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Yeah, 30-ish seconds into Do You Bleed?"Reminiscent Therapy" is amazing in the way it incorporates a lot of Williams' classic stuff making it feel very natural and organic, like it's part Powell's themes, like he does with "The Adentures of Han".<br><br>This is a really great scoreHe is the chosen one, the one who will bring balance to the film music world...Thats just 'do you bleed?' with a small insert?Haha, It's as the prophecy foretold.
John Powell, the great uniter of film music fans@MrZimmerFan<br><br>I actually like Rogue One, and I do understand why it leans so heavily on the original themes. Here the themes are incorporated more as fan service, but Powell is able to do wonders with interpolating them with his material. <br><br>And something I forgot to mention, this score reminds me so much of Pan in the action sequences. The percussion and brass writing is great lolim surprised how Powell uses his ANTZ percussion in this!<br><br>The track Train Heist, Into The Maw is good example of it.<br><br>This is the only score that will please the gang at JW and HZ alike.When JWFan and HZ.com are discussing the same score....'but not as heavily as Rogue One'<br><br>Because Rogue One have conections with certain aspects or characters from the OT?<br><br>An here you have a track with three themes (or cues) with no conections with the OT, Rogue One have more sense... but the score is fricking awesome :)
So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/
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Steve JablonskyJon Aschalew
ComposerAmbient Music Design
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 (4662 votes)
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  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)
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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