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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.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.
<br>
<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.
<br>
<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.
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Benjamin Wallfisch
Composer
It - Chapter Two
Label: WaterTower Music
Length: 101'12
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 (888 votes)
  1. 27 Years Later (2:06)
  2. Memory (1:39)
  3. Come Home (2:24)
  4. I Swear, Bill (1:30)
  5. Beverly Escapes (2:20)
  6. Henry Bowers (1:21)
  7. Firefly (3:08)
  8. Losers Reunited (0:52)
  9. Echo (1:44)
  10. Fortune Cookies (2:10)
  11. You Knew (1:49)
  12. The Library (2:07)
  13. Shokopiwah (3:28)
  14. The Barrens (1:21)
  15. The Clubhouse (3:48)
  16. Perfume (2:35)
  17. Mrs. Kersh (1:46)
  18. Miss Me, Richie? (1:23)
  19. Dirty Little Secret (feat. Pennywise) (1:20)
  20. Silver Bullet (1:53)
  21. Why Georgie? (3:45)
  22. Your Hair Is Winter Fire (3:20)
  23. Eddie And The Leper (1:50)
  24. Festival Pursuit (1:06)
  25. Hall Of Mirrors (2:14)
  26. Bar Mitzvah (1:35)
  27. Bowers Attack (1:18)
  28. Back To Neibolt (2:49)
  29. Home At Last (1:28)
  30. It's Stan (2:03)
  31. This Is Where It Happened (2:03)
  32. The Place Of It (1:56)
  33. Artifacts (3:09)
  34. The Ritual Of Chüd (2:04)
  35. Very Scary (1:39)
  36. Scary (1:30)
  37. Not Scary At All (1:25)
  38. You Lied And I Died (2:54)
  39. My Heart Burns There Too (2:29)
  40. Spider Attack (3:28)
  41. You're All Grown Up (5:23)
  42. Neibolt Escape (1:35)
  43. Nothing Lasts Forever (4:17)
  44. Goodbye (0:54)
  45. Stan's Letter (4:17)
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Jack Afrogarrix reply Replies: 0 || 2020-02-28 12:05:33
I do really like benjamin wallfisch's new score for the invisible man, which is release today in cinema. I'm a fan of wallfisch's film score since lights out and including other film scores, but i begin to hear the score in spotify & youtube and i do like the score with the full orchestra & electronic music within the film music and there are two themes for the film but there are most motif, like mr.zimmerfan says.

I just hope that this page can released the soundtrack details of The Invisible man soon and this score is good.

Knight reply Replies: 5 || 2020-02-19 23:58:14
Single from Ben's score for The Invisible Man was released and I'm pleasantly surprised by it. https://youtu.be/f-aH9kDKVBY


MrZimmerFan2020-02-20 09:22:38
Yeah, it is good.

Score comes this Friday, also vinyl 4th March


MrZimmerFan2020-02-20 13:08:39
Up in Itune NZ

https:/ /music.apple.com/nz/album/the-invisible-man-original-motion- picture-soundtrack/1498868649


Scorefan2020-02-20 16:03:16
Tracklist:

1. Cobolt (1:42)
2. Escape (4:28)
3. He’s Gone (3:37)
4. This Is What He Does (2:19)
5. We’ve Got That In Common (1:22)
6. Make It Rain (2:23)
7. Attack (2:46)
8. Why Me (3:00)
9. The Suit (2:16)
10. Asylum (3:31)
11. He’s Behind You (4:42)
12. House Fight (5:35)
13. It’s All a Lie (5:27)
14. Surprise (1:33)
15. Denouement (4:58)


MrZimmerFan2020-02-20 22:10:50
If you care about Ben's work in horror, you gonna like this (the strings and themes sounds mostly like A Cure for Wellness), and lots of abrasive electronics.

If you don't care, that's other story.


MrZimmerFan2020-02-28 09:23:18
The Invisible Man, would be one of the most dark, hard-hearing scores by Wallfisch, by far, multiple people will hate this score -i know, is difficult listening horror scores-, but when is good, is good.

If you love Lights Out, the two ITs, speacially, A Cure for Wellness, The Invisible Man is for you: dark, unpleasing (the theme for Elisabeth Moss' character is a beautiful melodie, example in 'Denouement', constantly accosed -rightly word- with the sounds of the Invisible Man, he has not theme, more motif and tremendously agresive sound desing, you can here listen in 'Attack') and very Hermann-esque (the score was only recorded with string orchestra, say by Wallfisch).

Like i said before, is not a score for everyone, but if you love Wallfisch's writing for horror, this one is for you

Oscarilbo reply Replies: 0 || 2020-01-31 18:01:57
Does anybody felt the mixing was a bit strange in this release? subtle piano parts sounded too loud. Or is that just me?

Wall Fish reply Replies: 0 || 2020-01-31 01:55:51

bj'S SCORE IS BOUND TO BE OKAY - WHY IS MY WRITING IN THIS STYLE?
HAS THE SITE BEEN HACKED....

Deb Beery reply Replies: 0 || 2020-01-30 22:39:24
Hans Zimmer is my sane keeper,sometimes the world &#127758;is too much for me, but hearing Hans track reminds me that there IS beauty to escape to...I just wish I could see him live in concert..I live in Sandy Oregon, USA ,so I will keep hoping that one day, I'll get to see him......

MrZimmerFan reply Replies: 2 || 2020-01-28 20:00:08
Wallfisch has compose the score for The Invisible Man, another horror score for the best guy today for the job


mpolonest123 2020-01-28 20:07:32
That’s a cool choice, I’m hoping for something more like “It” and less like “Light’s Out”.


MrZimmerFan2020-01-28 20:13:42
Honestly, i think i will be that few people who likes Lights Out. But his best horror score is A Cure for Wellness

ubagle reply Replies: 1 || 2020-01-26 03:58:39
Really liked this score, and the movie wasn't as bad as people claim as well... Benjamin Wallfisch does some very nice stuff, his horror scores are always on point like It 1 & 2, Annabelle: Creation, A Cure for Wellness...

I know he's gonna deliver it with Mortal Kombat even if the movie isn't that good. But kind of a bummer that his next scheduled project comes out in 2021 LOL


Edmund Meinerts2020-01-26 16:23:36
I'd be surprised if we don't see some Wallfisch scores this year. He has been so prolific lately, would be weird to suddenly go an entire year without a single assignment.

Jean-Luc reply Replies: 1 || 2020-01-22 15:31:27
He is scoring to Mortal Kombat reboot movie, I saw that news from film music reporter, but mortal Kombat 1995 score was my favorite score.


ThePhantasm 2020-01-22 19:07:36
I just saw this, EXTREMELY HAPPY!!!! he's so dope and talented apparently he's already done a few tracks cause the actor lewis tan sais he liked what he already heard.

DT-201 reply Replies: 0 || 2019-09-13 17:45:37
Anybody else notice that the track "Spider Attack" actually cuts a fairly noticeable section out at the beginning? When you know who is attacked by the Deadlights, there's those low blasts like the "Deadlights" track from Chapter 1.

It shouldn't be a biggie though: it seems to be an easily-replicatable section.

Y reply Replies: 7 || 2019-08-30 14:14:36
What, no one's commenting on this? It's both great and massively aggravating. There's so many moments of ethereal melodic beauty but they get violated by massively aggressive sound procession. Yes, it is a frigging film score. Anyways, you lot will enjoy the Shore reference in The Ritual of Chud.


mpolonest123 2019-08-30 15:39:18
How you end up enjoying this depends on how you felt about the first It.

On one hand BW really did wonders on the orchestral side of things. He definitely focuses on the fantasy aspect moreso this time around, with portions sounding closer to the magical parts of “Shazam”. The last handful of cues are stunning.

On the other, many of the horror tracks seem to bleed together here. There doesn’t seem to be the same amount of variety as the first score. I also noticed that certain cues pull heavily from the first one, something JNH tends to do in his sequel scores.


MrZimmerFan2019-08-30 18:30:27
I like the first IT, but i am throughfully enjoyed this one a lot more.

Specially the last handful tracks are terrific, overall, a tremendous good score


Meta2019-08-31 15:21:58
As benjamin climbs the charts in popularity in scoring movies, i have to say he's been hit or miss with me.

Blade Runner, It pt 1 and Hellboy (only because it reminds me of Xbox Killer Insinct music) stand out...the rest to me are meh


Knight2019-08-31 21:11:58
I'd recommend his scores for Summer in Feburary, Mully, Gamba, Bitter Harvest and Bhopal: A Prayer for Rain. All these are leagues better than his current output imo, I'd put Mully and Summer in Feburary as my favourite scores of his.


BC2019-09-01 08:57:52
I'm on my first listen now and I'm pretty disappointed. The emotional/orchestral pieces like "Firefly","Memory" and "Losers Reunited" are really nice and work well, while the actually horror tracks are just a jumble of noise and sound.

I really would have preferred him to break with horror soundtrack tradition and do a fully orchestral score instead of using loud, jarring noises to amplify what I'm assuming are going to be jump scares. The latter is really lazy and it sucks because it's hard to find good horror scores these days.

I've still got a fair portion of the album left, so my opinion might change, but it seems like the whole score is going to be like this.


tilibro2019-09-02 00:48:15
Rule No. 1 of all modern horror movie scores: Always have loud banging percussion when there's a "scary" moment.


BC2019-09-02 01:55:13
@tilibro

Ugh, I know. Carpenter's score for Halloween last year was the first horror score since Evil Dead that I really, really liked.

I wrapped up my listen of this last night and aside from the horror tracks I really, really liked it. But my frustration with the horror tracks is made even worse because the orchestral tracks do an amazing job of conveying that creeping, unsettling feeling. "You Knew" was a great example of a mixture between the horror elements (that guitar riff was a BIG surprise and I wish it had been used more) and the orchestral. And tracks 28-36 were fantastic. THAT was what I was hoping for, those tracks proves that Ben is definitely capable of it.

LS100 Studios reply Replies: 0 || 2019-09-01 23:58:25
Is 27 Years Later the only reprise of that piano theme? Gonna save the score for after watching the film.

Der Profl reply Replies: 0 || 2019-08-31 21:02:25
Nothing Lasts Forever is so good. I can't stop listening to this.

Mr.Unbreakable reply Replies: 1 || 2019-08-31 00:03:36
Has Ben really composed all the songs without arrangers?


Knight2019-08-31 08:26:39
I don't see any arrangers credited on imdb so I'm inclined to say yes he did. Remember, he also wrote all of Shazam by himself as well.

DT-2017 reply Replies: 0 || 2019-08-29 18:35:43
The tracks "Return To Niebolt" and "Scary" have been posted to WaterTower Music's official YouTube page as a taster.

mpolonest123 reply Replies: 5 || 2019-08-29 01:04:29
Very excited for this! I think BW did a great job with the first score, given the constraints horror music usually puts on composers. Hopefully he is able to keep the same balance of orchestral/processed sound design.


MrZimmerFan2019-08-29 15:25:56
1 h and 41 min.


Jean-Luc2019-08-29 18:16:25
WaterTower Music released one song called Back To Neibolt on YouTube, and, I can't wait to hear the rest of 45 tracks till the midnight.


MrZimmerFan2019-08-29 18:24:11
Score comes out tomorrow


MrZimmerFan2019-08-29 18:25:14
1. 27 Years Later
2. Memory
3. Come Home
4. I Swear, Bill
5. Beverly Escapes
6. Henry Bowers
7. Firefly
8. Losers Reunited
9. Echo
10. Fortune Cookies
11. You Knew
12. The Library
13. Shokopiwah
14. The Barrens
15. The Clubhouse
16. Perfume
17. Mrs. Kersh
18. Miss Me, Richie?
19. Dirty Little Secret (Feat. Pennywise)
20. Silver Bullet
21. Why Georgie?
22. Your Hair Is Winter Fire
23. Eddie and the Leper
24. Festival Pursuit
1. Hall of Mirrors
2. Bar Mitzvah
3. Bowers Attack
4. Back to Neibolt
5. Home at Last
6. It's Stan
7. This Is Where It Happened
8. The Place of It
9. Artifacts
10. The Ritual of CHÜD
11. Very Scary
12. Scary
13. Not Scary at All
14. You Lied and I Died
15. My Heart Burns There Too
16. Spider Attack
17. You're All Grown Up
18. Neibolt Escape
19. Nothing Lasts Forever
20. Goodbye
21. Stan's Letter


Jean-Luc2019-08-29 18:27:11
@MrZimmerFan Thank you for the tracklist!

DT-2017 reply Replies: 0 || 2019-08-29 18:24:06
I think the tracklist is on Amazon now.

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It - Chapter Two soundtrack - Benjamin Wallfisch 2019