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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.
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<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
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<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.
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<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.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!
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Rupert Gregson-WilliamsLorne BalfeMax ArujSteffen Thum
ComposerComposerAdditional MusicAdditional Music
The Crown (TV Series - Season 2)
Label: Sony Classical
Length: 59'23
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 (2364 votes)
  1. Bounden Duty (3:37)
  2. Dismissed (3:41)
  3. The Downfall (6:20)
  4. Homesick (3:42)
  5. Your Majesty (4:15)
  6. Headlines (4:26)
  7. Radio Speech (3:52)
  8. Future King (2:23)
  9. Christmas Message (3:59)
  10. New Guinea Match (1:58)
  11. We Shall Go To War (2:19)
  12. Be My Portrait (2:39)
  13. Philip's Dream (3:01)
  14. Princess Margaret (3:03)
  15. Critical Article (1:25)
  16. I Have No Choice (3:29)
  17. A New Chapter (1:57)
  18. Bring Him Home (3:09)
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Andreas reply Replies: 1 || 2018-10-24 23:27:01
Hmm... Rupert Gregson-Williams and Lorne Bale are not longer scoring the series. Marthin Phipps is taking over. Will it take a complete new direction in style? I hope not. The score was one of the reasons I watched the show.


Peter2018-10-25 23:03:31
The only reason the show is a success is because of the music. It’s a tv show like sounds like a movie .season 2 was the best.who ever is doing it will have to just copy the last season probably

Ian reply Replies: 0 || 2018-03-18 21:02:48
I'm surprised to have not seen more discussion of this score; I honestly think it represents some of the best music out of RCP in the past half-decade. Yeah, it still has the Journey to the Line / Time four-chord power anthem thing going on, but outside of those themes you have some really creative material that at times doesn't even feel stylistically RCP, and hell, even those structurally-simplistic themes are unusually well-orchestrated. And there's a real orchestra!

Andreas reply Replies: 2 || 2018-01-19 11:11:02
New score by Rupert Gregson-Williams from the series The Alienist will be release next week.


Balfe2018-02-23 15:05:01
How much excitement here is there for this? These two composers must have hit out of the trash bin this time.


Stephan 2018-02-23 16:37:01
Rupert Is an asking composer as well as Lorne. This guy must be the Stop RCP ring leader

superultramegaa reply Replies: 19 || 2017-12-10 14:12:22
I'm going to try and add a little criticism to this one. I personally don't really see what's so great about this. The first track, and I was already thinking "Oh, it's the Bumblebee theme again. Not the AllSpark variation, but the slow, calm part." The underscore doesn't change at all, and I feel like stuff like this has been done better by people like James Newton Howard and Alexandre Desplat.

However, good for you guys for finding something interesting in it. Maybe I'm just spoiled on Desplat and Newton Howard.


Mephariel2017-12-10 18:32:50
I agree. The score feels so flat, and we hear stuff like this many times over already.


James2017-12-11 10:09:49
meh. That's your opinion. I agree with the fact of that the score is not interesting, but not to the point of wanting Howard or deplat as composers. This is inviable. Their niche is another.


Andrea2017-12-11 14:14:39
Desplat! I’m only 5 episodes in but I’m happy he didn’t do it. This season is very entertaining and the score is so strong .


Brent2017-12-11 17:29:22
On its own merits, the score may not be particularly interesting. HOWEVER, I think it works perfectly within the series. I definitely wouldn't want Newton Howard or Desplat a part of this.


Olive2017-12-11 18:20:00
Howard and Desplat are A list composers anyway.


Andreas2017-12-13 08:41:39
Was this score recorded with a real orchestra? Sometimes it sounds like it comes straight from a computer. Like Your Majesty for example. Lorne uploaded 2 unreleased tracks btw.


Edmund Meinerts2017-12-13 11:52:29
I haven't heard it yet, but the majority of Balfe's scores are done with samples so I wouldn't be surprised at all


Mike2017-12-13 16:09:05
Edmund wrong again !!!!!balfe posted some photos of the recording sessions for the crown


Edmund Meinerts2017-12-13 23:11:35
I stand corrected. Though it's still possible that the score is a combination of live orchestra and samples, a lot of RCP music does that.


Peter782017-12-14 19:43:02
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


Geoff2017-12-15 10:18:08
Just started watching this season and the music is spot on especially the Princess Margaret episode. Gregson-Williams and Balfe have create a great score to this season.more intamint and emotional than before


Gleyn2017-12-15 12:14:15
This score is BRILLIANT.


Pablo2017-12-15 16:32:50
Your Majesty is addictive and could listen to this also day long.Was Theme is last year ?


Pal882017-12-15 17:15:37
Music is royal and grand and the show is very good. Looking forward to more seasons


AndrewBilling2017-12-15 23:05:42
Very impressed with the music from this season. Enjoying listening to it.there doesn’t seem to be much of the main theme used ?


Martine2017-12-16 16:47:15
The show is very good.we managed to watch the show in two days!the music by Gregson-Williams and Balfe is perfect. The score is some of the best TV music at the moment.going to defiantly buy the album now and see what it’s like


AndyP72017-12-16 19:27:34
Bring Him Home and Future King are great


Guatav82017-12-18 13:06:26
The Downfall is 6 minutes of perfection.I can not stop listening to it


shaniah2018-01-08 20:09:47
thank you i love the show

TK2000 reply Replies: 11 || 2017-12-26 12:23:31
Watched The Crown on christmas and and really noticed the music this season more than the last.You can definitely hear Balfes influence.the music for Princess Margaret is perfection


BrianFilm822017-12-26 12:24:46
Be My Portrait is beautiful


StevenMK2017-12-26 12:34:03
The series has an interesting mixture of styles with orchestral and electronic that make the show not feel dated even though it is a period drama.Bouden Duty has to be by Balfe.he really has finally started to find his own unique voice.


MikelK2017-12-26 16:42:38
It’s great binge watching over Christmas !!!!!a fantastic score by them both.what did Zimmer have to do with this season?


james (now james callahan)2017-12-26 19:37:45
Music by Rupert Gregson-Williams & Lorne Balfe
Main Theme by Hans Zimmer

Produced by Hans Zimmer
Album Produced by Rupert Gregson-Williams & Lorne Balfe


AndyP2017-12-26 22:54:51
Thanks for the credits. Basically Balfe and Gregson-Williams did it all then!! The Downfall is a brilliant track and features heavily in the episode


ArranFilmGeek2017-12-27 03:14:40
I find the blend of the orchestra and the synths different and quirky.Hints of Genius and Churchil in this score also but defiantly best tv score this year


AndrePM2017-12-27 14:36:08
Dismissed , Bring Him Home, Philips Dream are some of the best tracks on the album


Andrew2017-12-28 15:18:23
Really great soundtrack


Marcus2017-12-28 22:26:51
Great season with a great score


BBoles2017-12-30 02:47:36
So does anyone know who did what ?Its fantastic music and interested to know


AndreaK2017-12-30 10:22:31
Sounds very Balfe with hints of His Genius

Scot reply Replies: 0 || 2017-12-21 23:18:28
Great soundtrack to a cool show. The music brings a lot of tension to the show and make it feel modern and not traditional.amazing team having Gregson-Williams and Balfe though

Michael reply Replies: 0 || 2017-12-18 18:42:47
This seasons score is very good and feels more meaningful and thought provoking that last years.Much more development of the famous Duck Shoot and also more individual character lead themes.Excellent and hope it wins some awards this year

Andreas reply Replies: 0 || 2017-12-18 16:47:21
Anyone who knows how many "unreleased" tracks Lorne Balfe is going to post on Youtube. There already four of them. Why are they not included on the soundtrack? They sound amazing.

superultramegaa reply Replies: 5 || 2017-12-11 21:39:38
First, the "that's just your opinion" statement has no merit whatsoever. It's nothing but dismissive and disrespectful.

Second, maybe I should have specified. I don't think Desplat/Howard should have worked on this, I just think they've had scores that have done this style of score better (string focused, European sounding scores).

I am aware they are not TV composers. (Besides maybe Series of Unfortunate Events).


Jonathan2017-12-11 22:24:27
I think it’s better than Desplat . BUT it doesn’t matter.its what’s best for the show not who the better composer is !Crown score is fantastic and emotional . And perfect to images


JamesT2017-12-12 02:31:37
Personally, I am loving it!


WillFil2017-12-12 11:30:55
Hope this show never ends. Balfe and Gregson-Williams score fits in perfectly


Anahil2017-12-12 13:48:01
Beautiful music and very powerful I have been listening to the soundtrack constantly


Bharom2017-12-13 00:57:53
Cool music and original

Mortifer V. reply Replies: 1 || 2017-12-09 21:21:58
This is great. Probably even better than season 1.


Mike2017-12-10 01:18:13
Amazing soundtrack

JP1980 reply Replies: 7 || 2017-12-07 23:23:26
Wow !!! Rupert Gregson’s Williams and Lorne Balfe . Two of the best RCP composers in a long time


Tom2017-12-08 01:34:23
Totally agree


Edmund Meinerts2017-12-08 12:06:39
They've both been around for a while, hell RGW was working already in the late 90s!


Peter 2017-12-08 14:10:05
Edmund is as negative as ever !!! Always has to make some dumb put down comment.I purchased the soundtrack this morning and loving it.Stunning


Olive2017-12-08 14:51:07
RGW was the first RCP composer with who Balfe worked.


Edmund Meinerts2017-12-08 14:55:48
I'm not being negative. I'm correcting a false statement. OP made it sound like these were some fresh new talents on the scene when they've been around for ages. I could say that Hans Zimmer is the best RCP composer in a long time as well, but that would be a patently ridiculous statement for exactly the same reasons.

Just because I'm one of maybe three people around here who doesn't constantly gush like some fanboy on YouTube (especially about Lorne Balfe this year for some reason), now I'm suddenly dumb and negative?


AndyP2017-12-08 16:41:31
Edmund - relax.You should just start a John Powell forum and only read and write in that.some of us are simply loving others music and enjoying their work.


APerer2017-12-09 17:55:11
Better than season 1.unique music and great.

... reply Replies: 3 || 2017-12-08 20:11:11
Hybrid, why isn't Hans credited here? He said in an interview after the tour that he was working on the Crown season 2...


Iamtommie2017-12-08 23:03:17
When the intro in episode 1 started I heard some sort of extra dark percussion near the end. Maybe a worked on his Main Title again.
Maybe not.


Ian2017-12-09 02:32:27
I wouldn't be remotely surprised if Hans did some ghostwriting on this, or if he at least gave some ideas to Rupert and Lorne.


Michael2017-12-09 16:29:07
Really good score from them both .hope they work together again

FaresTdkr reply Replies: 2 || 2017-12-08 12:23:24
I don't know why lorne balfe involved here there is nothing new in this release just some edit for the previous score!
I got it yesterday.


MikMusid2017-12-08 14:40:17
Which tracks are from season one ?im listening now and only hear the original theme once ?


AndyG2017-12-08 14:45:12
Bring Him Home is so fantastic.most of this soundtrack belongs in an epic movie.philip’s Dream is 100% .two great composers

Bob reply Replies: 1 || 2017-12-08 09:22:02
Sounds great. All previous themes are back in a different way, very good and never boring !


Andy2017-12-08 10:26:00
Really fantastic score . Already watched 2 episodes and the soundtrack is breathtaking

MusicAndy reply Replies: 4 || 2017-12-06 16:53:25
Any news about music yet


AndreaM2017-12-06 18:36:53
Film music reporter has the album info but no audio examples.i though Thisnsite would have some samples ?


Anonymous2017-12-07 03:19:53
it's been cancelled due to Clint Mansell being replaced by Lorne Balfe LOL


Andreas2017-12-07 19:30:25
The score will be released tomorrow, samples soundgreat. Only the artwork is meh... they used the same one of season 1 only with white background...


Bibi2017-12-07 20:34:38
Got it. 18 tracks/59mn.

Peter reply Replies: 0 || 2017-12-06 13:55:56
How come there is no music released yet ???

Christopher reply Replies: 0 || 2017-12-06 00:10:06
Hybrid ???? Any of the music yet

Quintin reply Replies: 0 || 2017-12-05 18:07:17
Is there any examples of the score yet ?

Felix reply Replies: 0 || 2017-11-26 23:39:37
Yeeees!! Love the Score from the 1st Season

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The Crown (TV Series - Season 2) soundtrack - Rupert Gregson-Williams - Lorne Balfe 2017