NewsHans' BiographyTeam (Present & Past)DiscographyMediaArchivesJukeboxFan CoversAbout/Feedback

...that response only made you look more suspicious, as it was so pre-programmed feeling.@AndrewP *Robocop voice* obey the law or get erased creepSo if I say I love the score and itís amazing then Iím a bot !!!!!!!!! What a rediculois theoryHi, I'm new to this site and a big fan of Zimmer. Blade Runner is definitely one of his best works (and don't forget Wallfisch). Anyways, I'm definitely anticipating Denis Villeneuve's upcoming Dune film and I wonder if he'll go to Zimmer to do the project. That would be awesome if that happened.This place is not exactly a democracy, if something is not of my liking I get rid of it. Plain & simple.
^^<br><br>For the sake of fairness, I think the admins should delete both the guys spamming the thread with whining, as well as the Balfe-bots spamming the thread with positivity while simultaneously denouncing "haters." (This does not apply to most people in the thread, but you know who I mean.)I created a suite of what I believe are the best cues on the album, and attempted to make some interesting variations with the cues themselves in terms of transitions and such. Tracks included are Fallout, The Exchange, Escape Through Paris, Stairs and Rooftops, Free Fall, and Mission: Accomplished. Feel free to check it out, it helps make the whole score feel more melodic in my opinion!<br><br> eosBalfe haters will hate this !!!<br><br>But itís amazing . <br><br>Itís emotional then EPIC!<br><br>It can only be purchased at the Kynren site in Bishop Auckland, UK, during the show season. Google Kynren and hope to see you there soon! :) Hope this helps. Kind RegardsAgree with this 100%
People are on here shitting on Giacchino and Powell saying Rouge One has a better score or people saying Solo has a better score and Iím over here like yep still listening to the Star Wars Original Trilogy And Prequel Trilogy scores over here. But I think they both gave Williams Justice and did good.@HunterTech - because Cruise and the studio *really* wanted him back after Rogue Nation's success, despite the producers' initial plan for the franchise being to have each entry done by a different director. Hence, McQuarrie's condition that he'll be back as long as he does a completely different film.<br><br>And context is important because once you realise the *film itself* is heavily influenced by Nolan with a big dash of Fury Road-esque building action momentum, then the decision to have Balfe on board and the score to sound all Zimmer/RCP as opposed to more symphonic a-la Kraemer/Giacchino makes sense.So.......why not get a new director then? I admire his efforts in trying to attempt something different for every sequel, but he's eventually gonna get tired if he keeps coming back. Plus, there's been evidence that surfaced to suggest that there was a very specific reason in Kraemer not returning, which don't necessarily contradict what McQ is saying here.<br><br>Despite all this, I'm very excited for Fallout as a whole. I've been able to enjoy films with disappointing scores before (*cough*BR2049*cough*).Mephariel, fair enough. I see your point as well.<br><br>mpolonest123, I see your point.<br><br>But looking back at the MI2 score now, compared to some recent MV/RC's just heads and tails above them. Again, that's just my opinion. There is a clear theme here, there is an actual structure. Not just some noisy sound effects thrown in the blender.
@HunterTech - McQ said at every opportunity that a condition of his coming back would be making MI Fallout as if a different director was doing it. Which is why he got a new DoP, new composer, new costume designer etcBecause that opinion is clearly wrong when Dunkirk came out in 2017.I can't agree with Genius: Picasso. I like the score, but it doesn't have enough direction. Just a lot of soundscaping. It is like the score is just there. <br><br>Balfe has this same problem with a lot of his scores.<br><br>I am so tire of people claiming Balfe has potential. It is like a basketball fan constantly claiming that Player X is two years away from being two years away. Every year people say Balfe is going to do something great. I am still waiting for this. That said, I haven't listened to MI:6 yet.Christopher Nolan of music? You serious? You compare Balfe with Nolan, one of the most talented directors of this generation? Nolan always does his own shit. He doesn't tempt scenes from other movies and recolor them and call them his. <br><br>Has Balfe written a great score that is truly his own yet? Maybe I just haven't heard it. <br><br>The only thing Balfe and Nolan has in common is that they are both white and they are both British.So I've finally decided to give this a listen today, and it was a lot of fun! The general quirkiness, source cues that actually benefit the score, and one of the best themes that I've heard from Zimmer in Moriarty certainly make this one a keeper. A lot of people barp on the OST, but it certainly made me interested to hear the music in a better form. I'll probably have to listen to it again before forming a definitive opinion, but as is, it managed to actually live up to the hype.

Please install Flash®
and turn on Javascript.

Rate those CD:
Top 50

Steve JablonskyBryce JacobsLuke Richards
ComposerAdditional MusicAdditional Music
Label: Milan Records
Length: 74'38 (Score: 70'43) 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 (239 votes)
  1. Hostage, Pt. 1 (7:29)
  2. Will & Sarah (3:56)
  3. Welcome To Heaven (2:40)
  4. Botha (3:22)
  5. The Crane (7:06)
  6. Chopper Ambush (3:54)
  7. Duct Tape (2:38)
  8. Bridge Collapse (3:10)
  9. Proper Motivation (3:44)
  10. Out On A Ledge (4:27)
  11. Georgia & Henry (2:52)
  12. Reflections (5:25)
  13. Hostage, Pt. 2 (1:56)
  14. Reboot (2:19)
  15. Lucky Man (5:07)
  16. Skyscraper (5:00)
  17. The Pearl (5:38)
  18. Walls - Jamie N Commons (3:55)
Create Topic

Bayhem reply Replies: 9 || 2018-07-12 09:55:25
Brand new interview with Steve. It makes you appreciate this score even more:

superultramegaa2018-07-12 14:23:14
How is it that the one time he goes in-depth about his writing process, it's for a score I didn't particularly care for? Why has he never gone this into detail about writing scores like Steamboy or the Transformers films?

rockhound2018-07-12 14:45:47
because these scores are "typical hollywood scores" which don't need an explanation. but with Skyscraper and Deepwater Horizon, many filmmusic fans are wondering, why such an approach and not an orchestral "hollywood" one. nobody has to like that score, but there is for sure a reason behind that approach, which i can understand and accept.

superultramegaa2018-07-12 15:48:01
Not even close. Most film music fans don't really care and are more interested how a composer comes up with a theme, what their inspirations are, and what they believe the theme truly represents in the story.

When I watch a composer interview, I am not primarily looking for their opinion on a director or why a score has an aesthetic, I want them to talk about how they wrote that one piece of music I really liked, and what it represents in a story.

This is why Howard Shore and John Williams interviews often end up being the best as they're talking about what most people want them to, not how the newest aesthetic is not conventional Hollywood even though these watered down, ticking clock, electronic sound design, ear bleeding, droning depressionsville scores are conventional Hollywood now because directors have a hard-on for whatever keeps the audience from looking at their cell phones and not actually thinking about or feeling anything.

Why do you think modern horror has resorted to the method of playing the loudest noise you can think of so people pretend something is scary, even though they'll forget they watched a scary clown come into frame and go back to Instagram to narcissist themselves to death? If you make something thought provoking and something attempting to push boundaries like the Babadook or The Witch people will either call it boring or laugh at it because it can't automatically be called scary because a loud noise didn't play in their ear-holes.

Yes, I have been watching Zero Punctuation lately I don't see what that has to do with anything.

My point is I don't see why this score, a mostly sound design filled, conventional, score with occasional bursts of emotion gets a really great interview out of Jablonsky, instead of Steamboy, a masterpiece of an action-adventure score, or Transformers, a masterpiece of an action movie score, both with a sophisticated array of themes and motifs that require more elaboration, rather than Skyscraper. Most of the ideas and explanations Jablonsky provided I had mostly figured out on my own because there was only a few easy to grasp themes, so I don't really see why this is the score he was chosen to elaborate on.

George2018-07-12 17:58:54
What if we get these in-depth interviews because he knows itís a bland sounding score so he almost has to defend the reason as ďthis is what fit the story, and what the director wanted,Ē etc. Last year with Dunkirk, we got some good interviews about the process of building that score because maybe Hans had to explain what he made it sound so mad to defend himself against the people upset with how annoying that score was to listen to. But then take the kung fu panda movies, or pirates, we donít get these in depth interviews other than the bonus features on the DVD, maybe because they donít need explained or ďdefendedĒ because they work well on their own as pieces of music. Idk, just a thought.

MrZimmerFan2018-07-12 19:15:04
For your knowledge, the guy who interviews Jablonsky is a soundtrack editor.

And one of the most importants, he has interview people like Marco Beltrami or Bear McCreary.

Bayhem2018-07-13 09:03:32
superultramegaa, I get what you're saying. And I agree with most of it. You know what it's all about at the end of the day? The director! Clean and clear.

Steve works with a lot of young 'hip' directors, like the director of this movie and the director of Keanu. And whether we like it or not, you can't expect those directors to want what bigger and older directors like Mike Bay, Tony Scott, Jim Cameron want. I mean it's all there: look at the scores for the Bay movies, the Cameron movies, the Scott movies - they're pretty much all perfect. Melodic, powerful, very little sound design, etc. Why? Because those guys come from a different time. A time when sound design scores were almost non-existent. A time of great melodic scores with actual themes.

The younger directors tho, they are mostly influenced by the "new" sound design stuff. And they want that in their films. And composers oblige. Bottom line is this: Don't just focus on the composer. Focus on the director as well. Who's the director? As crazy as it sounds, that will tell you whether you gonna like the score or not.

Bayhem2018-07-13 09:14:13
rockhound, you are really underestimating these great scores by calling them "typical hollywood scores". It's exactly the opposite actually - scores like Skyscraper (as much as I like it) can be called "typcal". While scores like Transformers are much, much more.

I mean, look how influential and popular the first Transformers score is? Same with the first Pirates score. The Armageddon score. The Gladiator score. The Titanic score. A "typical" score can't achieve that. As to why they spend more time talking about scores like Skyscraper? Answer: publicity push. These types of non-franchise movies need all the help they can get. So studios want even the composers to give a lot of interviews. You don't need that on a Transformers movie, or a Pirates movie, or a Marvel movie.

Bayhem2018-07-13 12:28:20
George, in the case with Steve and Skyscraper I think it's all about the studio push for more aggressive marketing. This is the biggest (budget-wise) original movie of the year and the stakes are high. So clearly the studio wanted to use all players and to promote the movie as 'hard' as possible. That's why you have Steve up there giving interviews and being quite visible. Hell, he even put up the movie's poster as a wallpaper on his Twitter account. I don't think he's ever done that with his previous movies.

Whether he personally is proud of the score or not, only he knows that, but for my money all those interviews are a result of the studio pushing to make the movie more visible. Not Steve trying to "defend" the music.

Bayhem2018-07-13 12:30:33
"Why 'Skyscraper' Composer Didn't Want a Marvel-Style Score" r-didnt-want-it-sound-like-a-marvel-movie-1126563

SPECTER208 reply Replies: 4 || 2018-07-11 04:29:09
Is Steve still part of RCP? Or does he have his own company now?

.s.s2018-07-11 04:37:56
÷hm since Lone Survivor at Arata Music

Bayhem2018-07-11 10:32:55
You never really leave MV/RC :) Well, unless you're Badelt or Powell...

MrZimmerFan2018-07-11 12:26:16
But Powell before join Hans, was an asistant for Patrick Doyle

Edmund Meinerts2018-07-11 16:20:11
and Wallfisch started out assisting Dario Marianelli, what's your point?

Bayhem reply Replies: 0 || 2018-07-08 00:13:32
Just finished listening to the score. In short - pretty damn good. Some usual distorted, harsh electronic sounds here and there, but there are a lot of pretty cool stuff as well. The second half of 'Proper Motivation' (1:45 onward) is one of my favorite bits from the entire score. Pure Jablonsky magic.

I also really like the subtle homage to Faltermeyer's 'Top Gun' score in the 'Will & Sarah' track.

'Georgia & Henry' and 'Lucky Man' are very beautiful, Rabin-style tracks that work great on their own.

'Hostage, Pt. 1' is a nice mix between Steve's own 'Pain & Gain' and 'Nightmare on Elm Street'.

Now, some people may not share my views on this score, but at least you have to agree that it delivers slightly more than 'Battleship'. More than 'The Last Witch Hunter'. It's also pure Jablonsky. He clearly had freedom to do his thing. Yes, would've been great to hear some powerful choir and vocal work (Steve is great at that), but then again this is not exactly the type of movie that requires choir work. I think the only track with a little bit of choir is 'The Pearl'.....

Standout tracks for me:

'Proper Motivation'
'Lucky Man'
'Will & Sarah'
'Georgia & Henry'
'Hostage, Pt. 1'
'The Crane'

superultramegaa reply Replies: 2 || 2018-07-05 19:15:26
Well, just finished the score and... it's alright. It definitely shows that Jablonsky really understands emotional tracks, and those are the most solid parts of the score. "Will & Sarah" is a wonderful piece of music and "Welcome To Heaven" also contains a lot of solid atmosphere, utilizing the strings to their fullest effect.

Unfortunately, the action is definitely underwhelming. It's got the modern RCP problem of burying the orchestra in electronic sound design and focusing more on the rhythm instead of any kind of melody whatsoever. With the exception of "Chopper Ambush", I just couldn't find much to enjoy in them. They're simply unmemorable and very, very loud.

However "Reboot" and "Lucky Man" redeem the score at the end with an enjoyable action finale and Jablonsky's signature "victory" track, (as MrZimmerFan put it), is as fun as always. "The Pearls" is also a very enjoyable suite being a nice mix of atmosphere and emotional elements vaguely reminiscent of Charlie and the Chocolate Factory's ending string-work.

So yeah, the action is mostly a waste, and made only to serve the scenes they're in rather than evoke any emotion on their own, but the tracks where the score slows down and focuses on soft string, guitar, and electronic work are well worth the listen.

My personal highlights include: Hostage Pt. 1's beginning and ending, Will & Sarah, Welcome To Heaven, Chopper Ambush, Proper Motivation, Georgia & Henry, Reboot, Lucky Man, The Pearl

  Your name :   

Please enter number: 1640 

Mephariel2018-07-06 05:02:48
I just finished the score. The last 5 tracks saved this album from being a total disaster. But even that, very generic stuff. I say only "Georgia & Henry" and "Lucky Man" are worth a listen.

Bayhem2018-07-08 00:08:15

I agree. The action bits are nothing new. But Steve really shines with the more subtle, emotional tracks. Those tracks are the standouts for me, as far as this score is concerned.

Bibi reply Replies: 4 || 2018-07-05 18:50:54
"Skyscraper" = Battleship

MrZimmerFan2018-07-05 18:52:32
No way

Battleship is more sound-design. Skyscraper is not.

Bibi2018-07-06 18:48:54
Dude just listen this track from 3:43 to 4:15 and then "Art of war" from 2:50 to 3:25. It is the exact same thing.

MrZimmerFan2018-07-07 10:35:55
Oh, you talking about the cue itself... well, certain notes

Bayhem2018-07-08 00:05:24
I just listened to the entire Skyscraper score. Still fresh in my mind. Aside from some harsh electronic sounds, it is NOTHING like the Battleship score.

MrZimmerFan reply Replies: 15 || 2018-07-04 11:58:48
First track from Soundcloud

https :/ /

Andreas2018-07-04 13:17:29
They also released track 18: Walls on soundcloud.

MrZimmerFan2018-07-04 14:25:52
Yeah, but that track is a song

MrZimmerFan2018-07-04 14:25:53
Yeah, but that track is a song

Andreas2018-07-04 15:12:01
Sounds alright. Too bad is not a Sia song. Missed opportunity haha.

superultramegaa2018-07-05 02:44:48
If that represents the score, (which I'm sure it does), looks like I may have to skip this one. Lot of sound design, diluted orchestra, and dull electronic/pop elements. I know some people will say "It's just one track", but it's not only the intro track, but a 7 minute long intro track.

There's no way the score's going to change much from this. Plus the fact that this score ends with a song, tells me it's going for a more Pain & Gain/TF4 vibe. Oh well, yet another disappointing career move from Jablonsky. Hopefully some day he'll attempt to go back to strong orchestral work.

Jeff2018-07-05 03:01:35
I saw the film and this track is sadly the highlight of the score, don't expect anything more interesting than this.

Bayhem2018-07-05 12:19:34
I saw the film and this track is sadly the highlight of the score, don't expect anything more interesting than this.

How about actually listening to the actual score album before making these "big" statements. Just a suggestion......

Bayhem2018-07-05 12:26:17

Dude, WTF?? What's with these wild jumps to conclusion? You haven't seen the movie, you haven't heard the actual score album. Sure, feel free to not like it, but at least give it a proper chance. Listen to the whole damn thing.

I think your level of anticipation for this was so high that even the smallest negative thing on the topic will turn you off completely. That's not good. Don't let this kinda thing consume you.

superultramegaa2018-07-05 16:46:02
Well, it's a 7 minute long intro track. Like "Sacrifice" it's supposed to get you prepared for what most of the score is going to be. So it's very unlikely the score's going to change much from that first track.

Of course I'll try to give the rest of the score a chance, but that track kinda tells me it's going to be Pain & Gain mixed with Deepwater Horizon. Neither score am I overly fond of.

Ds2018-07-05 17:42:18
Pain & Gain is one of Steveís finest scores imo, way above the pack of electronics driven ambient scores. If Skyscraper retains any of that, Iíll be happy.

Btw am I the only one to hear Dunkirk in the middle of that first track? :-o

mpolonest123 2018-07-05 18:03:47
Pain and Gain is a pretty solid score imo. Even Deepwater Horizon is effective in the context of the film.
I have to admit I was hoping for more of a fun throwback score for Skyscraper, Iíll give the rest of the album a chance when it drops although Iím not really sold on this one cue.

MrZimmerFan2018-07-05 18:16:27
If you expected something like Pain & Gain (which is enteraly electronic), no, this is not like that

There is electronics, yes, but not is in the type of Dunkirk, for example, there is orchestra (mostly there is brass and percussion, both real and synth), and there is a cool track, in the end (both Skyscraper and The Pearl are suites), Lucky Man, is the typical 'victory' Jablonsky track.

And Georgia & Henry is lovely with the strings.

Bayhem2018-07-06 09:31:28
As far as I'm concerned, the Pain and Gain score is one of the best Jablonsky scores. I find myself listening to it even more than the Transformers power anthems. It's that good! The director of 'Keanu' hired Steve exactly because he was a big fan of Pain and Gain.

I don't see how a person can be negative about that score. But then again, it's all matter of opinion. We are all allowed to have our opinions.

MrZimmerFan2018-07-06 10:38:45
Pain & Gain was good, but I prefer Ender's Game (maybe in most fan for the epic scores than an electronic driven one, but i like this kind of scores)

Bayhem2018-07-08 00:03:03
Well, to be completely honest, Ender's Game was the only Jablonsky score I wasn't really interested in. Still haven't listened to the whole thing.

But, I will take your word for it and I will check every track out.

Jean-Luc reply Replies: 1 || 2018-07-05 20:14:45
I'm just finishing the score and it's an okay. I gave 7/10 stars, but I really like Will & Sarah, and a few tracks because, I feel some of these tracks are emotional mostly. I was wondering about that director with Rawson Marshall Thurber should hire with Theodore Shapiro composer it's seem they work together in a few movies, but I can't imagine what it sounds like Theodore Shapiro's music for skyscraper movie. Also, I'm preferring with Peter Berg & Michael Bay is a better chemistry with Steve Jablonsky in action movies.

Bayhem2018-07-07 23:59:51
Clearly Steve delivers some of his best work when he works with Bay, but I have to say I was pleasantly surprised by Skyscraper. Much, much better score than, say, Steve's The Last Witch Hunter. At least in my opinion.

Andreas reply Replies: 1 || 2018-07-05 16:08:52
Score comes out tomorrow digital.

Hostage Part 1 - 7:29
Will & Sarah - 3:56
Welcome To Heaven - 2:40
Botha - 3:22
The Crane - 7:06
Chopper Ambush - 3:54
Duct Tape - 2:38
Bridge Collapse - 3:10
Proper Motivation - 3:44
Out On A Ledge - 4:27
Georgia & Henry - 2:52
Reflection - 5:25
Hostage Part 2 - 1:56
Reboot - 2:19
Lucky Man - 5:07
Skyscraper - 5:00
The Pearl - 5:38
Walls - 3:55

MrZimmerFan2018-07-05 16:24:05
There is actually orchestra in the action tracks (with electronics, obviously), and the more lighter/sweet guitars for the main characters

It's OK

Jack Afrogarrix 2018 reply Replies: 2 || 2018-06-23 03:04:45
Booklet credits

Music by steve Jablonsky
Additional Music By Bryce Jacobs, Luke Richards & Christian Wibe
Orchestra Conducted By Alastair King
Music Supervisor By Margaret Yen & Peter Afterman

Bayhem2018-06-23 20:44:55
No Nick Glennie-Smith?? This sucks. Usually he's the orchestra conductor on the Jablonsky scores.

Speaking of, Nick REALLY needs to score another movie. He's the secret weapon of MV/RC. Love the guy.

MrZimmerFan2018-06-23 20:56:35
The score was recorded in Abbey Road, and probably Nick isn't aviadable in that moment.

But yes, is terrible underrated composer, i f*** adore A Sound of Thunder

MrZimmerFan reply Replies: 3 || 2018-06-21 11:55:19

1. Hostage Part 1
2. Will & Sarah
3. Welcome To Heaven
4. Botha
5. The Crane
6. Chopper Ambush
7. Duct Tape
8. Bridge Collapse
9. Proper Motivation
10. Out On A Ledge
11. Georgia & Henry
12. Reflections
13. Hostage Part 2
14. Reboot
15. Lucky Man
16. Skyscraper
17. The Pearl
18. Walls

Bayhem2018-06-22 13:45:02
Thanks for sharing. Btw, I like the fact that we will see a physical release as well (couple of weeks after July 13).

MrZimmerFan2018-06-22 14:43:04
Obviously, it's Milan.

Btw, the last track is a song by James N Commons

Bayhem2018-06-23 20:35:00
Milan or not, it doesn't matter. Don't take anything for granted. Physical media is on its way out, BIG TIME. Unfortunately.

I would be the last person on planet Earth who would give up on physical media, but I can't ignore the facts - most people simply prefer digital over physical. That's why, to me, any news about an upcoming physical release of a score is surprising (and great).

I admire labels who still put out physical copies, but the complete, 100% transition to digital is just a matter of time. Blockbuster Video was just the start of it...Sadly.

superultramegaa reply Replies: 2 || 2018-06-18 18:56:26
As long as Steve knows to keep this score mostly melodic with little to no sound design, I'll probably be happy with it.

Bayhem2018-06-19 08:52:20
Steve is a very accommodating composer. So it's really up to the director's vision. With Bay, you know you gonna hear some of the best stuff Steve has to offer and that's because they share the same "musical ear".

When he's scoring Peter Berg movies, Steve often relies on sound design and his scores for those movies are not really melodic. The few exceptions aside, Berg likes sound design scores. And he likes to experiment A LOT (example: the MRI machine sound that was incorporated in the Battleship score. Bold choice!).

Where does the director of Skyscraper stand in all of this?

Personally, I think this score will be "in the middle". Little sound design there, little melodic cue over here.... : ) I don't expect power anthems, simply because - as big as the movie is - it's not "Michael Bay big". I do hope for a little choir work though. Steve is great with choir.

superultramegaa2018-06-19 19:14:17
I know woodwinds, with few exception, have been completely abandoned by RCP, but man would it be nice if Steve fit woodwinds into the small scale family scenes. He's great with them, but for whatever reason he doesn't seem to be able to use them unless it's an animation, The Sims or IDEA specifically, or fantasy (even then The Last Witch Hunter had no woodwinds). They add so much to the soundscape and make any score so much richer.

I'm listening to the Lord of the Rings Trilogy again currently, and god, they'd be nothing without all of those flutes and clarinets. Even when the main instrument is brass or string, the addition of woodwinds is so cleverly implemented by Shore, and they not only blend, but they actively enhance the sound.

Of course I'd also love Steve to continue using choir. He even seems to be getting better with it, with Transformers 5's use of it resembling the Halo franchise in a number of ways. It would be a wonderful surprise though if he went back to woodwinds eventually. I'm definitely not of the belief that they can't be used in a modern day setting either (Silence of the Lambs and the Spider-Man scores use them particularly well).

Bayhem reply Replies: 0 || 2018-06-18 14:02:43
I assume that's the official cover....

I dig it. Very Die Hard-y : )

Bayhem reply Replies: 2 || 2018-06-04 15:48:49
Why I'm looking forward to this score? Aside from loving Steve's work (duh!) the young director of the movie (Rawson Thurber) is a Michael Bay fan and having Bay's main composer at hand I wouldn't be surprised if we end up with a nice throwback to the "Golden Years" of MV/RC.

Watching the trailer of Skyscraper, there are certainly scenes that would play GREAT with a classic MV/RC sound over them. Whatever the case though, I'm sure Steve will deliver.

MrZimmerFan2018-06-04 17:21:59
It is something like Geostorm, i'm happy

Bayhem2018-06-07 10:30:40
Truth be told, I still haven't heard the Geostorm score. I've heard good things about it, how it's a nice throwback to the classic MV/RC sound, etc. I really have to check it out. Thanks for reminding me : )

MrZimmerFan reply Replies: 3 || 2018-06-02 11:30:24
I was going to comment the release of this :D

Meta2018-06-02 15:52:22
I hope it goes bull Battleship

Edmund Meinerts2018-06-03 01:02:14
I hope it stays as far away from Battleship as humanly possible!

Bayhem2018-06-04 09:35:57
I hope it stays as far away from Battleship as humanly possible!

Blame Peter Berg if you didn't like the Battleship score. He pushed for that sound. He's not involved here anyway, so no worries : )

Evenstar reply Replies: 0 || 2018-06-03 16:03:13
A new Jablonsky score release is alwyas welcome! :)

superultramegaa reply Replies: 0 || 2018-06-02 20:11:24
Hopefully Jablonsky manages to keep up the quality streak he's been on since 2015 with this score.© 2001-2017 OST 
Skyscraper soundtrack - Steve Jablonsky 2018