FILM CREDITS
Music by Tom HolkenborgAdditional Music by Ching-Shan Chang, Dallin Burns, Jack Roberts, Luca Fagagnini & Rafael Frost
Technical Score Engineers: Michael Staffeldt & Gevorg Chepchyan
Music Editors: Mikael Sandgren & Michael Bauer
Score Programming: Tom Holkenborg
Score Mixer: Alan Meyerson
Score Mixed at Ocean View Sound
Score Engineer: Nick Wollage
Digital Recordist: John Prestage
Assistant Engineers: Rebecca Hordern & Wil Jones
Head Copyist: Jordan Cox
Music Preparation: Jill Streater & Ann Barnard
Score Orchestrated by Jonathan Beard, Edward Trybek, Henri Wilkenson & Tom Holkenborg
Score Recorded at Air Studios London
Orchestra Contractor: Susie Gillis & Lucy Whalley for Isobel Griffiths
Orchestra Leader: Tom Pigott-Smith
Solo Cello: Caroline Dale
Violin & Viola by Max Karmazyn
Vocalists: Sumudu Jayatilaka, Sam Oladeinde & Giulia Vallisari
Steel String Acoustic Guitarist: John Parracelli
Conductor: Gavin Greenaway
Music Librarians: Jill Streater, Ann Barnard & Christopher Blackmon
Music Production Services by Michiel Groeneveld
02 – The Wolf Who Became A Woman (2:00)
still waiting for the Rue Kali theme music to be released from the directors cuts
Here’s the chronological order for both films:
Part 1: A Child of Fire
01 Prologue Antiphony
02 The Wolf Who Became a Woman
15 Longhouse Dinner – Allison Crowe
11 A Child of War
04 Pueri Salvatoris
05 Horselore
03 Scar Tissue
06 A Call to Courage
07 Ogumo / Cruel Mother
08 My Life for Hers
09 The Weight of Lions
10 The Burning Mountain
12 The Salt of Sarrow
13 Little Knives
14 A Good Place to Die
Part 2: The Scargiver
01 The Hated Other
04 Auguries of Innocence
18 The Land We Breath (feat. Rose Betts)
03 We Make Ourselves a Place Apart
19 Maman Tché – Djimon Hounsou
05 Quickhatch
06 The Falling Mountain
07 Enemy of the Sun
08 Poems No Child Should Know
09 Warmblood
02 Seneschal Psalms
10 Born of Woman
11 From a Rabble Such as This
12 Everything That Raises
13 Or Cover Me with Dirt
14 What’s Best in Men
15 Cut and Run
16 Who Dares Wins
17 Whitsun Oath
The Rose Betts song appears several times in different variations, but I placed it where it plays the version we hear on album!
Also, wanted to mention that even though I feel the action parts are a bit too loud and too reliant on Junkie’s old tropes of synthetic drums and such, I feel the softer parts are awesome, and I really love the thematic material he develops through both films. Here are the themes I identified, but feel free to add some more if I missed them:
–Motherworld (Prologue Antiphony, The Salted Sarrow, The Hated Other)
-Kora (The Wolf Who Became a Woman, Horselore, A Good Place to Die, etc)
Princess Issa, but also used for Jimmy the robot (Pueri Salvatoris, My Life for Hers, Seneschal Psalms, What’s Best In Men)
–Tarak (A Call to Courage, Warmblood, etc)
Nemesis (Ogumo / Cruel Mother, We Make Ourselves a Place Apart, Poems No Child Should Know)
-General Titus (The Weight of Lions, The Falling Mountain)
I hope if the Synder Cut ever gets released that we get to hear more variations on these themes, as I feel some of them were used less than I would have liked!
Old tropes is call ‘style’.
To be honest, Holkenborg’s action writing is far better lately than in his early stuff.
Well, then I would say I don’t really enjoy his style of writing action music. It depends on the project, as it worked brilliantly in Mad Max, and in here it serves well the movie, but I don’t really enjoy it that much on isolated listen.
But I agree that he’s getting better and I actually really enjoy most of his new stuff, and I’m really looking forward to hear what he does in Furiosa!
Furiosa is going to be like Fury Road, no doubt about it, but as Miller said, the movie is quite different from Fury Road, so…
As for his stuff, his early work, like Paranoia was horrible, 300 and Divergent are ok, Deadpool was bad (the main theme is quite enjoyable), Mad Max was grown on me, RAN was interesting, but Black Mass, The Dark Tower, Tomb Raider were really improve his style (recommend hardly Brimstone) and much of his late stuff is quite good, aside Army of the Dead.
Music Team Credits for Scargiver
Music by Tom Holkenborg
Additional Music by: Ching-Shan Chang, Dallin Burns, Jack Roberts, Luca Fagagnini, Rafael Frost
Technical Score Engineers: Michael Staffeldt, Gevorg Chepchyan
Music Editor: Mikael Sandgren
Score Programming: Tom Holkenborg
Score Mixer: Alan Meyerson
Score Mixed at: Ocean View Sound
Score Engineer: Nick Wollage
Digital Recordist: Jack Mills
Assistant Engineers: Rebecca Hordern, Wil Jones
Head Copyist: Jordan Cox
Score Orchestrated by Jonathan Beard, Edward Trybek, Henri Wilkenson, Tom Holkenborg
Score Recorded at Air Studios London
Orchestra Contractor: Susie Gillis & Lucy Whalley for Isobel Griffiths
Orchestra Leader: Tom Pigott-Smith
Violin & Viola by: Tom Pigott-Smith, Peter Lale
Vocalists: Sumudu Jayatilaka, Sam Oladeinde, Giulia Vallisari
Steel String Acoustic Guitarist: John Parracelli
Conductor: Gavin Greenaway
Music Librarians: Jill Streater, Ann Barnard
“From Far” Theme by: Rose Betts
Score Production by: Mikael Sandgren
Music Production Services: by Michiel Groeneveld
“From Far”
Written by Rose Betts
Produced by Rose Betts and Kevin White
“Titus”
Written and Produced by Lionel Loueke
https://music.apple.com/nz/album/rebel-moon-part-two-the-scargiver-soundtrack-from/1737878421
Also, Djimon Hounsou’s vocals in the last cue from the album (used in the first trailer) is good.
It’s great to know that.
Yeap, is a much better score (watched the movie) and Holkenborg’s best, solid score, tbh.
Very emotional in fact, lots, lots of thematics and variations in themes, shame some action beats don’t make into the album, same as the final end credits cue, very cool synth track in there.