FILM CREDITS
Original Score by Lorne Balfe
Music Supervisors: Peter Afterman & Margaret Yen
Associal Music Supervisor: Alison Litton
Music Coordinator: Oriana Pedone
Music Production Coordinator: Queenie Li
Score Produced by Lorne Balfe & Max Aruj
Score Technical Assistants: Max Aruj & Joseph Cho
Score Programmers: Clay Duncan, Jon Aschalew & Ed Buller
Solo Cello: Peter Gregson
Music Editor: Richard Ziegler
Orchestrator: Shane Rutherfoord-Jones
Score Mixer: John Chapman
Score Mix Assistant: Alfredo Pasquel
Conductor: Johannes Vogel
Recording Engineer: Bernd Mazagg
ProTools Operator: Martin Weismayr
Score Recorded at Vienna Synchron Stage
Score Mixed at Remote Control Productions
"Go Big Or Go Extinct (Remix)"
Written by Ramin Djawadi
Arranged by Ben Zecker & Patrick Stump
Produced & Remixed by Patrick Stump
"Go Big Or Go Extinct (Patrick Stump Remix)"
Written by Ramin Djawadi
Arranged by Ben Zecker & Patrick Stump
Produced & Remixed by Patrick Stump
Original Score: Lorne Balfe
Music Production Coordinator: Queenie Li
Score Produced by Lorne Balfe & Max Aruj
Score Technical Assistants: Max Aruj & Joseph Cho
Score Programmers: Clay Duncan, Jon Aschalew & Ed Buller
Solo Cello: Peter Gregson
Music Editor: Richard Ziegler
Orchestrator: Shane Rutherfoord-Jones
Score Mixer: John Chapman
Score Mix Assistant: Alfredo Pasquel
Conductor: Johannes Vogel
Recording Engineer: Bernd Mazagg
ProTools Operator: Martin Weismayr
Score Recorded at Vienna Synchron Stage
Score Mixed at Remote Control Productions
Music Supervisors: Peter Afterman & Margaret Yen
Associate Music Supervisor: Alison Litton
Music Coordinator: Driana Pedone
Executive Album Producers for Milan Records: Stefan Karrer & JC Chamboredon
Production Manager: Pablo Manyer
Album Mastered by Rob Kleiner
Lorne Balfe would like to thank:
Steven DeKnight, Mary Parent, Cale Boyter, Peter Afterman, Margaret Yen, Jake Rice, Brook Worley, Dylan Highsmith, Jay Ashenfelter, Michael Bauer, Richard Ziegler, Jake Kozarec, Queenie Li, Max Aruj, Steffen Thum, Darrell Alexander, Christopher Gutch, Ollie Fitzgerald, David & Eva Balfe, & Nina & Rufus Balfe
02 – Born Into War (4:12)
03 – Rise Of The Jaegers (1:38)
04 – Go Big Or Go Extinct (Patrick Stump Remix) (2:10)
05 – Daddy Yo – Wizkid (2:39)
06 – Shatterdome Arrival (2:03)
07 – Sneaking In (3:07)
08 – Shao Industries (4:35)
09 – Scrapper Chase (3:56)
10 – Flashback (2:17)
11 – Nobody Speak Feat. Run The Jewels – DJ Shadow (3:15)
12 – Kaiju Brain (2:11)
13 – Combat (2:19)
14 – Obsidian Fury (3:31)
15 – Get It Done (3:24)
16 – Come Down – Anderson .Paak (2:59)
17 – Shatterdome Attacked (7:18)
18 – Amara (2:36)
19 – Coming Together (3:14)
20 – On The Move (2:21)
21 – Mega Kaiju (2:29)
22 – Battle Speech (2:39)
23 – End Game (2:00)
24 – Victory (2:18)
25 – The Revenge (1:52)
10 Comments
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I really don’t understand why they abandoned themes from the original movie, who’s decision that was – Balfe’s or studio decided that?
I mean effort is here, but that’s just wierd…
For the show Pacific Rim: Uprising, Brandon Campbell told in Facebook that he couldn´t use the main theme from the first movie due to rights. So I would say it was decision of the studio…
*For the show Pacific Rim: The Black (sorry)
That doesn’t make sense, the second movie was made also by Legendary & WB, isn’t it?
Same as The Black….
I think PR: Uprising is Legendary/Universal and PR: The Black is Legendary/Netflix. The rights for the main theme of the first film are Warner (WaterTower), probably
Search for an chronological order, too!
Does anyone have a chronological order for this one?
This is feels like a very temped soundtrack, only that explains why the score is so generic. I wonder which movies music scenes producer-director used to make lorne do this.
Track 8 – is Tron legacy (dont know maybe he worked on it, powell was involved maybe he was too)
There are some fun action cues and an interesting mix of electronics that sounds like a hybrid of Tron Legacy and Chappie but is honestly so forgettable outside of that. Why on earth did they opt out of using Ramin's themes?
It would be like if POTC2 came out and instead of using "He's a Pirate" or any of the other motifs, Disney hired a Hans Zimmer protege to come in and write their own take on the material. When I go to see Star Wars I expect Star Wars. With this I expected at least ties to the first one.