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Any chance of stopping by in Slovakia between Vienna and Munich dates? Would love to see the new show!Interesting to see Lorne Balfe replacing Jablonsky now with Micheal Bay.6 Underground is totally crazy and Balfe’s score equals it.Also has emotion like 13 Hours.<br>Doesn’t beat His Dark Materials but a great scoreSorry, das ist doch ein Witz, Dortmund ist nicht dabei :(Way too many songs.<br>Lorne Balfe score nailed it.Great to see Bay working with Balfe now.This is an RCP website, those scores aren't by RCP composers...
Power anthems ???? Obviously you haven’t watched the movie.They would not fit in this movie.<br><br>Balfe’s score is really cool and not expected.Already listened to it 4 times!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>10/10
Gavin should be listed as conductorBecause 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"... lolAnother 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.

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Trevor RabinPaul LinfordNick Glennie-Smith
ComposerAdditional MusicAdditional Orchestrator
Deep Blue Sea (Complete Score)
Label: Unofficial Release
Length: 99'54 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   3/5 (3494 votes)
  1. Main Title (6:30)
  2. Susan's Cause (1:03)
  3. Aquatica (1:33)
  4. Carter's Swim (1:28)
  5. Gliding Monsters (0:39)
  6. Some Other Way (1:52)
  7. Doctor's Orders (1:04)
  8. I Don't Make Waves (1:19)
  9. Susan's Speech (1:27)
  10. You Guys Hungry? (2:18)
  11. Hunting In Packs (1:43)
  12. Preparation (5:49)
  13. The Experiment (4:29)
  14. Armageddon (6:03)
  15. Jim Returns (1:22)
  16. No Way Out (4:50)
  17. Smart Sharks (2:43)
  18. Preacher Pursued (1:10)
  19. Trouble In The Kitchen (2:16)
  20. Chef's Surprise (1:56)
  21. Franklin's Tale (3:13)
  22. I Hear You Knocking (5:46)
  23. Exit Strategy (0:48)
  24. Susan Softens (1:26)
  25. Back To The Lab (1:29)
  26. Jaws Of Death (1:37)
  27. Getting To Knaw You (4:34)
  28. Susan & The Shark (3:59)
  29. Journey Topside (5:25)
  30. Kill Big Shark (6:25)
  31. Aftermath (2:48)
  32. Deepest Bluest (Shark's Fin) - LL Cool J (4:22)
  33. Deep Blue Sea Montage (Demo) (6:13)
  34. Armageddon (Alternate) (0:37)
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mpolonest123 reply Replies: 6 || 2018-08-05 23:39:39
Listening to “The Meg” really made me nostalgic for this score (and every other power-anthem score we got from MV in the 90’s).

As dumb as this movie is, you still get 3 memorable themes that develop throughout, not to mention a number of different sub-themes and a variety of styles ranging from horror to fantasy to action and so on. Nowadays you are lucky if you get one decent theme and music that isn’t 70% ambient/sound design.

Hybrid Soldier2018-08-06 00:41:59
The irony is that 20 years ago Rabin was getting such a shitstorm from "purists" for his general style, guitars & stuff...

20 years later, people come and listen again and finally be "hey, that wasn't so bad..."

In 20 years, people will listen stuff from now and react the same way...

mpolonest1232018-08-06 02:18:56
Can’t argue with that, I was 5 when I saw Deep Blue Sea in theaters and remember loving the score as a kid, so I’m sure nostalgia plays a big part. And I’m sure the generation that grew up with Hans is going to dislike whatever direction film music takes (much like how the “purists” dislike the RCP style)

Personally I don’t mind the stylistic approach current scores have, which is why I enjoy many of Junkie XL’s earlier works. Being a theme person, however, I’m partial to scores that can take a more thematic approach....

superultramegaa2018-08-06 03:31:39
I'm not going to look back at Skyscraper or JunkieXL's work and and admit it's good. I agree traditionalists can be a pain in the ass, but the current trend of turning film scores into the worst aspects of video game music, with little focus on motifs and leitmotifs besides 1 or 2 central ideas, mixed with the ugliest of electronic noises you can muster, is not a good trend by any means.

I am by no means a traditionalist either. Despite its lack of sophisticated thematic detail, video games have produced some of the best music of our time, just as film has. I also love much of Zimmer's work, along with Jablonsky's more notable efforts. I'm not one of those people who say that every composer and film score needs to have constant time signature changes and chromaticism in every track, (to be honest those are the least important aspects in my opinion.)

However, if you're going to spend the time and money recording an orchestra, use the damn orchestra. Don't bury it in synth and the ugliest, loudest, mentally damaging electronic noise you can think of! Mix it with orchestra organically like TDK Trilogy or the Transformers series, sure. Use only electronics if you absolutely think the orchestra will not work for a movie, go for it. Don't just create noise for the sake of noise.

Even melodic composers who sometimes feel like they're composing nothing more than complex orchestral noise (Alan Silvestri as of late), at least their music had thought put into it, took real mental energy, and has a really nice aesthetic. How much thought does it really take nowadays, to mix electronics together until they're loud and ugly enough? Sure, maybe to design the noises, but composition wise? It wouldn't shock me if their notes for composing some of these tracks were simply "intense electronics play."

As a final note, the lack of instrument variety is seriously getting on my nerves with some composers, especially with the release of Christopher Robin showing off Zanelli's ability for it. I love horns and strings as much as the next guy, but get woodwinds, exotic instruments, accordions, percussion instruments like xylophones, celestas, all of it! This problem is biggest with RCP currently, but even melodic scores are using less and less instruments (Marvel movies).

I know this is somewhat unrelated to this score specifically, but I really have been getting kinda pissed with the state of film music (particularly Jablonsky after the wonderfully varied IDEA and the return to form in Transformers 5).

Scorefan2018-08-06 04:11:15
@Hybrid, do you know why Trevor didn't make the score? I mean, John Turteltab made both National Treasure and The Sorcerer's Apprentice and in those films Trevor was the composer

rockhound2018-08-06 10:00:57
Trevor is still on tour with ARW.

Scorefan2018-08-06 21:31:35
@rockhound, thanks

MrZimmerFan reply Replies: 0 || 2018-08-06 10:19:56
The people still forget the main problem is not the composer, is the people behind it: directors, producers, studios.

I don't hate electronic scores (Skyscraper was ok, but far from the best from Jab), but also think NOT every movie ask for a full orchestral score (and this come from a guy who loves people like Michael Giacchino, Trevor Jones or John Williams, for god sake, Jerry Goldsmith (Planet of the Apes have a score not thematic with a lot of variety of instruments, even Alien have such thing, and is my FAVORITE from Jerry).

Well, go to the topic. Deep Blue Sea is one of my favorites (and yeah, when i was listen The Meg, i recall this one), and DBS is dumb, but fun movie, and the fu** epic guitar from Rabin is still memorable.

Jaros428 reply Replies: 0 || 2010-10-23 00:00:00
we need to contact Rabin and tell him to release the complete score for this, or who ever is in charge.

Cloud reply Replies: 0 || 2010-10-23 00:00:00
Yeah, I wish La La Land or Intrada or some other label would release an expanded edition of Deep Blue Sea. There's so much good music missing on the original score album.

Adam reply Replies: 0 || 2010-09-24 00:00:00
This really isn't worth anyones time to find. The tracks, although listenable, only make you want the better and real thing much more and it's just more of a tease then anything because end has almost everything that the other tracks have but maybe 40 seconds of what should have been put in the original score. Infact it's quite sad the score released for this movie was so puny. Honestly it deserved a 2-CD Complete or atleast MOST of the music.

Owell. Maybe someday she will appear!

jr composer reply Replies: 0 || 2006-06-12 00:00:00
and where did you get it from?

Erocental reply Replies: 0 || 2006-05-11 00:00:00
Wow... finally the music that was missing from the original score. The quality isn't that good with track 11 to 13 but it's listenable. Very good score! =)© 2001-2018 OST 
Deep Blue Sea (Complete Score) soundtrack - Trevor Rabin 1999