Produced by Henry Jackman Music Supervisors: Peter Afterman & Margaret Yen Additional Music by Alex Belcher, Halli Cauthery & Stephen Hilton Music Editors: Clint Bennett, Jack Dolman & Catherine Wilson Score Mixed by Alan Meyerson Score Technical Engineers: Maverick Dugger & Felipe Pacheco Music Production Services: Matthew K. Justmann Orchestrations by Stephen Coleman, Andrew Kinney, Gernot Wolfgang, Jonathan Beard, Henri Wilkinson & Edward Trybek
Orchestra Contractor: Isobel Griffiths Assistant Orchestra Contractor: Lucy Whalley Score Recorded by Nick Wollage Orchestra Leader: Everton Nelson Adult Choir: London Voices Chorus Masters: Terry Edwards & Ben Parry Choir Conductor: Ben Parry Librarian: Jill Streater for Global Music Service Score Conducted by Gavin Greenaway Digital Score Recordist: Chris Barrett Score Recorded at Air Lyndhurst Studios, London
Studio Manager for Air Lyndhurst: Alison Burton Listening Session: The Fox Newman Scoring Stage, 20th Century Fox Studios Fox Scoring Stage Engineer: Denis St. Amand Score Mix Assistant: Forest Christenson Assistant to Henry Jackman: John Paul Lefebvre Score Mixed at Remote Control Productions Album Mastered by Gavin Lurssen at Lurssen Mastering
Featured Guitar: Alex Belcher Harmonica: Bob Dolman Flute: Pedro Eustache Vocal: Tori Letzler
Soundtrack Album Produced by Henry Jackman Executive in Charge of Music for Warner Bros. Pictures: Paul Broucek Executive in Charge of WaterTower Music: Jason Linn Music Business Affairs Executive: Lisa Margolis
Henry would like to thank: Legendary Entertainment, Thomas Tull, Jordan Vogt-Roberts, Mary Parent, Alex Garcia, Debbi Bossi, Richard Pearson, Peter Afterman, Margaret Yen, Francesco Lupica, Laura Engel, Steve Kofsky, Victoria, Ralph, Ellie & Mum
Thanks to: Peter Axelrad, Christine Bergren, Joseph Billé, Rocco Carrozza, Maria Holbrook, Joe Kara, Keven Kertes, Kolette Kleber, Ny Lee, Alison Litton, Genevieve Morris, Oriana Pedone, Christina Swintek & Robert Zick
Release date : 03/03/2017
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:-/ Hmmmmm.... This is really an underwhelming score. It's not bad by any means, but most of the action/suspense music is incredibly generic. And the horn of doom... really?!?
I will say, I do like the use of electric guitars in the first half ("The Island" is pretty badass) and there is some decent orchestral writing in the second. There just seems to be something missing that would make this feel more inspired.
I'm not the biggest fan of Jackman, but I think is a enyoable score (honestly, I prefer Uncharted or Pixels, but I have fun with this). I like the guitars with orchestra (The Battle of Skull Island have this epic/heroic theme for Kong or the textures for Monsters Exists)
Not the worst.
Like I said, it's not a bad score at all. I won't even compare it to JNH because the film is obviously a different beast entirely. The problem is the lack of a distinct voice mixed with some bland, modern action material that borrows heavily from Silvestri and Brian Tyler.
Jackman has always had trouble finding his sound. His scores are always enjoyable but they seem to have trouble being distinct enough. That's one reason I love TWS. The electronic style mixed with the traditional action scoring allow it to be fresh and original, no matter how harsh it gets. If you didn't tell me Jackman scored Skull Island I honestly wouldn't be able to tell you who did.
Yes, Jackman underdelivers yet again. I swear, the best thing that came out of his career was Matt Margeson.
Heh. That's harsh, but I have to admit that Margeson's recent work has impressed me more than Jackman's. The latter had some excellent scores early in his career, but since Wreck-it Ralph he hasn't really impressed me...was not at all impressed with his Captain America scores and even his latest animated/comedy scores like Big Hero 6 and Pixels were missing something. Although I did think Birth of a Nation last year was an impressive new direction for him.