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Atli still has his studio at Remote but mostly works from home in Iceland.<br><br>Guillaume game back to settle to Remote a couple of years ago (before he was splitting time between RCP & France).<br><br>Heitor still is at RCP as far as I know, haven't heard anything in a while.<br><br>Nathan Stornetta left Remote in 2015 (against Hans' will !! :)) cause he didn't fancy much that whole Hollywood business. He is home in Switzerland doing his own projects, but also touring with Hans...Atli Örvarsson, Heitor Pereira, Guillaume Roussel and Nathan Stornetta ?Marc left RCP in like... 2003 ? lol<br><br><br>And yes he is, check his page, he just doesn't have much going on anyway.But Marc is no longer with RCP I am assuming. His scores are not advertised here.If the Snyder Cut comes out, who's ready to hear Junkie XL score Godzilla vs. Kong?
https://www.forbes.com/sites/simonthompson/2020/09/16/music- business-zack-snyder-justice-league-junkie-xl-tom-holkenborg -dcu-snyder-cut/https://www.forbes.com/sites/simonthompson/2020/09/16/music- business-zack-snyder-justice-league-junkie-xl-tom-holkenborg -dcu-snyder-cut/Marc just reunited with Ridley on the amazing Raised By Wolves series.<br><br>Klaus is more worried about his other businesses rather than film scoring, I think...Will any tracks from Man of Steel be played on the Live2021 tour? It is a life ambition of mine to experience a live performance of it!I missed Jasha Klebe. I thought he did some really good stuff at Bleeding Fingers. I am looking forward to hearing more from Kara Talve. I think she is a really good talent.<br><br>What happened to Marc Streitenfeld? I was going to ask about Klaus Badelt, but I am pretty sure I am not going to get that story.<br>
Tom's more recent work has received more love, but I personally love the Fury Road and Rise of an Empire type soundtrack more. I'm looking forward to this and I hope it's close to what Man of Steel and Dawn of Justice sounded like. Although, the snippet he shared doesn't really sound like it. We'll see.That´s why I asked myself, why dont they ever re-unite like before, so yea, they sometimes doInterestingly, Aljoscha is collaborating a lot with 2WEI these days. The Junkie Team reassembles ! lolOh I see, very interesting! Many thanks for the answer :)Fired ?!
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<br>Haha no.
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<br>You gotta realize being an additional composer is not exactly an easy thing. Some jump ship after a few years or have other aspirations, try to work solo and so on.
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<br>Vörlander worked for Junkie from 2010 to 2015, then started his own business of writing for commercials, trailers etc. (it's called 2WEI, in Germany) He even did keep working on some trailers for JXL's scores after that, or helped on FIFA 17. Junkie had Aljoscha Christenhuß who worked for him from 2015 to 2018. Then Antonio jointed in 2016, Sara Barone joined more recently last year.
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<br>Thomas is doing his own thing too, he founded Chromium Music and is doing some solo projects now.
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<br>Jasha, after working for Lorne & Hans, "transfered" to Bleeding Fingers but after a while left to focus on his own solo career too.
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<br>Ultimately, everyone leaves, sooner or later... :)
@Hybrid, I was always wondering, what happened to composers like Thomas Farnon, Jasha Klebe or Christian Vorlander - why are they not working with Lorne/Junkie anymore? Did they get fired or did they just move on? I find it weird, that Lorne/Rupert/Junkie/Etc would fire their additional composers after all those years of collaboration.The theme he was supposed to write but didn't ? :D lol<br><br>Well don't take word for word what he says. He's being general, the interview was for Forbes afterall.<br><br>Just take the extract we got, it had a quote from BvS that had nothing to do with either Superman or Wonder Woman... lol*forgot to mentioned"Besides the Man of Steel theme for Superman and the theme for Wonder Woman, which I have given a new spin, all the other themes for this movie are brand new,”<br><br>I hope Tom just forget to mention about Batman's theme and will reuse it too, because if he don't, then what's the point of it?Junkie's score for GvK is probably going to be better than his score for Justice League if he is that interested in doing a score for a godzilla movie.
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Benjamin Wallfisch
Composer
The Invisible Man
Label: Back Lot Music (Digital Download Only)
Length: 49'36
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 (680 votes)
  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 (1:21)
  6. Make It Rain (2:22)
  7. Attack (2:46)
  8. Why Me (3:00)
  9. The Suit (2:15)
  10. Asylum (3:31)
  11. He's Behind You (4:42)
  12. House Fight (5:34)
  13. It's All A Lie (5:26)
  14. Surprise (1:32)
  15. Denouement (4:57)
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Jack Afrogarrix reply Replies: 0 || 2020-03-24 02:41:32
Booklet Credits

Score Composed, Produced & Piano Soloist By Benjamin Wallfisch
Score Conducted By Chris Egan
Score Orchestrations By David J. Krystal
Score Performed By The Chamber Orchestra Of London
Score Recorded By Rupert Coulson
Score Mixed By Benjamin Wallfisch & Scott Michael Smith
Score Edited By Brett Pierce
Score Synth Programming By Jared Fly
Solo Cello By Justin Lepard
Score Coordinator By Darrell Alexander
Orchestra Contractor By Gareth Griffiths
Score Recording Assistant By Jack Mills
Score Technical Assistant By Michael Dean Parsons
Pro Tools Recordist By Chris Barnett
Music Mix Assistant By Kailtyn Delle Donne
Music Preparation By Jill Streater
Assistant Music Editor By Devaughn Watts
Concertmaster By Igor Yuzefovich
Assistant Orchestrator By David Deustch
Assistant Engineer By Gianluca Massimo


Felix reply Replies: 6 || 2020-03-02 23:44:07
Great score!


mpolonest123 2020-03-03 18:21:34
I really like it as well.

Most of the music is very minimilist string/piano, ala “A Cure For Wellness”. The rest falls more into horror/electronic manipulation style ala “It”.

And of course “Denouement”, what a great cue!


MrZimmerFan2020-03-03 18:36:05
Original comment

'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'


Knight2020-03-03 23:52:12
I don't know why people think they need to take such an extreme position on scores like this, it was the same on 6 Underground.

Apparently if theres any unpleasant grunge on the score album "you will either hate or love the whole thing" and ignore any of the many melodic cues as this score is almost exactly 50/50 dark melodic/horror action grunge (just like 6 Underground incidentally).

Melodic/thematic cues:

Cobolt
He's Gone
This Is What He Does
Make it Rain
Why Me?
The Suit
Asylum
It's All a Lie
Surprise
Denouement


and the horror cues:

Escape
We've Got That in Common
Attack
He's Behind You
House Fight


mpolonest123 2020-03-04 04:28:26
@Knight

Yeah I’ve never gotten that either. Personally I like when a composer can take electronic manipulation and do some f*cked up things with it. Take portions of “It” or even Zimmer’s Inferno score, crazy sound design always fascinated me.

And if you don’t like those portions you still have the more ‘traditional’ music acting as a counterweight. Same with Cure for Wellness.


MrZimmerFan2020-03-04 17:50:47
The problem would be today standars for a good score: it must be something orchestral, thematic and largely without any type of sound design.

My recommendation: be yourself.

I love the most symphonic scores ever made by the most reverend composers, like Goldsmith or Williams, but i love when the composers go something extreme, even when they go extremely sound design and experimental, like Chappie, Inferno, even Tomb Raider (yeah, unpopular opinion in there).

The case here with this score, is this, is a horror score (myself loves the material created by Chris Young in Hellraiser, such great work), but when they start hearing electronic manipulation and horror, the people always goes crazy in his opinions about that, and, ALWAYS, mentions work where there is a lot of orchestra playing themes or melodic aspects (Knight mentions It, but It has more orchestral appeling for those who dosen't want much sound design).

The Invisible Man, has melodic ideas, like i said in my comment, and believe me, when i saw the movie, the score works great in there, because, we talking about a movie score, and the principal idea is the score work in the movie, specially in horror.


MrZimmerFan2020-03-04 18:01:53
You guys, mentions 6 Underground, i don't believe is the best example, but i give this to that score: works very well in the movie.

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The Invisible Man soundtrack - Benjamin Wallfisch 2020