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You probably know that Tyler was hired alone and scored alone Constantine... As the producer didn't like the result, they hired Badelt to re-work or replace some cues...
Comparing with the 75 minutes promotional release (finally not as great as I heard) of the Tyler-only score, you can find who composed what here :
01 - Destiny (2:03) Klaus Badelt 02 - The Cross Over (2:42) Brian Tyler 03 - Meet John Constantine (2:39) Klaus Badelt 04 - Confession (2:31) Brian Tyler re-worked by Klaus Badelt 05 - Deo Et Patri (1:17) Brian Tyler 06 - Counterweight (2:48) Brian Tyler re-worked by Klaus Badelt 07 - Into the Light (2:53) Brian Tyler 08 - I Left Her Alone (1:41) Klaus Badelt 09 - Resurrection (2:05) Brian Tyler 10 - Circle of Hell (5:36) Klaus Badelt 11 - Last Rites (1:56) Klaus Badelt 12 - Encountering a Twin (1:05) Brian Tyler re-worked by Klaus Badelt 13 - Flight to Ravenscar (:53) Klaus Badelt 14 - Humanity (2:58) Brian Tyler 15 - John (1:31) Klaus Badelt 16 - Someone Was Here (1:46) Brian Tyler re-worked by Klaus Badelt 17 - Hell Freeway (2:43) Brian Tyler re-worked by Klaus Badelt 18 - Ether Surfing (1:14) Klaus Badelt 19 - The Balance (2:27) Brian Tyler 20 - Absentee Landlords (1:35) Brian Tyler 21 - John's Solitude (1:26) Klaus Badelt 22 - Lucifer (1:56) Brian Tyler 23 - Rooftop (1:20) Klaus Badelt 24 - Constantine End Titles (2:39) Klaus Badelt
When you listen Constantine's score for the first time you probably won't find something special in it. But after listening to the cues several times you'll realise that it is a good OST indeed. The music motifs are tension, fear, anxiety, panic, despair expressed by dark-atmosperic, scary-hellish-intense strings and slow - disturbing orchestra passages. There are several thrills that will chill your backbone. However when crescendos peek up and the music climates suddenly the crescendos stop giving a feeling that the musical denouement is unfinished &-- uncompleted. Infact that is very unpleasant. Except track 10 were the crescendo at the end is performed very well with bombastic-pounding percussion &-- fierce tempo. Also track 24 consist of electrinic cello riff with electring guitars and is a little bit irrelevant with the previous cues