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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
<br>
<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
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Steve JablonskyJon AschalewRyan RubinLori Castro
ComposerAmbient Music DesignMusic EditorTechnical Score Advisor
Deepwater Horizon
Label: Warner Bros. Records (Digital Download Only)
Length: 62'33 (Score: 57'45)
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   2/5 (5612 votes)
  1. Taming The Dinosaurs (4:12)
  2. The Rig (4:49)
  3. The Monster (3:01)
  4. Hope Is Not A Tactic (3:54)
  5. Negative Pressure Test (4:57)
  6. Well From Hell (4:35)
  7. Cut The Pipe (5:34)
  8. Mud (5:19)
  9. Stop The Crane (2:03)
  10. Fire On The Rig (3:16)
  11. Burn Or Jump (5:09)
  12. Roll Call (7:44)
  13. Home (3:12)
  14. Take Me Down - Gary Clark, Jr. (4:48)
Create Topic

SPECTER reply Replies: 0 || 2020-01-17 02:21:10
Track 9. Stop The Crane and 11. Burn Or Jump

Excellent.

Bayhem reply Replies: 4 || 2018-09-29 08:01:54
So Steve's IMDb page has been updated. He will work again with Peter Berg and Mark Wahlberg on 'Wonderland' and he will score the comicbook movie 'Bloodshot' with Vin Diesel. 'Bloodshot' will be an interesting project for Steve. Can't wait for the score. As for the Berg movie, I already know what to expect.....Berg's taste in music is well known. I don't expect much surprises.


Brent2018-09-29 10:26:31
Warning: don’t always trust IMDb. But, nonetheless, if any of it is true, I’ll be excited.


superultramegaa2018-09-29 14:44:30
I agree the Peter Berg project will be very underwhelming as usual, but there might be a lot of potential in that Bloodshot movie. The writers' track records aren't the best, and the director has so far only worked on visual effects for video games and such, but a superhero movie should give Steve a great opportunity for his TMNT 2 style of writing. That is, if he doesn't just resort to guitars and electronics... just because the comic is over-the-top violence...


MrZimmerFan2018-09-29 18:48:18
If all Berg's filmography was just like... Mile 22, ugh

Is a good director, three of his movies are amongst my all time favorites.


Bayhem2018-09-29 21:11:24
the director has so far only worked on visual effects for video games and such
=====================


I consider that good news actually. He's not an established name yet, it's his first movie and I'm certain he would make sure that everything is as good as possible. And I'm sure he would gladly listen and take advice from someone like Steve who has more than enough experience with big movies.

Anonymous reply Replies: 0 || 2018-02-03 23:32:37
full BMI cuesheet

TLN BOP
TLN ANDREA
TLN DRIVE PT1
TLN DRIVE PT2
TLN HELICOPTER TAKEOFF
TLN HELICOPTER BIRD HIT
TLN BANKSTON
TLN WALK TO DRILL SHACK
TLN COIN TOSS
TLN DINOSAUR TOOTH
TLN RUN A PRESSURE TEST
TLN PRE NEG TEST
TLN NEGATIVE TEST
TLN 50 DAYS LATE
TLN KILL LINE TEST
TLN GOOD TEST
TLN MOVING MUD
TLN LITTLE MUD
TLN BLOWOUT
TLN GET OFF THE FLOOR
TLN METHANE
TLN MAYDAY
TLN CALLING COAST GUARD
TLN CAN T HOLD STEADY
TLN GET TO THE BRIDGE
TLN LOST POWER PT1
TLN LOST POWER PT2
TLN LOST POWER PT3
TLN CRANE
TLN CUT THE PIPE PT1
TLN FELICIA PHONECALL
TLN GENERATOR ROOM
TLN BOATS LEAVE RESCUE
TLN HELIPAD JUMPOFF
TLN CALL OUT PT1
TLN CALL OUT PT2
OPTIMISTIC TENSION SUITE
TLN COIN TOSS
6M33 ETV10

jjluffy reply Replies: 17 || 2016-09-27 00:10:20
ggggrrrrrrrrrr, tictictictic, ccrrrrrrrrrssssshhhhhhh ... that's all I heard listening to the Deepwater Horizon. The movie makes me want but compsition Steve Jablonsky is unbearable listen-only. Gone is the time of the first Transformers. Jablonsky disappoints me more and more to serve us sound design. to believe that he knows more compose MUSIC ...


Bondo2016-09-27 05:12:28
...or more likely the director/producers wanted something more akin to sound design than melody.


Morgan Joylighter2016-09-27 09:11:49
I realize there are some harsh tracks akin to Battleship but if you just skip to the end you will find the final cue is one of the most gorgeous and emotional of Jablonsky's career :)


Brent2016-09-27 09:12:18
Don't always blame the composer. More often than not, it's a combination of director, producer(s) and studio.


Evenstar2016-09-27 11:15:55
Steve said in an interview that they didn't want a orchestral score, so he made it completely on his computer. Check interview here: youtube.com/watch?v=Glr-dgumGgo


MrZimmerFan2016-09-27 11:30:58
The movie is about a disaster with real people, don't fit a orchestral epic dramatic score, more a electronic, dark, gritty score.

Everyone expect orchestral when don't fit in every movie...


Edmund Meinerts2016-09-27 17:32:14
I don't really see how the movie's subject dictates that the score be dark and electronic either. I think both approaches have possible merits and possible disadvantages. You might say that an orchestral, thematic score is tasteless because it would play tragic deaths for "cheap" drama...but if that's your case, then isn't the entire movie also guilty of the same thing? You might just as easily say that by going the electronic route, Jablonsky is neglecting the human cost of the disaster and focusing too much on its mechanics.

I don't agree with either line of thinking, though. A good score is a good score no matter what it's made of. I *personally* don't much like listening to sound-design scores, and I wish Jablonsky had gone for something a bit more expansive for purely selfish reasons. But that doesn't mean I think his approach was an invalid one, and I don't think you should say that an orchestral approach would have been invalid either. It's all about the execution.


Anonymous2016-09-27 18:21:40
Well said, Edmund. And ultimately, the final decision really does come down to the director and his preferences. It must be hard being a film composer right now. Write a score that sounds great on its own but doesn't fit with the tone of the film, it gets bashed. Write a minimalist, more sound-design oriented score, it gets bashed.


Anonymous2016-09-27 18:32:32
And on that note, this is actually one of the more emotionally-driven sound design scores I've heard.


Joshua2016-09-27 19:07:26
I think Steve just seemingly confirmed he's scoring Transformers 5 on his Instagram. Not that i was worried. :))))


Ben 2016-09-27 23:56:04
13 Hours is much better


MOMO2016-09-28 08:31:11
Lorne Balfe 13 Hours Score is only 8/15
a really untalend composer... no passion for music!
this score is so hypnotic and heart pushed


Edmund Meinerts2016-09-28 09:13:09
Not the anti-Balfe clown again...


rockhound2016-09-28 09:29:03
an orchestral or very melodic bombastic score shows the audience always, that they are just watching movie. for a story based on a real tragic event is no score or this kind of score here more realistic. it puts you more in the "reality", because this kind of music sounds more "natural" without giving the audience the feeling, that they are just watching an entertaining movie.


Ben2016-09-28 11:58:58
"a really untalend composer" !!!! You must be deaf !


trent easton navarro2016-09-28 19:03:53
@MrZimmerFan and rockhound

So what you are saying is that Horner scored Titanic in wrong way? And Williams also got it wrong with Schindler's List?


rockhound2016-09-28 22:53:22
Titanic is a love story in a setting of a tragic event. i havent seen Deepwater Horizon yet, but im 99% sure that there is no love story on that oil platform. Schindler's List is a bit too sentimental for my taste. btw: comparing 2 movies with the setting in 1912 and WW II with a movie and its setting in 2010 is absolutely sensless.


Bayhem2017-06-26 10:44:14
Steve provides what the director wants. Simple as that. It's not a surprise that the most beloved Jablonsky scores are for Michael Bay films. Because Bay wants it epic, Bay wants it orchestral, Bay wants it dramatic and emotional. He pushes all buttons and Steve delivers. On the other hand, Peter Berg - the Deepwater director who did a few other movies with Jablonsky - usually goes for sound design scores. In short, he's not as epic and melodic as Bay is. So if you want to blame someone for the fact that you didn't like the Deepwater score, blame Peter Berg.

Everan reply Replies: 3 || 2017-04-26 17:57:08
No Transformers Last Knight thread yet so posting here. The official site got updated with a new piece of music, and holy hell, it's amazing!
www.transformers movie.com

Also pretty sure the last trailer's music was from him too, Age of Extinction had his scores on almost every trailer.


David2017-04-27 01:39:38
Sounds like a suite

And wasn't it only the final trailer that used material from the actual score? It was Lockdown's theme. But what was used in the trailer was exactly what ended up being used in the film.


David2017-04-27 01:40:53
Woops! Made a typo.

What was used in the final trailer *wasn't* exactly what ended up being used in the film ;)


Everan2017-04-27 04:36:01
The first trailer had a bit of Tessa's music at the start, the second a bit of Lockdown's theme, the big kinda orchestral bit, instead of the electronic braaaaams.

Jack Afrogarrix 2017 reply Replies: 1 || 2017-04-15 04:23:20
Steve Jablonsky Makes A Great Job From The Score Of Deepwater Horizon And The Score And The Movie Are Worthy To See It just Like Patriots Day Too.

By The Way Mpolonest123 don't judge My Comment beacuse Is My opinion


Randy Watson2017-04-15 10:07:07
It's not really your opinion that's the problem more that nobody even knows what the heck you are saying.

Jack Afrogarrix 2017 reply Replies: 1 || 2017-04-02 19:03:36
Steve Jablonsky Make An Awsome Score For Deepwater Horizon. The Full Electronic Music & Drums From Jon Jablonsky For This True Events Movie With Director Peter Berg, I Like This Movie & The Score.

Like Trent Reznor & Atticus Ross In Patriots Day Score With Ambient,
Electronic & Post Rock For The True Story Of The Boston Marathon Bombings With Director Peter Berg,Like I Said

I Like Both Movie From Peter Berg, Because Those Are True Heroes Who Save People's Life And We Can Remenber The Bravely Of These People.


mpolonest123 2017-04-02 19:36:34
God will you please shut the fuck up?

I mean, what's wrong with you? Either you are a troll or just fucking mentally disabled. Jesus!!!

Joshua reply Replies: 7 || 2016-10-01 08:07:27
Ah man, the trailer for Patriots Day says Trent Reznor and Atticus Ross are scoring it and not Steve. What the hell?!


Ds2016-10-01 08:59:15
I was not aware of this film... so this year Peter Berg has not one but TWO films released in the awards season. Seems quite tight, I guess the schedule wasn't working for Steve, who also has the big TF5 coming :-)


trent easton navarro2016-10-01 11:38:30
wait, there's a new Reznor/Ross coming out and I'm not aware of it?!


Edmund Meinerts2016-10-01 20:14:31
Not those two clowns again. :(


trent easton navarro2016-10-02 01:00:17
@edmund be greatful they are selective in the films they score and don't pop up all the time like Junkie XL


Frank2016-10-02 01:23:26
Trent Reznor & Atticus Ross seems to be a perfect fit for Peter Berg. He always likes to use ambient music and post-rock for his films and Trent Reznor & Atticus Ross is a very talented dual.


oha2016-10-02 09:37:26
Yesterday, patriots day update Trent Reznor and Atticus Ross composed the Score. Today Steve Jablonsky.... I hope Steve Jablonsky!



Joshua2017-01-17 00:05:12
Saw Patriots Day, really liked it. But the score was lacking. Really wish Jablonsky had done this one.

MrZimmerFan reply Replies: 1 || 2016-10-07 12:37:58
@Hybrid: Do you know about this?

https://play.google.com/store /music/album/Steve_Jablonsky_%EC%9D%B4%EB%8D%B0%EC%95%84_OST ?id= B2x4737ocjnyoc7h2vyhvqygqja&hl=es


rockhound2016-10-07 18:55:42
sounds like steve and it sounds amazing. wonderful themes and choir parts. thanx for finding this.

Mk reply Replies: 0 || 2016-09-27 19:15:55
I LOVE this score, it's like Nine Inch Nails, a mix of industrial/rock ambient sounds. This and the dark-ambient music of Blair Witch (2016) by Adam Wingard, two of my favorite scores of this month.

Dimitris Krommidas reply Replies: 2 || 2016-09-26 15:58:05
It's a cd release or digital?


Evenstar2016-09-27 11:16:54
Looks like it's digital only :(


Dimitris Krommidas2016-09-27 16:30:01
Thanks.

Waymann reply Replies: 0 || 2016-09-27 11:16:26
People here seem to forget that scores and soundtracks are made for a movie. They are not made as a music album in the first place. Some composers make like more than 2 or 3 scores a year. That's not the same like an artist or band who makes an new album once in 2 or 3 years).

Scores are a really nice extra thing you get from a movie and yes some albums are great to listen to, others with more like an ambient and underscore type of sound can be seen as disappointing and boring. I think it's wrong to give Jablonsky a hard time here because he made a score that will fit this movie, but when listening to it without the movie it can be kind of boring... Composers don't make this music just to bring out a new album for us! They make music for movies and afterwards they can share it with us.

About the movie, I don't think this movie needed some kind of memorable heroic themes. It's a serious thriller and giving this some theme's like Transformers would look and sound ridiculous. I was expecting a score like this.

MOMO reply Replies: 0 || 2016-09-27 09:55:46
Love this Score Great Work!!!!

Jack Afrogarrix reply Replies: 0 || 2016-09-26 12:39:08
Interesting Music & Awsome Electronic Ambient Music From Steve Jablonsky I Can't wait To See The Movie Deepwater Horizon

Bar reply Replies: 2 || 2016-09-24 11:54:37
even your highness is better then this, the use of electronics adding to the beauty of the tune but too much of it clouds the main orchestra.


Edamund Meinerts2016-09-24 13:35:20
*Even* Your Highness? I love that score! :p


T-Mann0362016-09-25 08:25:19
"Your Highness" was one of the best film scores Steve has ever composed!

Brent reply Replies: 0 || 2016-09-24 01:22:31
For being mostly electronic underscore, I actually enjoy this album (with some notable exceptions). Pain & Gain definitely had a bit more character, but I enjoy this just as much.

Dimitris Krommidas reply Replies: 0 || 2016-09-23 15:59:35
Nice album.

bar reply Replies: 1 || 2016-09-23 14:26:50
More of transformers come on!!!!


Edmund Meinerts2016-09-23 15:26:03
How about more of Steamboy?

Paul reply Replies: 6 || 2016-09-22 19:14:41
Not Jablonsky's best, but there are some tracks that i enjoyed to listen


Everan2016-09-22 20:06:29
Yeah, was hoping a bit more Battleship at least, too much electronic underscore or something. But the first and the last 4 tracks are worth it.


Edmund Meinerts2016-09-22 20:25:13
If someone "hoping for more Battleship" is disappointed then that's surely a good sign for me. The further away from Battleship, the better. :p


Everan2016-09-22 20:42:34
Well it's my favorite of Jablonsky-Perg working together so. This is more of a thriller suspense score really.


D2016-09-22 21:04:39
Edmund, this score is Jablonsky's closest to Battleship. And I dont mean the bombastic parts of Battleship, I mean the sound design based action cues, with repeated motifs and screeching effects. I like it and I think it's gonna make a terrific theatrical experience... but believe me, you won't like it :-D


Edmund Meinerts2016-09-22 21:54:20
Aw, shit. And just after Jablonsky had won back some of my faith with TMNT2 as well. :/


Everan2016-09-22 22:22:13
Tracks 1, 11 , 12 and 13 are the least Battleship ones. TMNT2 sounds better IMO, more fun too, but those last tracks are cool.

Brent reply Replies: 0 || 2016-09-03 21:17:41
Can't wait!

Felix reply Replies: 0 || 2016-09-03 19:37:56
Oh yes :)

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Deepwater Horizon soundtrack - Steve Jablonsky 2016