Additional Music by Christian Vorländer Additional Music Programming by Stephen Perone Orchestration by Emad Borjian Orchestra Recording Coordination by Elaine Beckett Orchestration Services by Jessica Wells Music Recorded at The Simon Leadley Scoring Stage, Trackdown Studios, Sydney
Sound Rerecording Mixers: Chris Jenkins (and Others)
Score Wrangler: Bob Badami aka Bobo Additional Editing by Ryan Rubin & Alex Gibson Drum Recording: Tom Holkenborg aka Junkie XL Score Recorded, Mixed & Produced by Tom Holkenborg aka Junkie XL Music Mixed at Computer Hell Cabin Paradise, Encino, CA
Tom Holkenborg aka Junkie XL plays Drums, Percussion, Guitars, Bass & all Synths
Additional Guitars by Nick Zinner
Tom Holkenborg aka Junkie XL Managed by Michiel Groeneveld Album Produced by Tom Holkenborg aka Junkie XL Executive Album Producer: George Miller Executive in Charge of Music for Warner Bros. Pictures: Darren Higman Executive in Charge of WaterTower Music: Jason Linn Music Business Affairs Executive: Lisa Margolis
Special Thanks: Keith Zajic, David Altschul, Amos Newman, Bradley M. Rainey
Thanks to: Peter Axelrad, Joseph Billé, Paul Broucek, Rocco Carrozza, Eve Foreman, Kerrylyn Genetive, Rachel Gill, Ray Gonzalez, Laura Haber, Dan Jensen, Joe Kara, Kevin Kertes, Kolette Kleber, Ny Lee, Kris Little, Kari Miazek, Lori Miyakawa, Genevieve Morris, Marlene Seki, Sandra Smokler, Laurie Soriano, Nina Stevenson, Bobby Thornburg, Raymond Walden, John F.X. Walsh, Robert Zick
Release date : 05/12/2015
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Its always a surprise to see the fact that people / fans / critics / moviegoers / haters actually do not really (REALLY) listen to music. its either somewhat similar or its not and that is the end. the person behind the Hybrid Soldier name said not so long ago that there is zero Hans in this score, nothing... well, its an interesting thing to say because the score that was released in europe and the version of the movie was maybe a special studio cut but I'm convinced that I heard many-many times the almost ancient Zimmer choir motif... Hans started to use this signature motif somewhere around crimson tide and since then, everybody in remote control history, I mean everybody used it. also Hans is still today obsessed about it and nobody talks about this. its almost like the famous "danger motif" from Horner. but, yes its true that Hans is in re-invent mode every time, so sometimes its a female choir or sometimes male but fuck, dont bullshit around after 20 years of music. other then that, yes its Junkie alone but in the end its not only his craft, he borrowed / used directly from HZ in this too.
Don't mistake sound samples and music style.
Well of course he must have - Junkie is a protege of Hans Zimmer....Like all the other composers - Badelt, Jablosnky, Powell, etc. - When they first started their scores sounded similar to Hans' music in terms of orchestration and motifs used...
not to denigrade the man's work, but this doesn't surprise me and I'm fine with that...Junkie will develop his own sound eventually and explore new techniques, just as I'm sure Zimmer tutored him to do....Jesus I remember when both Powell and Jablonsky's scores sounded practicaly the same to Junkie's...And this was a decade ago.
Bit late to the party but IMO you're absolutely right. If you listen to these pieces back to back with the Crimson Tide score, which is phenomenal, you'll notice how present Zimmer's influence is.
I want the film mix of the final chase (Chapter Doof) so bad!! It's freaking awesome. Sadly the extended version cue in the standard edition still missing my favorite piece. :(
The final chase sequence contains (Claw Trucks, Immortan & Chapter Doof), however they missing few parts as the doof warrior (that flame-throwing base guitar) last performance is totally different than the OST one.
Just wait for the isolated score. :D
There's not going to be an isolated score
The isolated score should be part of the Black-And-White version new DVD release, right?
This was never confirmed by WB. George Miller said he'd like to release it, and all of a sudden people are expecting B&W with an isolated score. Sigh...
For those of you that were interested, WB confirmed a DVD release including the black and white edition of the film, so an isolated score might be a possibility.
Good to know, even if there's not much TO know. ;)
Who's Eleni Karaindrou?
Some old greek composer apparently... She's credited for 2 source cues in the film... Probably used by Junkie.
Elegy For Rosa Composed by Eleni Karaindrou
Refugee's Theme Symphonic Variation No. 1 Composed by Eleni Karaindrou
Eleni Karaindrou is one of the best Greek composers!! Glad to see that Junkie used her work!! I had noticed it, but I wasn't sure. Some of her best compositions are "The Wedding Waltz", "Canteen Rock", "The Weaping Meadow" and "Eternity Theme".
Great! It's always interesting to know the full composing credits!
Many Mothers not 100% by Junkie? Damn, I thought it was an original piece... :(
I think the Many Mother's version released on cd (until 5:16) is original. That's what I understood from the third studio time with Junkie XL tutorial.
One thing I don't understand, what's the deal with Tom v Junkie? What is the purpose of the two names? Which one does he go by? Which one will he use in the future?
And why, here, has he used both?
His artist name was Junkie long before film scoring.
Funny thing is when he scored Dutch films he went with his real name Tom (though he's named Antonius Bernardus Johannes Holkenborg lol... remember the Antonius remix in Sherlock 2 ? ;)).
In Hollywood he went with Junkie (not on TDKR though), but he seems to go back toward Holkenborg recently. Now seems to be the transitional phase with the 2 names. I guess in the future he'll be Tom Holkenborg only... :) In the end, I don't matter as long as I know who we're talking about !! :)
Speaking of him and Mad Max, just check his recently posted videos, it's great insight !
My name is Antonius Bernardus Johannes Holkenborg. Father of a murdered child, husband of a murdered wife and blah blah blah you know the rest. ;)
Poor Dutch people... :P
That didn't seem at all logical to me. Both Hybrid's account for JXL's name-dilemma, as well as Edmund's Fake-Junkie bio.
Lol, Edmund. Why do I see that post only now. :D I just came here to say that this turns out to be Junkie's first GREAT score imo. I already liked Divergent but Mad Max just tops it all. I only managed to see the movie this week since I didn't have the time recently, but man, it was a blast, and "Brothers in Arms" was perfectly integrated into the bike chase scene, perhaps made it the best scene in the entire movie.
fits the movie perfectly well. incredibly powerful... the only problem to this soundtrack and you could say that both the movie and the soundtrack have the same flaws no real story (action-like road movie), furiosa and max are the same character, they almost have the same background story. no real need of a theme. They are interesting cues but nothing that truly deserves a melody. the pursuit cue and the epic cue when furiosa and max are working as one-two punch. But that's pretty much about it. as a whole, there are many ressemblance between this soundtrack and what zimmer has done since the joker theme. the ostinato motif, the big drum/percs ensemble, the sound design, the heavy guitars/electric strings, the bane theme as well. it fits the movie very well. it's a good score. i enjoyed the movie even more. it was breath-taking. it's a great flick from Miller. I stayed out of any trailers for a year so it was really fascinating and surprising. The movie cost 150m$ and you can really say "here they really spend that money". Doing almost all the stunts for real at our epoch is challenging. hats off for miller. No cgi heavy movie. I expect a lot more from the second movie story-wise tho.
Immortan's Citadel, Storm Is Coming, The Rig, Brothers In Arms, The Bog, Chapter Doof and Walhalla Awaits are perfect. This score has a lot of energy, is strong and Im very happy with the length. It's crazy!
Not sure which it is, but the scene where One of the women die during the final chase - the music is not on the OST...Unless I'm mistaken and its under the Immortan track. Anybody know what I'm talking about?
I am sure the director asked for this, but I feel very empty after have my heard 2 hours and 6 minutes of mad max fury road. Tom has some talent and it can be spotted at times like in brothers in arms, but for the most part of this score, he kills melody and just has sound design. Sure we're in 2015 and he's in the spotlight but why does he kill melody? Melody is such an important part of music. In my opinion, Tom did make a 45 min long score and then for the rest he worked on sound effects that made their way to the album which is sadly so much longer than the average Zimmer score (not talking about MOS and INterstellar). I have no problem with this sound because I don't have to listen to it and it probably works in the movie. What worries me is that Tom is going to score batman. I really hope he reinvents himself for that task because if batman is just sound effects that's kind of depressing after Hans effort on the Nolan trilogy!
Yeah for sure Run All Night doesn't have a proper theme... lol
I can't say anything about run all night as I haven't heard it. I'm not saying he can't compose a theme. I just said that this score did not. The theme that plays in my name is max isn't by holkenborg. The more traditional cues, the divergent cue and the brothers cue are the best.
And don't you think George Miller wanted this ?
Tom spent like 2.5 year on it, they had plenty of time to discuss it...
Yes as I stated above, the director of course wanted this. I still think it's a bit bland.
If you compare this to say divergent (Junkies best score imo) do you like it a lot?
A bit off topic, but thought I'd share some info from the players PoV. I know some musicans who have played film music and apparently the experience isn't very nice anymore. This is evacuee they Record in sections so you don't get the full picture. Apparently very frustrating. I can't speak for the brass as I only know about strings and viola.
Hybrid, do you know if pitch was recorded in this way?
Saw the film today, and it's exceptionnal, I absolutely loved it. Quick, brutal and very inventive in it's action scenes and graphical ideas, and managing to create interesting characters in the middle of so many action scenes, with most of the time not a lot of dialogues... About Junkie's score, I won't spoil anything but it has quite an amusing justification in the movie...I still don't like it a lot as a standalone experience, but understand better the reason for it.
(I'm sorry for the long testament, bare with me and I hope some understand) I'll be honest in my own opinion, I've heard Tom scoring from being a co-written work with Hans, to doing Paranoia and time went by and we got this. Now, from what you can hear, Tom mostly uses synth sounds while also using actual collection of instruments from an orchestra. I did like Paranoia for it to be one of his first features, but from that to Divergent, later 300, then Run all night and now this, it is a change. Of course he has some similarities on his various film scores but like any composer, it happens. He may be struggling getting the right idea of music for every piece he writes and composes and that is a tough job (after all, this particular score took him 2 years to complete), for which I believe that having Hans helping him out from time to time is a good thing... After all, there is a reason Hans believes in him and gave him the opportunity of this kind of career, which goes back to my point, Tom as an ex DJ is used to synth musical sounds and he feels comfortable on that kind of area. That being said, Divergent seemed fun, 300 like a loud but action felt kind of a score. Run all night is a surprise cause every musical beat I get to like is all over the place, but then in the film the music works well without a single issue. Now, going back to Mad Max (which had a similarity to Run all night being all over the place) this is a real surprise, because analyzing it as the music that it is, around half of the full material or a bit more is actual score material, the rest is pure sounds and ambiance which if you realize, you can find that in many of the bonus tracks (even though it is also spread around the normal tracks as well), my expectation for this was over the top, and after Hybrid released the track "brothers in arms" I was over the top for it, especially when the note in the minute 3:00 hits and becomes emotional but also heroic, which if you see the film you will understand (apart from the track title already speaking for itself). There are good sentimental moments of music like "redemption" or "moving on" just like "many mothers" which is exceptional in its beauty, but then again, as an individual piece of analysis, I find that the track Hybrid released was actually the best, and that most of the score was spread around ambiance and sounds which I did not favor at all. I do recommend for you all to see the film, it is brilliant and I was on the edge of my seat most of the time, and yes, most of it was due to the spectacle and visuals just as the choreography, but its the music that works BRILLIANTLY wrapping it all as a masterpiece. It is until you see the film that you get to understand the score as a whole and see it in a different perspective. I am not sure and probably going out on a limb here but I felt like all that was released was actually in the movie, like the full score was there, but since everything went so fast I may be wrong. Also, if some find the guitar parts cool but also all spread out instead of all fixed together (I felt that too) do go and see the film and you will understand why, the reason is both cool and funny (but if you have seen some TV Spots you may have guessed what I am talking about). If someone can get a track list of the order of songs in the film I would appreciate it since it all ran to fast for me to picture every single one (even though I got atleast a bit more than half of them on my head in order if I am sure). All that being said, Tom has talent, he should try and work more out of his comfort zone with synths but after all, even if we buy the music, the score itself is meant for the movie, and yes it works perfectly in every way, so there is no reason to be worried about that. I believe that all in all and having watched the movie, I truly believe that this is his best work in the visual matter, now as an individual piece of music, I won't debate that since that really is a matter of taste and thorough analysis.
I'll be honest, like for me it's almost only noise, random sounds, I do not understand admiration for this job ... I'm afraid of superman in edition of this "composer"
Who already co-wrote Man Of Steel... lol
Yes it's true, but he made it with Zimmer, and we don't know what he put inside of some tracks from him self. I heard (mr. Tom XL) his own soundtracks like: 300 and Run all night - and they have this same problem, are boring, noisy, without soul. Of course it is only my opinion. But truly what are you think about Mad Max? Of course we can find some interesting moments but...only small parts of the score.
This actually might be the most intense score I've ever heard. But what's really mind blowing here isn't the action music, but THAT string writing!
"Many Mothers" may in fact be the most beautiful cue I've heard so far this year.
Is there some kind of honor system at play with Remote Control? What I mean is, do underling/fresh composers have a quota they have to meet before they can upgrade to use the good shit? I say this because this score takes me back to Hans Zimmer's Peacemaker scoring days....It's like Zimmmer threw Tom his old stuff and says "When you reach a million dollar blockbuster status, THEN will I graduate you to my new toys. Until then, work with this."
Damn this score is harsh....
There's zero sound of HZ in this score. Zero, nada, nothing. It's all Junkie's craft, his samples, his instruments. And don't fool yourself because you heard them in Man Of Steel... lol
And Hans didn't have any say whatsoever with Mad Max... He was curious like everybody else what Tom would come up with.
It seems likes Tom's synth writing has its roots based in the 80's. Especially his action material. It works though, especially with something like Divergent.
I don't know if it is only me or what but I've sensed that since junkie xl is not known by many or he is just that many believe that his soundtracks are messy is the reason why this soundtrack isn't getting either the attention or buzz that it should be getting.
Incorrect and incorrect....
Trust me, I am nuts about hearing it, I want it so much, but it gets a different interest than a Hans soundtrack.. Probably its only me haha
To me, tom holkenborg is an amazing apprentice of Hans and deserves so much credit. I've liked all of his soundtracks and that means a lot
Isn't getting attention or buzz? Are you not reading all the "I want it so much omg please let it leak now" comments here? Meanwhile, Lorne Balfe's very enjoyable score for Home comes and goes with barely anyone batting a lash...Harry Gregson-Williams puts out a documentary score and it gets like two comments. No buzz my foot!
People only buzz at scores these days when it has loaaaaaaaaaadz of percussion, synth and sound design.
Actual orchestra and melodies is soooooo 2005.
Sarcasm aside, I agree with you totally
No. The only scores that get buzz are the ones for big, hyped movies. It only depends on the movies, nothing else
I completely agree... :)
It also has a little bit to do with the composer;) If there's a new Hans score people are understandably extra hyped, no matter the size of the movie!
Did you see any hype for Casi Divas or The Burning Plain ? Do you think there'll be any for Freeheld ?
There isn't even that much for "Woman in Gold", or "Le petit Prince"... But most of the time, I have the feeling that Zimmer himself is very discreet about this works. Hybrid, correct me if I'm wrong, but couldn't Hans Zimmer talk more about them, in order to make those scores more popular ?
As far as "Mad Max Fury Road" is concerned...at the first listening, I'm very far from impressed, I'll give it some more chances but I suppose that Holkenborg's style is just not for me...
I've been fighting with Hans for that for years, but he won't change him... lol
You're probably right. I'm however very hyped for Woman in Gold and Freeheld, just as I was about Mr. Morgan's last love (which sadly didn't get a release).
I like, seriously need this soundtrack. I wasn't that excited at first, but Brothers in Arms sold it to me. Wish I could buy that track already and have it around before this one comes out. Really can't wait to hear the new Batman themes in the future.
When I first heard the samples I really was not impressed, some of it screamed 300 to me. After hearing this track though, I am honestly blown away.
If JXL can lend his voice (and the emotion of Run All Night/Divergent) his music for Batman could be incredible!
I agree Everan! I am going nuts without this! I need someone to leak moreee so that I can survive for two more days, this music is just awesome
Can someone just post the damn thing already? 😀😀 haha