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Andrew's second solo feature...<br><br><br>Now still waiting for that Sky Hunter release... :(@Hybrid, what happened with Trevor? Why his scores are not listed in the page? ThanksIt is somewhat bizarre that you all are thinking directors actually want to work with Junkie. Surely, the only reason anyone hires him is that they want Zimmer who is not available. Yes, some may have heard Mad Max but it would be silly to think anyone actively wants a Junk score.Bob Badami (as Robert Badami), Melissa Muik, Mark Wherry (as Mark Andrew Wherry are music editors!<br><br>Booklet credits<br><br>Music Editor: Melissa Muik <br>Score Wrangler: Bob Badami<br>Digital Instrument Design: Mark WherryI don't think Junkie XL picks the shittest films to work on. It's just that art film directors won't choose him to score their films. Even in RCP, a lot of his colleagues are more well respected than he is. I would argue Benjamin Wallfisch is already more well regarded. Mad Max is an exception because of its unique setting and story line.
Metro Expanded Score (1997) By Steve Porcaro & James Newton Howard<br><br>I found an interesting about unreleased tracks from the whole movie by one hour and 57 minutes, it's meant something missing in the movie. But I did edit some unreleased tracks from the movie, but not in OST It could be Expanded Score. I'm sure about that!<br><br>1. Main Title (1:57)<br>2. Sam's Death (1:31)<br>3. Keep You Out Of This (0:41)<br>4. Roper & Ronnie (0:51)<br>5. Jewelry Store Heist / That's Korda (1:46<br>6. First Chase (2:41)<br>7. Cable Car Pursuit (6:18)<br>8. He's Getting Away (0:21)<br>9. Car Garage Capture (0:51)<br>10. Dinner Only (1:06)<br>11. Intruder (3:14)<br>12. Ronnie Attack (4:41)<br>13. Love Theme (1:51)<br>14. Korda's Escape (1:49)<br>15. Is She Out There ? (0:26)<br>16. Ronnie Kidnapped / Korda's Demands / The Shipyard (3:16)<br>17. Final Chase (3:11)"I do think he knows how to place emphasis on music as opposed to Joss Whedon or any of the other studio director who treats it like a byproduct."<br><br>I agree with you, except that Snyder and I have very different ideas about what makes good (film) music, and how to emphasize it. Ridley Scott is a somewhat similar case. Somehow he has gotten a ton of great music written for his movies over the years despite the fact that his musical instincts are really strange and misguided sometimes. At least Snyder doesn't butcher the scores he gets.<br><br>You're right that a director like Whedon doesn't seem to pay that much attention to how music can enhance his movie. But as someone who cares about film music 95% of the time as albums, not in film, I often find that a director who gets out of the way and just trusts the composer to do his/her thing is preferable to one who gets overly involved with the scoring process and has lots of ideas about how things should sound. That the subsequent scores end up buried or ineffective in their films is a shame, but the music at least tends to be good on its own terms.@mrzimmerfan<br>Oh no, I mean I love the score as a whole. I was just saying my personal highlights. Man of Steel emotionally resonated with me. But that’s cool that you like BVS, I personally just think Man of Steel is more engaging.@mpolonest: But that moments are simply moments, not the entire score, i prefer BvS, because there is a variety in it: Batman, Wonder Woman, Luthor, and is more complex than MoS (also i prefer the movie over MoS).<br><br>And yes, the theme for Superman is cool, but that dosen't make the entire score cool too.and some nice boob representation, too.
@MrZimmerFan<br><br>Point Break is a lousy movie, but the score and guitar main theme isn't all that bad. Those 10 minutes on the soundtrack don't do it enough justice at all.<br><br>But again - this is Junkie doing action scoring....Miles better than any of his slow stuff. For me, anyway.@Edmund <br>He’s definitely not my favorite director, but I do think he knows how to place emphasis on music as opposed to Joss Whedon or any of the other studio director who treats it like a byproduct. One of my biggest pet peeves is when directors/composers just use music as a sonic wallpaper, instead of letting it improve  and add to the scene. John Ottman is a great example. He can write great themes, but he tends to write underscore which adds nothing to the film. That’s why Zimmer, Williams, James Newton Howard, etc. are so good. They treat each moment with care."Zack Snyder, a director who actually understands music"<br><br>A matter of opinion, and not an opinion I share.@mrzimmerfan <br>I disagree with you there. I love Man of Steel, I think the themes and the overall bombastic nature of the score work perfectly. As for BVS, I’m not a huge fan honestly. There are some amazing highlights, but the tone of the score is so downbeat. It lacks the soaring elements of “Flight” or “What Are You Gonna Do...” and the action highlights of “Terraforming” or “Escape From Ship”. <br><br>To each their own though :-)For the themes mostly, this Batman and this Superman fit with the themes written by Zimmer. But the score by Elfman is miles better than MoS and BvS (for those two, BvS is much interesting and better than MoS, which is only good)<br><br>
I genuinely wish we could hear Justice League, I would have loved to see what he brought to that under Zack Snyder, a director who actually understands music.I still remember when Divergent was released, I was almost immediately dismissive of Junkie XL. Having only heard his remixes and his drum stuff for MoS/300 the first thing I expected was to hear an electronica album with percussion and sound design. So imagine my surprise when I heard several different themes, beautiful string adagios, vocals, and a pretty big variety of styles. And then Run All Night came out and blew me away. Ever since then I’ve been pretty supportive of his work, but I have to agree with everything you guys are saying.<br><br>The past two years have been pretty bad in terms of his ratio of good scores to bad. Black Mass and Brimstone, as I’ve mentioned, are solid scores that veer away from the usual JXL sound. But then we have Deadpool (abrasive), Distance Between Dreams (ok for a stand-alone album), Dark Tower (pretty fun in parts and just bland in others), and Tomb Raider (one of the most generic scores I’ve heard in recent memory). It’s frustrating to see a composer who obviously has talent and a diversity of skills write almost the same thing over and over. <br>And the weirdest thing is, his earlier scores are far more distinctive than his current ones. How did that happen?Nope he released All I see is you Soundtrack last year and it was a great soundtrack..<br><br>Are you sure you're a fan of him?<br><br>So far no project announced for this year but I think there will be at least one...What happened to Marc Streitenfeld? It's been a long time since there has been any involvement or a new score from him. Some years ago, I thought he's going to be the new upcoming star from the horizon of RCP. But then abruptly silence. Any reason or information?@Meta: Really Point Break was interesting?, it's only 10 minutes of music released, and i din't care about it, honestly, and the movie was really, really bad.<br><br>As for Tomb Raider, the music was serviciable in the movie, but i more comfortable with it than Point Break.

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Additional Music ArrangerSound Design & ProgrammingMusician : Percussion
Atli ÖrvarssonDavid FlemingJörg HüttnerSatnam Ramgotra
ComposerAdditional MusicSound EngineerMusician
The Fourth Kind
Label: Varese Sarabande
Length: 39'37 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 (5262 votes)


  1. Flight To Nome (3:09)
    Atli Örvarsson
  2. Owolowa (3:58)
    Atli Örvarsson
  3. Hypnosis (2:45)
    Atli Örvarsson
  4. The Owl (2:53)
    Atli Örvarsson, Dave Fleming
  5. Ashley (1:40)
    Atli Örvarsson
  6. Completely Surreal (3:58)
    Atli Örvarsson
  7. They're Not From Here (2:46)
    Atli Örvarsson, Dave Fleming
  8. The Fourth Kind (2:45)
    Atli Örvarsson
  9. Torn Apart (4:31)
    Atli Örvarsson
  10. Abduction (4:27)
    Atli Örvarsson
  11. Northern Lights (4:06)
    Atli Örvarsson
  12. Conclusion (2:41)
    Atli Örvarsson
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osvaldo reply Replies: 0 || 2010-02-07 00:00:00
is a great documentary film and a good score from ATLI i hope to listen more of this in the future , blessings from Argentina

Ele reply Replies: 0 || 2010-01-18 00:00:00
First track and "Torn Apart" is imo good, rest is rather mediocre. Typical horror electronic/suspense stuff.

Anonymous reply Replies: 0 || 2010-01-16 00:00:00
any reviews of this?

sabu reply Replies: 0 || 2009-11-07 00:00:00
good music

Miles reply Replies: 0 || 2009-10-24 00:00:00
Good to see Atli getting more recognition, but I hope that the album length is how much music he wrote for the film and not another sign of the economic squeeze on the soundtrack biz. Haven't heard the music yet, but I'll bet he did a good job again!

Hybrid Soldier reply Replies: 0 || 2009-10-23 00:00:00
Coming in a few weeks !

Adrian reply Replies: 0 || 2009-10-23 00:00:00
Yesss, Ive been waiting for this! There a lot blue thumbnails on the left :P© 2001-2017 OST 
The Fourth Kind soundtrack - Atli Örvarsson 2009