FILM CREDITS
Music by Tom Holkenborg
Score Produced & Mixed by Tom Holkenborg
Additional Music by Aljoscha Christenhuß & Antonio Di Iorio
Technical Score Engineer: Alex Ruger
Additional Programming: Emily Rice & Jacopo Trifone
Music Editor: Simon Changer
Assistant Music Editors: Ben Smithers & Arabella Winter
Music Consultant: Bob Badami
Score Orchestrated & Copied by Jonathan Beard, Edward Trybek, Henri Wilkinson & Tom Holkenborg
Librarian: Jill Streater
Orchestra Conductor: John Ashton Thomas
Orchestral Recording Engineer & Mixer: Nick Wollage
Orchestra Recorded at Air Studios
Music Production Services: Michiel Groeneveld
Score Composed, Produced & Mixed by Tom Holkenborg
Additional Music: Aljoscha Christenhuß & Antonio Di Iorio
Orchestra Conductor: John Ashton Thomas
Technical Score Engineer: Alex Ruger
Additional Programming: Emily Rice & Jacopo Trifone
Music Editor: Simon Changer
Assistant Music Editors: Ben Smithers & Arabella Winter
Music Consultant: Bob Badami
Score Orchestrated & Copied by Jonathan Beard, Edward Trybek, Henri Wilkinson & Tom Holkenborg
Librarian: Jill Streater
Orchestral Contractors: Isobel Griffiths & Susie Gillis
Orchestral Recording Engineer & Mixer: Nick Wollage
Orchestra Recorded at Air Studios
Air Studios: Alison Burton, Charlotte Matthews & Lucy Matthews
Music Production Services: Michiel Groeneveld
Agent: Amos Newman
Legal Representation: David Altschul
Recorded: 6-7 January 2018 at Air Studios in London
Special thanks to: Roar Uthaug, Graham King, Saskia, Julian & Darren, Anne Cobb & Shane Glass
02 – Seeking Endurance (1:09)
03 – The Bag (1:49)
04 – Path Of Paternal Secrets (3:39)
05 – The Devil’s Sea (4:11)
06 – Let Yamatai Have Her (13:23)
07 – Figure In The Night (4:15)
08 – Remember This (3:26)
09 – Never Give Up (5:36)
10 – Karakuri Wall (4:38)
11 – What Lies Underneath Yamatai (8:35)
12 – There’s No Time (4:01)
13 – Becoming The Tomb Raider (7:15)
14 – The Croft Legacy (2:00)
Additional credits:
Aljoscha Christenhuß: 2 6 8
Antonio Di Iorio: 1 5 7 10 12 13 14
Track 9 is credited to both Iorio and Christenhuß
BOOKLET CREDITS (From The Album):
Score Composed, Produced And Mixed By
TOM HOLKENBORG
Additional Music By
ALJOSCHA CHRISTENHUB
ANTONIO DI IORIO
Orchestra Conducted By
JOHN ASHTON THOMAS
Technical Score Engineer
ALEX RUGER
Additional Programming By
EMILY RICE
JACOPO TRIFONE
Music Editor
SIMON CHANGER
Assistant Music Editors
BEN SMITHERS
ARABELLA WINTER
Music Consultant
BOB BADAMI
Score Orchestrated And Copied By
JONATHAN BEARD
EDWARD TRYBEK
HENRI WILKINSON
TOM HOLKENBORG
Librarian
JILL STREATER
Orchestra Contractors
ISOBEL GRIFFITHS
SUSSIE GILLIS
Orchestral Recording Engineer And Mixer
NICK WOLLAGE
Orchestra Recorded At
AIR STUDIO
Air Studios Managers
ALISON BURTON
CHARLOTTE MATTHEWS
LUCY MATTHEWS
Music Production Services
MICHIEL GROENEVELD
Agent
AMOS NEWMAN
Legal Representation
DAVID ALTSCHUL
Music Recorded
6-7 January 2018
At
AIR STUDIOS, London
Score Published By
UNITED LION MUSIC, INC. (BMI)
Booklet Editing & Design
WLP LTD
Soundtrack Acquisitions
MARK CAVELL
Sony Classical Product Development
KLARA KORYTOWSKA
Special Thanks To:
ROAR UTHAUG, GRAHAM KING, SASKIA, JULIAN and DARREN, ANNE COBB, SHANE GLASS
Yeah, everything is shitty like Red Sparrow ;)
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.
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.
And the weirdest thing is, his earlier scores are far more distinctive than his current ones. How did that happen?
I'm not sure JXL is picking the projects. In the case of Tomb Raider it seems like WB handed it to him when Joss Whedon asked them to replace him on Justice League. I guess they were annoyed because he had been a frequent collaborator, so giving him another blockbuster straightaway was a soft way of dealing with that.
Also yes poor JXL really seems pigeonholed. Even though, to be honest, the only style he's proven excellent so far is the rythmic stuff (see the highlights of Fury Road). His rare excursions to other styles have been quite bland to me, so the fact that he's always asked to do the same style isn't really a surprise. Directors/producters who want this specific sound will call JXL, and people who're making a comedy or romance won't even bother and will call another composer.
There was this tiny section towards the end of the track The Devils Sea, which I thought was pretty daring, symphonywise. But I just didn't have the care in me to even cut that little 10 second part out to add to my collection.
Just got through my first listen on this one and am fairly disappointed. Most of the action/sound design/string writing sounds like leftovers from The Dark Tower (even down to some of the exact same samples) while the brass has a heavy Mad Max feel to it. The orchestral portions are pleasant enough, but even then there is nothing really distinctive that we haven't heard from him before.
One thing that does somewhat work are the jungle sound design elements paired with the drums. Again, nothing original but it definitely is more fresh than the rest of the music on album.
A lot of percussion, but very interesting (also the movie occurs in a island near Japan, and that sounds a lot for taikos, which i love the sound).
Also really nice emocional moments, especially the first and the final tracks. And that action cues, specially The Devil's Sea, The Bag and Let Yamatai Have Her.
Very surprising score.
There is a couple of clips from the movie and there is a cool music in it.
As for the only track, i'm digging it!
Here
https: //itunes.apple.com/lk/album/tomb-raider-original-motion-pict ure-soundtrack/ 1349241208