The Invisible Man
- Cobolt (1:42)
- Escape (4:28)
- He’s Gone (3:37)
- This Is What He Does (2:19)
- We’ve Got That In Common (1:21)
- Make It Rain (2:22)
- Attack (2:46)
- Why Me (3:00)
- The Suit (2:15)
- Asylum (3:31)
- He’s Behind You (4:42)
- House Fight (5:34)
- It’s All A Lie (5:26)
- Surprise (1:32)
- Denouement (4:57)
Mortal Kombat is going to be released by Watertower Music,
Benjamin Wallfisch scoring Tiny World with Chris Egan
Booklet Credits
Score Composed, Produced & Piano Soloist By Benjamin Wallfisch
Score Conducted By Chris Egan
Score Orchestrations By David J. Krystal
Score Performed By The Chamber Orchestra Of London
Score Recorded By Rupert Coulson
Score Mixed By Benjamin Wallfisch & Scott Michael Smith
Score Edited By Brett Pierce
Score Synth Programming By Jared Fly
Solo Cello By Justin Lepard
Score Coordinator By Darrell Alexander
Orchestra Contractor By Gareth Griffiths
Score Recording Assistant By Jack Mills
Score Technical Assistant By Michael Dean Parsons
Pro Tools Recordist By Chris Barnett
Music Mix Assistant By Kailtyn Delle Donne
Music Preparation By Jill Streater
Assistant Music Editor By Devaughn Watts
Concertmaster By Igor Yuzefovich
Assistant Orchestrator By David Deustch
Assistant Engineer By Gianluca Massimo
You guys, mentions 6 Underground, i don't believe is the best example, but i give this to that score: works very well in the movie.
The problem would be today standars for a good score: it must be something orchestral, thematic and largely without any type of sound design.
My recommendation: be yourself.
I love the most symphonic scores ever made by the most reverend composers, like Goldsmith or Williams, but i love when the composers go something extreme, even when they go extremely sound design and experimental, like Chappie, Inferno, even Tomb Raider (yeah, unpopular opinion in there).
The case here with this score, is this, is a horror score (myself loves the material created by Chris Young in Hellraiser, such great work), but when they start hearing electronic manipulation and horror, the people always goes crazy in his opinions about that, and, ALWAYS, mentions work where there is a lot of orchestra playing themes or melodic aspects (Knight mentions It, but It has more orchestral appeling for those who dosen't want much sound design).
The Invisible Man, has melodic ideas, like i said in my comment, and believe me, when i saw the movie, the score works great in there, because, we talking about a movie score, and the principal idea is the score work in the movie, specially in horror.
@Knight
Yeah I’ve never gotten that either. Personally I like when a composer can take electronic manipulation and do some f*cked up things with it. Take portions of “It” or even Zimmer’s Inferno score, crazy sound design always fascinated me.
And if you don’t like those portions you still have the more ‘traditional’ music acting as a counterweight. Same with Cure for Wellness.
I don't know why people think they need to take such an extreme position on scores like this, it was the same on 6 Underground.
Apparently if theres any unpleasant grunge on the score album "you will either hate or love the whole thing" and ignore any of the many melodic cues as this score is almost exactly 50/50 dark melodic/horror action grunge (just like 6 Underground incidentally).
Melodic/thematic cues:
Cobolt
He's Gone
This Is What He Does
Make it Rain
Why Me?
The Suit
Asylum
It's All a Lie
Surprise
Denouement
and the horror cues:
Escape
We've Got That in Common
Attack
He's Behind You
House Fight
Original comment
'The Invisible Man, would be one of the most dark, hard-hearing scores by Wallfisch, by far, multiple people will hate this score -i know, is difficult listening horror scores-, but when is good, is good.
If you love Lights Out, the two ITs, speacially, A Cure for Wellness, The Invisible Man is for you: dark, unpleasing (the theme for Elisabeth Moss' character is a beautiful melodie, example in 'Denouement', constantly accosed -rightly word- with the sounds of the Invisible Man, he has not theme, more motif and tremendously agresive sound desing, you can here listen in 'Attack') and very Hermann-esque (the score was only recorded with string orchestra, say by Wallfisch).
Like i said before, is not a score for everyone, but if you love Wallfisch's writing for horror, this one is for you'
I really like it as well.
Most of the music is very minimilist string/piano, ala “A Cure For Wellness”. The rest falls more into horror/electronic manipulation style ala “It”.
And of course “Denouement”, what a great cue!
Great score!