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I agree completely.<br><br>The movie was awesome, the score works perfectly, and the only thing I didn't like was the use of songs. Too much of them. Songs rarely work during intense action scenes. They distract.<br><br>But every time the score started, I liked it. Bay may be known as the big action guy, but when it comes to scoring the more intimate/emotional moments, he and the composer (no matter who he is) always do a good job.Greenaway for President! :))I agree with Knight.<br><br>It seems some peeps were expecting power anthems left and right. Yes, this is a big movie, but not a "Transformers-big" movie. I didn't like the use of source music (I hate songs in action movies) but when Balfe's work popped up I noticed it right away.<br><br>The more emotional cues were definitely the most memorable.What a fantastic soundtrack.<br>It’s totally crazy and works brilliantly in the film.<br>The bit emotional sections are very classic Bay but Balfe’s electronic weirdness is very unique.<br>It’s nothing like Balfe’s Dark Materials BUT why I’m earth should it be !<br>10/10Gavin should be listed as conductor
Because Ice Age was composed by David Newman and Collision Course was composed by John DebneyWhen i heard just the sound clips, i thought wtf. Sounds like the worst score, a michael bay movie ever had. Then i listened to the whole album and i have to say, there are some pretty cool tracks. I really like the electronic rhythmic stuff. Welcome to florence is awesome. The emotional moments are nice, but standard balfe stuff. In the movie, the music works really good. I think this music style is the only style, that works in THIS movie. And as hybrid says a mish mash of score and songs. The movie itself is.....strange. but at least the action rocks as hell.If "The Meltdown," "Dawn of The Dinosaurs" and "Continental Drift" are added, then how come "Ice Age" and "Collision Course" aren't?I haven't heard the album yet but there isn't much score in the film. It's like Bad Boys II meets Domino in terms of editing, songs everywhere (19 sourced songs used), short cues... Hell there's even a 13 Hours cue tracked in the film ("Getting Aboard The Plane")."Second time"... lol
Another awsome score by lorne balfe. I really like the film 6 underground directed by michael bay, is very awsome and intense and i begin to hear the score composed by lorne balfe, and its phenomenal and his second time working with michael bay since 13 hours, which i like lorne balfe's score too. Balfe's work is really inspiring in his film score.I don't expect Lorne to make a masterpiece with each movie, but it is true that most of her films are action candies, and I can't understand how she can deliver 6 underground and then make His dark materials.  It seems that within Lorne there are a thousand different composers.  And I don't know what to expect from Lorne again.Can't help noticing not one, but two Zimmer titles in here.... Tracks 14 and 16. lol.What is most disappointing is that this is a Michael Bay movie with a score being so bad. Historically his movies have fantastic scores by either Hans, Steve Jablonsky, and even Lorne Balfe. But this is hands down the worst Michael Bay score I’ve ever heard. <br><br>It’s functional, yes, but nothing compared to 13 Hours, any of the Transformers movies, The Rock, Pearl Harbor, etc. I definitely had high hopes for another good “power anthem” score... and the only cues that are any good are just Time ripoffs.<br><br>Highly disappointing.Again, if we have to expect every piece of work of one composer is have to be as good like his others pieces of work, that's pretty underwhelming and impossible.<br><br>Yeah, 6 Underground is not a good score by any means (neither Gemini Man, but is far more listenable), but works perfectly in the hiperbolic movie.
I expected a lot from this score, and the truth is that it left me cold.  Honestly, I think it is Bay's fault, Balfe has shown that he is capable of doing everything, but here it gives the feeling of being covered.  Again, Balfe must focus on fewer projects and the projects he accepts are of quality.There are speculations about the track "Til Death Do Us Part "as being composed by Brandon Campbell. Can anyone confirm whether it was Djawadi or Campbell who composed it?Come to Portugal again.> which ones are listenable<br>all of the ones I listed are the melodic/orchestral moments in the score not counting Memories and Beautiful Sunday.<br>Listen to Haunt the Living, Thrones, A Million Battles or One, But Not Done and tell me that the score is a travesty.Knight - okay, let us know which ones of these tracks are even listenable? Hyperbolic nonsense defines this score, but I do not blame Balfe - this would have been what Bay wanted. Such a shame to see his artistic credibility reduced to this after the stellar work on His Dark Materials and acceptable material on Gemini Man,.
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Harry Gregson-WilliamsStephanie EconomouJohannes VogelAlastair King
ComposerAdditional MusicConductorOrchestrator
The Meg
Label: WaterTower Music
Length: 51'04
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 (821 votes)
  1. Sub Disaster (4:16)
  2. Mana One (1:32)
  3. A New World (4:57)
  4. Jonas Descends (3:12)
  5. Prehistoric Species (2:41)
  6. Toshi's Sacrifice (2:33)
  7. Non-Extinct (1:46)
  8. Meiying Explores (2:24)
  9. Even The Score (2:10)
  10. Tracker (2:42)
  11. Shark Cage (3:52)
  12. You Saved Me (0:56)
  13. Dr. Zhang (2:35)
  14. We Have A Plan (1:20)
  15. Pippin (0:43)
  16. Beach Attack (2:48)
  17. Jonas Vs Meg (5:56)
  18. To Our Friends (4:41)
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Knight reply Replies: 1 || 2019-04-21 17:29:37
The only credit that I've found for Stephanie on this one is Shark Cage. It's literally the only cue with her name on it on both BMI and GEMA.

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Please enter number: 1651 


KnightLite2019-04-21 19:23:54
tread carefully hybrid might ban you for posting credits here lmao

Michael Fields reply Replies: 0 || 2019-01-07 09:44:29
MOVIE CREDITS:

Music By
HARRY GREGSON-WILLIAMS

Supervising Music Editors
ALLEGRA DE SOUZA
ADAM MILO SMALLEY

Music Editor
PETER OSO SNELL

Assistant Music Editor
PAUL THOMASON

Additional Music By
STEPHANIE ECONOMOU

Orchestrated By
ALASTAIR KING

Music Coordinator
CHRISTIAN BUCHMANN

Score Recorded By
BERND MAZAGG

Pro-Tools Operator
MARTIN WEISMAYR

Score Mixed By
AL CLAY

Technical Score Engineers
ALVIN WEE
SLAMM ANDREWS

Score Consultant
MONICA ZIERHUT

Music Preparation By
BOOKER WHITE
VIENNA MUSIC ANGELS

Chinese Percussion Performed By
F3NG SINGAPORE

Chinese Percussion Leader
MIKE CHIANG

Chinese Percussion Recorded By
GAO YANG

Dimitris Krommidas reply Replies: 0 || 2018-09-29 03:21:05
Epic score by Harry Gregson Williams.One of my favorites this year.

Iamtommie reply Replies: 3 || 2018-08-23 00:43:18
Gregson-Williams is scoring the live action Mulan.
Hope we'll get a chinese Narnia with maybe the theme from Goldsmith.


Mephariel2018-08-23 02:00:53
A Chinese version of Narnia + Kingdom of Heaven + Some of his animated scores.

I would be very happy.


LP2018-08-23 02:50:42
I'm HYPE for this!


Brent2018-08-23 05:46:15
This news has me WAY more excited than Zimmer and Wonder Woman. Lol.

aldan reply Replies: 5 || 2018-08-04 17:45:45
What has happened to HGW?? :((

Back then in 1998, along with John Powell, we saw them both as promising talents, destined to be one of the best in term of crafting ABOVE-STANDARD-TO-MASTERPIECE music and melody.

And in early 2000, we saw a separation. Powell for the most part wisely chose the animation realm, while HGW chose live-action instead.

Both of them succeeded in delivering the job. Powell is at his strongest and i'm not forgeting HGW with his Kingdom of Heaven and Narnia!

Entering 2010, we saw a decline for both. A little one for Powell, as he would prepare himself for his first sabbatical. But before that, Powell has delivered a masterpiece in film score history with his HTTYD in 2010. In the same year, i would also like to not disregard HGW's Prince of Persia.

Going past 2010, but before 2014/2015, we saw them quite at the bottom. Powell was really pissed about film scoring, while HGW was not neccessarily at the bottom, but his spark started to fade.

Entering 2015, they both rose again. Powell was getting more and more advanced, but i think the same couldnt be said with HGW, as he just rose a bit ( i like his monkey kingdom score though).

Before we enter 2020, we see Powell's force really shone. He is more creative than ever, trying many things that he suits, getting gig that no one here would even dare to expect ( Star Wars ehem )

Powell, until now, still CONSISTENTLY crafts REALLY-GOOD TO-MASTERPIECE music and melody.

Now HGW,...
He still gets movies to write,small ones though, not so much blockbuster-adventury.

And that what makes him declining in the first place.

Powell's decision to tackle more on animations, gives him many great sandboxes to play, everytime, thus really mastering his skill. Smart!

While HGW's false decision to chose blockbuster live-action movies instead, makes him vulnerable to "decaying". And it looks like he is not that kind of person who would push harder to keep his spark, thus he has became one of the "generics". Sparkless.

But still, Andrew Lockington has managed to take that title faster than HGW

-----------------

Now The MEG:

For every track i played, i always wished for that unique 90s MV power anthem to really pop, but unfortunately i couldnt find one. And dont get me started on the action music.( But yes, i hear some decent themes buried here and there. And a rather generic genre music in "A New World".)

And i skimmed through last tracks, prepared to end this as another disappointment for HGW, i found a nice power anthem being displayed in "To Our Friends" (itself can also be regarded as variation of his Prometheus theme), but only the first half, sadly. :(

Another disappointment for HGW.

----

Even when he was given a good sandbox such as this, he couldnt really turn his spark on again. He couldnt find the word "fun" in his job anymore. (And Early Man could also be another good example for this issue)

Sad for HGW.


MrZimmerFan2018-08-04 17:58:45
I think you mistake The Meg with The Equalizer 2

IMO


Ro2018-08-04 21:47:35
I agree that HGW doesn't seem to pour much enthusiasm into his works lately but quite frankly I don't think the projects themselves were calling for something special either. To me, Martian was proof enough that HGW's still got it cracking. He just needs the right gig. I see the live action adaption of Mulan is being helmed by the director of Zookeeper's Wife which he previously scored. That's about the right sort of stuff to get his engines lit.


Olive2018-08-05 01:10:45
Probably family. HGW has had three children in the last decade.


Meta2018-08-05 04:26:20
Yep. I stopped listening to Powell after Bourne Ultimatum/Hancock years, then picked him up again for Star Wars. Big difference, cuz i found his other works to be lackluster for me.

HGW? Oh Lordy....Man On Fire/Domino for me was his final era to shine. Then he just went downhill...Equalizer seemed to bring back that HGW I loved since Man on Fire, but Equalizer 2 sounds like he phoned it in. Meg? It sounds like he was more interested in doing this score than EQ2, and that's not even sayinfg much because this score is vanilla.


Edmund Meinerts2018-08-05 12:19:15
You're missing a lot of really great music in those intervening 10 years of Powell's career, Meta...HTTYD is anything but lackluster!

Mephariel reply Replies: 0 || 2018-08-04 20:51:09
A enjoyable score actually. Wish it has a main theme rather than just melodic undertones. But definitely has some great action scoring near the end of the score.

psycosid09 reply Replies: 1 || 2018-08-03 01:57:49
I really like this score which Gregson-Williams wrote.


MrZimmerFan2018-08-04 10:06:35
One of the most enjoyable scores of this year.

Harry Gregson-Williams in his top noch form (ok, is not Sinbad, right?), but the two main themes and the fun with the action and more epic (the beautiful A New World, for example) or the more action packed tracks like the terrific Jonas vs Meg (the brass writing is terrific) or Beach Attack (that chinese percussion are epic), also the main theme for the human characters, gave a sense of adventure i thought never listen again.


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The Meg soundtrack - Harry Gregson-Williams 2018