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Sadly, he doesn't seem to say anything new besides the background information on the Zimmer and Harry Gregson scores he's worked on. Plus the Skyscraper information still doesn't excuse the generic committee product that score turned out to be.Does anyone know what songs Max Aruj and Steffen Thum have worked on?Though there are differences, I think HZ & NGS styles mix together rather well.<br><br>Tracks like "Fort Walton", "Goodspeed Tracks Jade" or "Jade" are exceptions for sure. Apart from these, most tracks blend very well, imo.<br>It's very different from Armageddon for exemple, when team Trevor and team Harry had very different styles (big anthems & guitars VS darker material and more subtle theme developments) and also different sound equipments (I can tell immediately who did what thanks to the sound banks they used). The Rock doesn't suffer from those extreme differences imo.<br><br>We fans here listened to those scores for over 20 years and we've learnt how to spot each composer (thanks to this website and all the infos on each track we got over the years). I'm not sure I could have noticed all those details back in 1996, or even 10 years ago.<br><br>Nonetheless, The Rock is one of the greatest action scores ever. While more coherent scores like Crimson Tide or The Fan grew on me over the years, The Rock keeps a very special place in my heart.yes i hope 2 cd!!!!Hi, <br>Ever paid tribute to Gorecki?<br>I think you should<br><br>Cheers<br><br>Mjt Sprengers
The only way I won't be able to the listen to it before the episode is if it will be released in Germany in the night to tuesday. But I don't know how I would find that.Does someone know something about the soundtrack already? Like how many songs there will be or maybe even the full track list? Or will it be a big surprise?I will, Backbiter, because I live in Germany and in my country the final episode will be released on monday. I will watch it with my friends and therefore we will watch it around 8pm in my time. If the soundtrack will be released in the night from sunday to monday, I will be able to listen to the soundtrack before I watch the final episode.Yasss<br><br>Please be 2 discsThis is an okay score. Nothing super spectacular, but it fits the movie very well. The only issue I really took is that the end credits arrangement of the Pokemon video game theme is absent from the CD - I would wager quite a few people bought the CD just for that only to be disappointed. For me, it would have ended the CD perfectly.<br><br>Anybody know why it was left off? Something Nintendo told them 'no' on?
Very interesting interview. Thanks man!Judging by the YouTube views, not a lot of people have listened to this 1-hour chat with Steve. So I'm posting it here for you folks to enjoy - https://www.youtube.com/watch?v=bR0TPYmidNYI have nothing against any of the composers who worked on The Rock, but to my ears, the Nick Glennie-Smith stuff sounds obviously different from the Hans Zimmer stuff, and they both sound very different from the Harry Gregson-Williams stuff. And the transitions are a tad jarring at times. I've never seen anyone else post this opinion before, though, so I may be the only one!<br>=====================<br><br><br>That's actually very interesting. Never thought of it that way. And you're right. For those who are well aware of the overall MV/RC sound, there is indeed a difference between the Zimmer style and the Glennie-Smith style. However, I think that the two styles blend pretty well in The Rock. The movie itself allows for that. So I would argue that, while watching the actual movie, the two styles work very well together and they complement each other. <br><br>But listening to the score alone, yes, I can definitely see where you're coming from. The differences are obvious. Having said that, I still consider it to be a masterpiece of action scoring. And not only action. The emotional bits are great too. JADE is an extremely beautiful and tender track :))<br><br>P.S. The Peacemaker is on my personal TOP 5 of the greatest action scores of all time. I can't believe the score is not as popular as The Rock. Same for Eraser, by the way. Watch the movie again on a good sound system and you'll be blown away by the awesome Silvestri score. I really wish those two scores were more popular with the public......The 90s had some of the greatest action movie scores ever<br>================================<br><br>Without a doubt. I grew up in the 90s and I was there for all of it. Truly one of the best decades for film music (and for cinema in general). I mean, it's the decade that changed action scores forever. Exactly because of scores like The Rock, Twister, Armageddon, Crimson Tide and The Peacemaker. Granted, Harold Faltermeyer kinda started it all in the mid-80s with his work on Top Gun, Tango and Cash and Beverly Hills Cop 2, but it was Hans and his team who really got the ball rolling. By the way, I'm super happy that Hans and Faltermeyer are teaming up for Top Gun 2. At least according to IMDb....<br><br><br>==================<br>The opening theme is probably Zimmer's best in the genre<br>==================<br><br>Agreed. It's the ultimate Zimmer power anthem. I know the younger generation knows Hans mainly from his work on comicbook movies like Batman and Spider Man, but for me, 90's Zimmer will always be the best Zimmer. And my favorite Zimmer :))I'm so excited hear that.
No you won't, the score will be released after the final episode.Yesssssssssss yessss yesCan't wait for this soundtrack.<br>Just a few days left.Oh. My. Gods. (The old ones and the new.) That's so good news. And I can't wait for sunday.<br><br>The best is, that I can here the soundtrack before I watch the final episode. And I like to hear to a score without knowing wich music belongs to what kind of scene.Yesss. Can't wait!
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Tom Holkenborg (Junkie XL)Antonio Di IorioConrad Pope
ComposerAdditional MusicConductor
Mortal Engines
Label: Back Lot Music
Length: 70'16
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 (577 votes)
  1. London Suite In C Major (8:54)
  2. No-One You Know (2:51)
  3. The Chase (1:08)
  4. Welcome To London (2:39)
  5. Miss Valentine (4:19)
  6. This Is For My Mother (1:36)
  7. The Outlands (4:52)
  8. A Resurrected Man (4:44)
  9. Ms. Fang (2:05)
  10. In A Sea Of Clouds (1:28)
  11. The Weapon Of The Ancients (2:08)
  12. Shan Guo (3:21)
  13. I Am The Meteor (2:15)
  14. First Strike (2:09)
  15. Night Sundered (4:10)
  16. In The Shadow Of A Shrine (3:29)
  17. No Going Back (5:58)
  18. Windflower (2:28)
  19. The 13th Floor Elevator (4:40)
  20. Alive And Together (4:52)
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Michael Fields reply Replies: 0 || 2019-02-09 09:23:42
MOVIE CREDITS:

Music Composed, Produced, Programmed, Mixed And Mastered By
TOM HOLKENBORG

Score Wrangler
BOB BADAMI

Music Editors
CATHERINE WILSON
STEPHEN GALLAGHER

Orchestra Conducted By
CONRAD POPE

Additional Music By
ANTONIO DI IORIO

Orchestrated By
EDWARD TRYBEK
HENRI WILKINSON
JONATHAN BEARD
TOM HOLKENBORG

Music Preparation By
JORDAN COX

Additional Synth Programming By
EMILY RICE
JONAS FRIEDMAN
MAX KARMAZYN

Technical Score Engineers
ALEX RUGER
JACOPO TRIFONE

Music Production Services By
MICHIEL GROENEVELD

Music Recorded At
MICHAEL FOWLER CENTER (Wellington, New Zealand);
STELLA MARIS (Wellington, New Zealand)

Music Performed By
NEW ZEALAND SYMPHONY ORCHESTRA

Orchestral Recording Engineers
GRAHAM KENNEDY
JOHN NEILL

Orchestral Mix Engineer
JOHN NEILL

Score Recordist
NIGEL SCOTT

Score Technical Crew
ANDREW DALZLEL
BRIAN MAHONEY

Music Mixed At
PARK ROAD POST PRODUCTION

Choir
VOICES NEW ZEALAND CHAMBER CHOIR

Choir Conducted By
KAREN GRYLLS

Solo Sopranos
MORAG ATKINSON
PEPE BECKER

mpolonest123 reply Replies: 0 || 2019-01-24 02:50:17
So just like Divergent, the score is completely butchered in film. The main “London” tune is only used for about 30 seconds in the entire film (disregarding it being tracked into the credits suite) and most of the other music from album seems to be either suites, alternates, or heavily chopped up on screen. The editing in the film is pretty bad, so I’m wondering if that may have affected the score in some way.

Surprisingly there is one excellent unreleased cue, which transitions into “First Strike”, that takes the “Shan Guo” ostinato and overlays the operatic MEDUSA vocals which turn to screams at one point. Also some unreleased Hester/Shrike piano music...

Knight reply Replies: 1 || 2018-12-29 04:58:42
Antonio Di Iorio's credits taken from his website by track number

1 2 3 5 6 7 10 11 12 13 15 16 17 19


Knight2018-12-29 04:59:53
Bit disappointing that the London suite isn't all Tom's work

Anonymous reply Replies: 0 || 2018-12-28 17:12:45
Very strange this score hasn't had more hype on this site.

They came out in the same week but all the hype seems to go to Aquaman which is the B-version of Thor: Ragnarock.

I think this score is more interesting in orchestration and has a better thematic identity. Tracks like 'Resurrected Man' are really great.

Shame it went under the radar cause it is one of the better RCP outings this year

MrZimmerFan reply Replies: 1 || 2018-12-19 00:02:23
Tracklist for Alita

1. A Discovery
2. I Don’t Even Know My Own Name
3. What’s Your Dream?
4. Double Identity
5. The Warrior Within
6. A Dark Past
7. In Time You’ll Remember
8. Nova’s Orders
9. Jackers Mission
10. Unlocking the Past
11. Whose Body Is This?
12. Grewishka’s Revenge
13. Broken Doll
14. With Me
15. I’d Give You My Heart
16. You Just Lost a Puppet
17. What Did You Do?
18. In the Clouds
19. Raising the Sword
20. Motorball


Jean-Luc2018-12-19 01:32:38
Interesting Tracklist!!

Jerry reply Replies: 0 || 2018-12-17 18:49:05
Anybody got an indea for chronological order?

mpolonest123 reply Replies: 3 || 2018-12-14 01:41:38
First Impressions:

This might be one of the most “traditional” scores that Tom has scored at this point in his career. The strings/brass still have the signature JXL sound to them, but the music feels more mature when compared to something like Mad Max or even his most recent outings.

I’m still picking up on the themes as of now (the most obvious being the main fanfare and Hester’s tune) but the idea for Shrike is definitely a clear standout. Especially when it gets an emotional spin later on. The use of woodwinds and the operatic female solo vocals also are a nice addition.

Overall this has to be the biggest surprise of the year for me. Having sorta given up on Junkie after being disappointed by his output in the past few years I never expected him to write a fantasy score on this level (while still keeping one foot in his comfort zone of course). Hopefully more producers actually demand quality music from him, as opposed to the shit we got from
Tomb Raider and Deadpool.


Anonymous2018-12-14 15:42:10
To me it sounds like the composer's usual fare, only this time it has a touch of Conrad Pope every now and then in the orchestrations. Won't be surprised if CP's involvement went beyond just conducting.


mpolonest123 2018-12-14 16:30:08
^ And I think a big part of that is the sound mixing. I understand each composer has their own unique voice, but in Holkenborg’s case he tends to mix everything so harshly, particularly the brass. It definitely muffles the music to a degree.

Similar issue I have with Giacchino, who I think writes amazing music which gets undercut by the really dry mixing.


MrZimmerFan2018-12-14 18:14:35
Conrad Pope is only conductor in this, not orchestrator.

Andreas reply Replies: 0 || 2018-12-14 10:04:01
Am I correct that the music used in the long flashback sc&#232;ne with Hester and Shrike is only sort of present in the final track "Alive and Together" ?

MrZimmerFan reply Replies: 1 || 2018-12-13 19:11:32
I'm listening right now, one of the best works by Tom, by far.

Beautiful choir, great action tracks (even there is a great renditions of the themes, Windflower with that version of Shrike's theme is gorgeous) and multiples themes.


Anonymous2018-12-13 23:19:07
Great work.

I love Tom's aggressive and extreme way of mixing and bold use of percussion.

Glad to see him linked to Alita: Battle Angel too

kingfannypack is the MILFcommander reply Replies: 7 || 2018-12-10 08:14:42
Why wouldn't Peter Jackson have Howard Shore score?


Edmund Meinerts2018-12-10 09:26:24
Peej only produced this film, didn't direct it, and also I sorta think he and Howard Shore don't have the warmest of relationships considering the King Kong firing and then the way the music was mistreated in the Hobbit films.


Anonymous2018-12-10 14:37:39
Skipped the Hobbit films. How so was the music mistreated in those?


MrZimmerFan2018-12-10 15:58:11
Jackson use more LOTR music than the original music created for the movie.

Altough, Watertower releases respect the material written by Shore (as he wanted)


Edmund Meinerts2018-12-10 16:44:14
Especially in the first one, there's a ton of LOTR themes needledropped even though Shore wrote original material for those exact scenes that you can hear on the album, and also there are themes used in scenes where they don't belong at all. Oh and the main theme of the first one and a couple of the secondary ones completely disappear from the second and third movies


superultramegaa2018-12-11 00:05:52
Don't forget the pointless changes like the opening title music for AUE being replaced with an E Major version of The Shire and Gandalf's Farewells for some reason. Or temp tracking earlier pieces of the film in for later scenes.


lumpy2018-12-11 11:15:02
get this a cd-release too


Oscarilbo2018-12-12 20:26:25
The "problem" with The Hobbit scores came just on the first movie and just because it changed from being 2 movies to be a whole trilogy. So... the "punch" points had to be changed on AUJ, meaning that very subtle moments had to be now enhanced every way possible specially by the score so you have much more dramatic emphasis than you had it before, because now you're gonna end the movie MUCH MORE sooner that originally planned.

Nothing to do with Jackson not liking what Shore did. Shore even had the same themes that were ultimately used in the final film, they just were more subtle... even the wrongly music known as "wraights theme" when Throin charges against Azog (which is actually related to all agents of Sauron) was used there by Shore before the changes, just again, the connection was more subtle when that was not going to be the climax of the film.

MrZimmerFan reply Replies: 1 || 2018-12-11 21:18:11
Alita ia going to be release by Milan Records


Jean-Luc2018-12-11 22:41:52
That's a great news!

Nick reply Replies: 1 || 2018-12-10 21:55:23
Tom just released "London Suite in C Major" on his YouTube channel, and I am really loving it. He's usually hit-or-miss for me, but this cue in particular really intrigues me. Sounds like he merged the orchestral sections of Fury Road with the flighty ballads of Hollywood Golden Age music.


Ds2018-12-11 11:35:53
It's great but sadly it's only used in the end credits :-(
I suspect it might have been an alternate version of the opening scene.

Anyway the rest of the score is absolutely stunning, a good balance between heavy action and themes (and incredible choir). A new high in JXL's career, let's hope the OST release does it justice.

lumpy reply Replies: 0 || 2018-12-10 20:49:00
CD Release?

isildur reply Replies: 4 || 2018-12-06 21:57:31
This sounds amazing.
https: //www.youtube.com/watch?v=Rc6U4zYppks


Mike2018-12-06 22:53:46
Consider me pleasantly surprised....


Mike2018-12-06 23:20:05
On repeat listens, it sounds like if someone tossed Fury Road into a blender with Wagner's Ride of the Valkyries and Michael Giacchino's Medal of Honor scores. A surprisingly good combination, if you ask me.


mpolonest123 2018-12-07 01:30:36
I’m pleasantly surprised. The whole thing has a very “classic Hollywood” fantasy type feel to it, with Holkenborg’s usual percussion and strings overlaid. The mixing is still a bit too harsh and overproduced, but I’m loving what I hear so far. Here’s hoping the rest stays consistently strong...


Andreas2018-12-07 09:54:16
Saw the film few days ago. Score is one of the best things in the film. Indeed a mix of BvS en Mad Max, only more orchestral. Can't wait to listen to it again.

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Mortal Engines soundtrack - Tom Holkenborg (Junkie XL) 2018