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@Bob<br><br>Thank you for the enlightment, I will consider opening my wrists for misconduct in the next few days, thank you very much... :o<br><br><br><br>Ok seriously though, you guys should know that if there's one guy that could not care less about awards... it's Hans... :)I am really enjoying his season of the Crown.a big balfe influence in this season with hints of Churchil and Genius I think. Really excellent music/ it's me@ds "Ramin is also doing a lot of projects but is far, far behind in terms of styles and creativity."<br> <br>I think the same for Jablonsky, Zanelli, XL, Jackman and Mancina.@macejko<br><br>"All the time he acts like the hottest shit in town, refusing to score basically everything they offer him"<br><br>You said in another comment that you never read an interview with Powell, so not reason you take that kind of conclusion of your character.<br><br>"The man hides in a cave, doesn't evolve at all and for some mysterious reason he is still revered like a second coming of Jesus Christ."<br>Powell is a clearly talented composer. He suffered criticism at the beginning of his career by sounding like Zimmer, but soon showed substance. And much more than that created an identifiable style, which today is reference to other scores of modern animations (which may be good or bad to depend on of the point of view).<br>Today he is an established composer and it is common for these composers to move away for a few years or even close their careers without many explanations for the public. In recent years we watched the estrangement of Silvestri, Horner, Williams and in the past we saw Faltemeyer, Bill Conti and Brad Fiedel drop their careers when they were at the top of the game.<br><br>" Say anything you will about Lorne Balfe, but at least he is working his ass off and slowly getting better and better"<br><br>As they said in another comment, you're compared to newbies and veterans. Balfe's having the opportunity of his life now. Take it or leave it. There's no choice. Powell, as well as Zimmer others, on the other hand, is a "senior member" of the club. He can afford to go away for a few years to resolve comprehensible personal problems without affecting the hard work he has developed in the last 20 years. Will Balfe continue to be so creative in 10 or 15 years?<br><br>@ds<br><br>"<br>Powell has nothing to prove, he has already mastered all genres"<br><br>That's funny, but it's fair. Powell Is a good composer. Not the best, far from it. Your style really narrows your work down, but we can say that from all the composers out there. So it's not a problem.The problem is he wants to limit his work to animations and fantasy.because he abhors gratuitous violence.<br><br>@george<br><br>". Although, I hate to say it, we could say the same for Zimmer in my opinion"<br><br>Zimmer's at the end of his career. All the other composers when they arrived at 60 years (with the exception of JNH, Goldsmith and Morricone) reduced the amount of projects per year and went on to choose their work best. It's a natural way.Over the years, it tends to get worse with one exception here and there. Don't keep expectations like he's in his prime<br><br>"he has "nothing more to prove", he is creatively dead."<br><br><br>Powell will work with a little more frequently in the coming years (or not) that only depends on his ambitions. However, frankly, he's never going to do three again. 4.5. 6 projects in a year. It takes a lot of motivation for that.<br><br><br><br><br><br><br><br><br><br>
Just listened to the whole thing, kind of a let down. Nothing interessting except for some action moments. Don’t even recall hearing some sort of theme. Overall it was like listening to Cars 4: Spanish World Cup.I have already listened to The Jumanji Overture and I must say it sounds really great. Let's see how the rest of the score sounds.Tracklist with track duration:<br>01. The Jumanji Overture (03:20)<br>02. Digging Up The Past (01:43)<br>03. Brantfort High (01:09)<br>04. Into The Jungle (01:23)<br>05. Out of Character (02:31)<br>06. The Legend of the Jewel (02:23)<br>07. The Adventure Begins (01:40)<br>08. Special Abilities (01:16)<br>09. The Bikers (03:44)<br>10. Van Pelt (01:00)<br>11. A Test Of Friendship (01:22)<br>12. The Bazaar (01:16)<br>13. Snake Charmer (03:41)<br>14. The Power of Bravestone (01:04)<br>15. Seaplane McDonough (02:17)<br>16. The Missing Piece (01:46)<br>17. Lost In Time (01:18)<br>18. Flirting With Danger (01:36)<br>19. Albino Rhinos (03:44)<br>20. Retrieving the Emerald (01:54)<br>21. Out of Lives (01:49)<br>22. First Kiss (01:22)<br>23. The Jaguars (03:03)<br>24. Ring of Fire (02:07)<br>25. Begin The Climb (01:56)<br>26. Call Out Its Name (02:23)<br>27. leaving Jumanji (03:03)<br>28. An Older Friend (02:40)<br>29. Back To School (01:53)@ds the same for desplat's victory with Budapest Hotel.Maybe. I'd sure be happy for you lot ;) And I'd definitely rather see Powell attached to a project than, say, RGW, Junkie or Desplat. <br><br>That Solo movie is going to be a disaster, though.
One more thing: if indeed the reason for Powell's semi-hiatus was to be with his family as much as possible, we may well see his activity increase again in coming years now that his wife has passed away and his son is close to graduating high school (I couldn't find an exact date of birth for him but I think he's 16 or 17). Him taking on a project as big and ambitious as Star Wars isn't exactly the sign of someone who wants to take it easy. It's too early to say yet though.hans should win the oscar for best sound effects and not for the best music/score. just as a statement.And it's also unfair to use Balfe to criticize Powell. He started working on American projects in 2005 with Batman Begins, and only after 2010 did he receive individual projects. Is it accurate to compare someone who entered the party at the last minute with two others who are in it for 20 (Powell) and 30 (Zimmer)?<br><br>I'm in a hurry and I put everything into a translator. Forgive the many mistakes.<br> <br><br><br>Composers do not need to worry about the attention, acceptance of the public of the same or the same intensity as pop music artists do. There's no need to do that. Occasionally some name draws attention to the public and causes many people to be in the genre, Williams and Zimmer are the main examples that I can bring the table. However it is not because Williams or Zimmer are extremely popular and perhaps worry about the material they are offering to the public who adores them that all the composers of the world need to do equal. Most of these men and women even enxeega as "celebrity". They are more like artisans or the rest of the crew of a film that occupies with the lights, effects and costumes and that will never have the same response from the public as the main actor. And they don't even expect it. So I think it's foolish to wait for Powell to occupy himself in 2,3 movies a year to please a fanbase.<br><br>I'll agree with you when it says it's deplorable to see CPR composers who talk so much about building a single voice and giving emerging talent the opportunity to use so many additional composers (many of them with a possible promise that in the future they will work with Zimmer and thus have the opportunity to show his face in Hollywood.The sense is almost always these.You start with a secondary composer, he arrives at Zimmer and gains some kind of notoriety). But Powell is not the only one who does this. So he should not be the only one criticized.Well...it's a film score. It has no obligation to provide a pleasant or enjoyable listening experience, and for an award like this that doesn't really come into consideration. So if it works in the film, it did its job and that's all that matters.<br><br>For me personally, as someone who cares about music first and films second, a score like Dunkirk has little value. A few years ago I probably would have been pretty mad about this score winning awards and acclaim (you should have seen how salty I got when The Social Network beat out HTTYD), but these days... *shrug*. I know what I like, Dunkirk isn't it, and that's fine. It wasn't written for me. Do I wish Hans still wrote the kind of music I like? Of course. But he gets to make his own choices as an artist, just as I get to choose what to listen to as a fan.
The score is already on itunes.This score... so many mixed emotions. Does it work for the film? Heck yeah. Does it improve the film? So much so. Did Hans do what he set out to do? Totally. Is it an award winning masterpiece? Um, not so fast.<br><br>Dunkirk, while super effective within the context of the film (I wouldn’t change a thing about it), I must admit, it doesn’t have nearly the same effect as a stand-alone listen. It’s literally the same textures and notes over and over again, just slightly rising and falling in pitch and tempo. Does that make it “award” worthy? I’m not sure. If based solely on the film, you betcha. If based purely on the music itself, I don’t think so. That’s where Interstellar succeeds so far and away over Dunkirk. As a pure listening experience, Interstellar is interesting, multi-layered and emotional. Whereas Dunkirk is just flat, void of any sort of feeling or “actual” music (again, works IN the film). It’s glorified sound FX (save for the end, which, no doubt, is in large part to Ben).<br><br>Hmm... I’ve never had a score tear me apart more than this one. I both love it and hate it. Maybe it did it’s job... lol.<br><br>Excuse me while I go listen to No Time for Caution yet again.I think most of us agree that he should've won for Interstellar but I think Dunkirk deserves it too. The work Hans and the music department did on this movie is just incredible. Must've been a lot of hard work. <br>An award is an award, Hans' 2nd Oscar is long overdue so I'd be glad to see him win. But it would be weird to see him win for THAT score, after all the greatnesses of the past 20 years. Same thing with Morricone who won his only Oscar for his very light and insignificant work on Hateful Eight. Good for the man, good for the fans, but doesn't really make sense. But have Oscars ever made sense? :-phaha hybrid :D made my day
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Tom Holkenborg (Junkie XL)Christian VorlanderStephen PeroneBob Badami
ComposerAdditional MusicAdditional ArrangementsMusic Supervisor
Mad Max - Fury Road
Label: WaterTower Music
Length: 125'04
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   3/5 (9712 votes)
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  1. Survive (1:40)
    Tom Holkenborg
  2. Escape (3:28)
    Tom Holkenborg
  3. Immortan's Citadel (8:58)
    Tom Holkenborg
  4. Blood Bag (3:39)
    Tom Holkenborg, Christian Vorländer
  5. Buzzards Arrive (1:26)
    Tom Holkenborg
  6. Spikey Cars (4:08)
    Tom Holkenborg
  7. Storm Is Coming (6:16)
    Tom Holkenborg
  8. We Are Not Things (1:42)
    Tom Holkenborg
  9. Water (6:25)
    Tom Holkenborg
  10. The Rig (6:31)
    Tom Holkenborg
  11. Into The Canyon (2:49)
    Tom Holkenborg
  12. Brothers In Arms (5:52)
    Tom Holkenborg
  13. The Chase (3:16)
    Tom Holkenborg
  14. Moving On (1:56)
    Tom Holkenborg (Eleni Karaindrou)
  15. The Bog (12:32)
    Tom Holkenborg, Christian Vorländer
  16. Redemption (1:45)
    Tom Holkenborg
  17. Many Mothers (8:58)
    Tom Holkenborg (Eleni Karaindrou)
  18. The Return To Nowhere (5:17)
    Tom Holkenborg
  19. Claw Trucks (5:43)
    Tom Holkenborg, Christian Vorländer
  20. Immortan (11:10)
    Tom Holkenborg
  21. Chapter Doof (6:49)
    Tom Holkenborg
  22. Walhalla Awaits (2:40)
    Tom Holkenborg
  23. My Name Is Max (2:23)
    Tom Holkenborg
  24. Let Them Up (2:36)
    Tom Holkenborg
  25. Mary Jo Bassa (2:26)
    Tom Holkenborg
  26. Coda (4:43)
    Tom Holkenborg
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...... reply Replies: 3 || 2017-10-11 02:44:04
Have any ASCAP cue sheets popped up for this? Or any JXL scores for that matter? I'm interested in which cues weren't released


......2017-10-11 02:44:33
Same with Run All Night/Point Break


Edmund Meinerts2017-10-11 11:48:03
I find it hard to believe that anything from Run All Night or Mad Max wasn't released with the two-hour albums they got.


Rigby2017-10-11 17:00:51
There were a few unreleased from Mad Max if I remember correctly. Only one from Run All Night that was pretty decent.

James reply Replies: 0 || 2017-08-09 05:08:36
I watched the movie today (yes, a crime) and I'm speechless. My eyes are blurred, my ears are buzzing, my legs are shaking, my stomach is upset ... I'm tense. I do not remember ever seeing a movie as harmful to the senses as this (in a good way).

Maybe when those "symptoms" pass I change my mind, but for now, that's it.

Wow!

And XL, well...
nailed it!

The conductor of the choir of death ... lol

matthew reply Replies: 3 || 2015-05-25 18:58:40
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.

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Hybrid Soldier2015-05-25 19:03:42
Don't mistake sound samples and music style.


Jergens2015-05-25 19:14:44
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.


bm18932016-09-26 20:18:11
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.

Anonymous reply Replies: 5 || 2016-03-30 22:11:38
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. :(


marc2016-04-02 16:25:00
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



Anonymous2016-04-02 18:20:53
There's not going to be an isolated score


doof2016-04-02 18:41:53
The isolated score should be part of the Black-And-White version new DVD release, right?


Anonymous2016-04-03 00:03:19
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...


Gotham_Rogue2016-07-08 16:51:48
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.

D A R T H reply Replies: 1 || 2016-03-25 09:40:56

Survive

Escape

Immortan's Citadel


Blood Bag

Buzzards Arrive

Spikey Cars

Storm Is Coming

We Are Not Things

Water

The Rig

Into The Canyon

Brothers In Arms

The Chase

Elegy For Rosa (Karaindrou)

Moving On

The Bog

Dies Irae (Verdi)

Redemption

Refugee's Theme, Symphonic Variation No. 1 (Karaindrou)

Many Mothers

The Return To Nowhere

Claw Trucks

Immortan

Chapter Doof

Walhalla Awaits

My Name Is Max

Let Them Up

Mary Jo Bassa

Coda


Teardrop (Massive Attack) (source music ?)

Little Secrets(Professor Green, Uncreditred, Japanese Release end song ? )




Anonymous2016-03-26 03:17:18
ok and what is this. nothing special.

Hybrid Soldier reply Replies: 6 || 2015-10-07 23:26:42
Little who did what here...


Edmund Meinerts2015-10-07 23:32:03
Good to know, even if there's not much TO know. ;)

Who's Eleni Karaindrou?


Hybrid Soldier2015-10-07 23:36:19
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


billy2015-10-08 14:47:03
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".


Marc2015-10-08 15:40:10
Great! It's always interesting to know the full composing credits!


Evenstar2015-10-08 16:15:05
Many Mothers not 100% by Junkie? Damn, I thought it was an original piece... :(


billy2015-10-08 16:34:25
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.

Doof reply Replies: 0 || 2015-07-29 14:41:25
Does anybody know which scene in the movie does the last one and half minutes of Chapter Doof track comes in? Right after the drop in the tempo. I am unable to make out.

Jo reply Replies: 3 || 2015-05-20 03:16:06
Brothers in Arms is absolutely incredible!

I don't know how any film score lover can hate that track. Rest of the score maybe but that one track is freaking incredible.


x2015-07-06 08:05:18
ultra frikin epic best OST song ever :´)


Edmund Meinerts2015-07-06 14:47:43
I must have gone to the YouTube comments section by mistake.


Mike2015-07-06 16:01:51
I agree, typically JunkieXL's music doesn't do much for me, but I can't help enjoying "Brothers in Arms."

Credits Track reply Replies: 2 || 2015-06-20 07:03:05
Anyone know if the music from the end credits has been released?


NotSoAnonymous2015-06-21 17:59:30
Also curious about this!


Anonymous2015-06-21 19:13:40
No they haven't

RealFfingMusic reply Replies: 5 || 2015-05-27 08:41:56
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?


Hybrid Soldier2015-05-27 09:02:24
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 !

youtube.com/watch?v=VkNeXS0Lmxc&list=PLPDbiB89zUSI-bAKsef_UC 87OMsHrv_tR&index=4


Edmund Meinerts2015-05-27 20:23:15
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. ;)


Hybrid Soldier2015-05-27 20:23:57
Poor Dutch people... :P


RealFfingMusic2015-05-30 19:21:18
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.


Zimson2015-06-20 21:16:12
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.

YOman reply Replies: 1 || 2015-05-27 15:54:28
Hybrid, check "Black Mass" trailer - "Music by: Tom Holkenborg" without JXL.


YOman2015-05-27 15:56:23
Ooops new topic instead "reply" previous thread

Megalith reply Replies: 1 || 2015-05-26 01:00:29
I'm convinced that Hans actually did Brothers in Arms. Must have stumbled in drunk one night.


Scorefan2015-05-26 23:34:07
It was Tom not Hans. Hybrid said it before.

META reply Replies: 0 || 2015-05-25 19:17:30
FYI the music that plays when Furiosa is stabbed during the final chase is in the piece "Immortan", about in the middle.

The piece starts off with the scene after the first chase when they lose the pregnant bride...Then it kicks into Furiosa's stab scene, then some other actiom music I dont remember.

But in case you were looking for that bit to put right before Chapter Doof drops the bass, that's the track....

Adrian reply Replies: 5 || 2015-05-19 08:00:18
I think the score of BvS:DoJ is in good hands :)


...2015-05-19 15:49:32
Lol this reminds me of how the media often forgets that Hans is also scoring it! They go like "Junkie XL who's also scoring BvS" and sometimes they add zimmer's name as nr 2 lol.


MacArthur 2015-05-24 05:33:14
I was gonna say the original Composer announced was Hans. does anybody ever pay attention to that


...2015-05-24 19:23:45
What?


MacArthur2015-05-25 17:07:57
I was Basically reiterating what you were saying.


...2015-05-25 17:25:40
Now I saw what you meant! Indeed. Since when is Junkie THE film composer and Zimmer the co composer...

Guitwo reply Replies: 0 || 2015-05-24 17:49:53
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.

Evenstar reply Replies: 1 || 2015-05-19 19:26:38
Best work by Junkie XL to date.


YOman2015-05-19 19:35:23
Saturday Teenage Kick still better.

Adrian reply Replies: 0 || 2015-05-19 08:12:54
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!

Scorefan reply Replies: 2 || 2015-05-18 22:54:12
EPIC Movie, EPIC Score. Like Hybrid said, 2.5 years working on this, that's the reason of the influence in man of Steel and 300 rise of an empire. Great great score.


Edmund Meinerts2015-05-18 23:11:47
Huh. Here I was thinking working on something for 2.5 years would make it more original!


Scorefan2015-05-19 00:40:12
For me it's original from Tom. And remember, that's the musical visión from George Miller too.

Toyota Hybrid reply Replies: 2 || 2015-05-16 18:35:47
Tonight I'll watch Mad Max... lol


Ds2015-05-16 23:59:01
Lol


Johnson2015-05-17 14:29:15
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?

End credits piece is also not on the OST...

... reply Replies: 7 || 2015-05-14 10:14:35
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!


Hybrid Soldier2015-05-14 11:23:51
Yeah for sure Run All Night doesn't have a proper theme... lol


...2015-05-14 11:26:20
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.



Hybrid Soldier2015-05-14 11:30:54
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...


...2015-05-14 11:58:11
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?


Par2015-05-14 17:19:37
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?


Lambegue2015-05-15 01:52:26
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.


...2015-05-15 12:06:57
The movie was AWESOME!!!

Andrew reply Replies: 0 || 2015-05-15 10:21:26
(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.

Sinak reply Replies: 2 || 2015-05-14 13:50:19
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"


Hybrid Soldier2015-05-14 16:20:44
Who already co-wrote Man Of Steel... lol


Sinak2015-05-15 08:21:53
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.

mpolonest123 reply Replies: 3 || 2015-05-13 00:07:56
Wow.

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.


Meta2015-05-13 05:46:08
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....


Hybrid Soldier2015-05-13 08:26:44
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.


mpolonest1232015-05-13 17:02:05
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.


Samuel reply Replies: 12 || 2015-05-12 05:01:01
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.


Anonymous2015-05-12 05:14:48
Incorrect and incorrect....


Samuel2015-05-12 05:39:55
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


Samuel2015-05-12 05:41:48
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


Edmund Meinerts2015-05-12 09:23:31
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!


Warwick2015-05-12 15:25:51
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


0-cool2015-05-12 19:28:56
No. The only scores that get buzz are the ones for big, hyped movies. It only depends on the movies, nothing else


Hybrid Soldier2015-05-12 19:38:03
I completely agree... :)


...2015-05-12 19:43:35
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!


Hybrid Soldier2015-05-12 19:45:03
Did you see any hype for Casi Divas or The Burning Plain ? Do you think there'll be any for Freeheld ?


Lambegue2015-05-12 20:10:41
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...


Hybrid Soldier2015-05-12 20:12:24
I've been fighting with Hans for that for years, but he won't change him... lol


...2015-05-12 21:50:07
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 really like Hans' smaller scores!

Joshua reply Replies: 0 || 2015-05-12 18:31:58
You can definitely hear some Joker influences in a couple of tracks. Especially "the bog"

Ds reply Replies: 0 || 2015-05-12 14:53:19
"Brothers in Arms" had me completely hyped about this score... Sadly the rest doesn't live up to it in my opinion. But let's wait to see how it works on picture.

I see Hybrid Soldier is very good at picking up the best tracks of a score :-D

jjluffy reply Replies: 1 || 2015-05-12 09:41:17
Do we know if the deluxe version (only available on itunes) will be released on cd. I did not find any information on the subject.


Hybrid Soldier2015-05-12 10:23:21
It won't.

Dms reply Replies: 3 || 2015-05-12 01:08:40
Its already out in the UK


JamesT2015-05-12 05:16:18
Listening now.....WOW!


Dms2015-05-12 05:40:36
Send a link or something! Upload something somewhere haha, I would appreciate it


Hybrid Soldier2015-05-12 08:33:51
Dms I won't say it twice. Don't ask for links or uploads here. Just take 10 bucks and buy the thing, trust me it won't hurt you...

Twi reply Replies: 2 || 2015-05-11 04:51:34
I guess no one is posting anything else... We can only wait till the release now.. Unfortunately.


Drunkenmunkey2015-05-11 22:20:58
Is it really that hard to wait one more day? Lol. This will be worth it. This sounds amazing and it looks like great release!


Anonymous2015-05-11 22:54:26
People forget that iTunes releases albums at 11PM Monday night. 6 more hours. Chillax

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Mad Max - Fury Road soundtrack - Tom Holkenborg (Junkie XL) 2015