's In Time...
I have 5/6 tracks on constant repeat (Tris, Choosing Dauntless, Capture The Flag, Conspiracy, Final Test (it's gonna remind people of some MOS unreleased track... lol) & Fight The Dauntlesss).
Can't put anything on the player just yet though...
Okay, now i'm excited. I loved every bit of MoS. I loved 300 by Junkie XL. I loved In Time by Craig Armstrong. This seems like a perfect deal for me :-)
I love them too Ds it'll be right up your alley ! :)
Why, Does every one want Junkie XL. He is not that good.
I mean he's ok but why not The Maestro himself. or Jablonsky or....Or even...Balfe. :)
he is better than most Zimmer collaborators. Check out Darkspore, which is one of the best electronic/ambient score I've heard. Then his symphony for an event in Utrecht. Can't imagine Jablonsky,Balfe,Djawadi etc pull that off
Yeah, why more people aren't hiring The Maestro is beyond me...I mean, we all know John Williams is probably the greatest film composer of all time.
trent easton navarro
I don't think that's The Maestro MacArthur meant. Would be impossible to hire him though, Jerry Goldsmith passed away almost ten years ago