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I guess it's only fair that they do shoulder the blame, considering again that releases like these aren't really the norm for them. I still wouldn't expect a recall and replacement, since it'd be a lot of money down the drain there. Their loss ultimately at the end of the day.<br><br>A bit disappointed about the content being the exact same as the leak, as I would've liked some of the film edits or at least the alt mixes I've seen pop up. I guess I'll just have to hope Disney does end up cooperating with LLL sooner than later.You gotta realize one thing, most of the time, Hans doesn't even know about these releases (and honestly I think he doesn't care). Only a few labels like LLL play ball and have him involved (but as Hans doesn't own most of his music, they have no other reason than courtesy to do so).<br><br>As for MI2, people who complained about the "content" instead of the tech aspect of it were goddamn wrong. Yes, the film mixes / OST mixes are pretty different. Because you have suites & sometimes material specifically arranged for the album or alternate cues.<br><br>Mondo having released the final mixes (and I know what Paramount provided them, it's just exactly the same 2 CD set copy that leaked years ago), I have no problem if the content is different.<br><br>And that's the topic on which they answered, James. Technically, they're not wrong, but they are ditching the REAL problem, for which they are responsible for ! The speed issue is on them, not on what they got.Considering the recent issues with the isolated score on Days of Thunder's 4K release sounding very inconsistent, I do wonder if Paramount has simply been poor in preserving stuff. Especially when they mention the studio and not the record label, which might've had a better copy on hand (they did finally put the OST on digital recently, after all).<br><br>I am not going to hold Mondo responsible for this, especially considering they normally do just press the regular OSTs onto LPs. I don't expect them to be fully privy to if a score sounds fine or not, since they're often just given the stuff prepared for them. Besides, repressing records would be a super expensive ordeal, especially with how limited they're often designed to be now.<br><br>And honestly: since no one has made the comparison to Sherlock 2 yet, how bad sounding is it really? I'd much rather it be slightly off than it being complete trash like the Perseverance release of Rain Man was. If HZ was able to let that slide once, then he won't be so worked up over a small tempo issue.So this is what Mondo had to say about their massive screw up. I've never heard something so stupid in my life. If I had a direct line to Hans Zimmerman himself I'd call him about this. I'm sure he would be interested to know they butchered his album. <br><br>"Hi James,<br><br>I talked with the soundtracks department and here's what they had to say:<br><br>We’ve been made aware of a discrepancy between how the audio sounds on our album versus how it was previously released in original releases.<br><br>Our masters came directly from the studio and from original recording sessions, and we did not do any adjustments to the masters in post other than standard vinyl mastering process. But it seems any previous post production on those original releases, and cues used in the film itself, are absent from our release and may account for the differences you notice.<br><br>We currently do not have any plans on remastering the score."<br>Great. Thx.<br><br>Score has much similarities with Sherlock, so there is many of Lorne's cues...
Known credits are Runaway Train for Mazzaro (was on his website), for Andrew K : The Rangers, Cannibal, Dead Rangers & Finish Him (on his Soundcloud). Geoff is the only guy with Ann Marie Simpson that got the privilege of cuesheet credit.
<br>
<br>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<br>
<br>Geoff did a good part of the score, every other classical pieces arrangements are his (so, everywhere the William Tell Overture appears). Train Chase, the End Credits, This Is A Robbery.
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<br>The stuff that sounds more or less like Sherlock have definitely Lorne. And I suspect a bit more epic drama have RGW.Hello there!<br>Hybrid, do we have some composer's credits on this score?<br>Or this is situation like on Transformers score?<br><br>Somewhere I read that Geoff Zanelli helped Hans on Train Chase (pts 1&2), Mazzaro did Runaway Train and Kawczynski did like 2 or 3 tracks (the rangers, finish him). Is that correct?<br><br>btw good score, not genius, but pretty good action score.<br><br>Made in Italy<br><br>Beautiful new score by Alex Belcher, check it out!Oh, yes.<br><br>Maybe this month, right?The album is ready. Just waiting for legal to settle it... It'll happen.
And about The Rhythm Section?, Mazzaro said the score is mastered...If there'd only been the first movie prior, I think I'd get it a bit more. But the 2nd film did have a proper score release, so the only reason at this point is that it just isn't on Nick's mind after all the delays.Whoa, why not? Every obscure random shit gets released these days but a Hans Zimmer score to a fairly big mainstream movie doesn't?I doubt there'll be a score release.The Spongebob movie is being released next Friday here in Canada, could we see a release of the album soon? Assuming of course that there will be an album at all /:
I gotta say that short film was spectacular even with I Phone 11, the score by Lorne Balfe fitted very well with the scenes introduced.I'd say that this anthem was pretty great for Zimmer to score a soccer team that has been alive for 25 years.Cheers guys, much appreciated!<br>In my mind I had some video interview though, as I always like watching those as well. I do wonder if there was an extra section on the home release of the movie where ideally there might be.Hans Zimmer is one of the biggest film composers working in the industry today.  He won an Academy Award for his work on The Lion King, and has been nominated for six other films including Gladiator, The Thin Red Line, and As Good As It Gets. With The Last Samurai he celebrates his 100th film score, and SoundtrackNet had an opportunity to talk with Hans a few weeks ago during a rare break in his busy schedule working on Something's Gotta Give.<br><br>You've scored many projects during your career, and The Last Samurai is being touted as your 100th film score…<br><br>Well, I'm terrible with math, so I'm not doing the counting. It could be more, it could be less – but apparently it's the 100th.<br><br>So how did you get involved with the project?<br><br>If you're lucky enough to get nominated for an Oscar, you get invited to the Oscar nominee's luncheon where they hand out these little nomination certificates. There are usually 150 people standing there, and people are invited up in alphabetical order, starting with the As. By the time they get to the Cs, everybody's already back at their table chatting and eating, and while the first people called get thunderous applause, you can imagine what it's like when your name starts with Z!<br><br>So Ed Zwick and I were standing there, waiting at one of these luncheons about four years ago, and we started talking to each other. I asked him what he was working on and he told me about this movie called The Last Samurai, which I thought sounded interesting and I asked him to send me a script. After the script arrived, I didn't hear from him for a long time and I thought he'd forgotten about me, not thinking about how difficult it is to set up a samurai movie these days. The other thing I liked about the project was that Tom Cruise was involved, so it was like returning home, since I've scored a bunch of his movies – I knew we were going to have a good time.<br><br>Did it end up that way?<br><br>Ed and his editor Steve Rosenblum are such gentlemen, so together and professional, and they basically did one cut of the film, screened it, and everyone loved their work. So after this, they had plenty of time to come and hang with me, and while I usually love the re-cutting process because it's a diversionary tactic to keep the director and editor out of my life, these guys were great to have around. <br><br>Of course, my sense of paranoia made me think that something was going wrong all the time, waiting for the other shoe to drop, as it were, but it never happened. Ed phoned this morning and I thought, "Oh my god – rewrite!" It's just how my brain works. But I think he and I feel a bit odd now: we've been seeing each other every day for months, and suddenly we're done. I completely understand why people have a problem finishing a movie, because there's something really nice about the process – completion is far more boring.<br><br>For Samurai, you used Japanese percussions and ethnic woodwinds, without getting too 'Japanese'.<br><br>My problem is that I feel Japanese music is really inaccessible to Western ears, and I was really struggling with this film initially, trying to figure out what I was doing. This idea popped into my head for using Western-style themes, but applying a Japanese aesthetic to them, which sounds great of course, until I had to ask myself what I meant! Actually, I think it's just my way of not overloading certain things with too many colors, or being geometrically precise about my cues and not making them too flowery.<br><br>The Tom Cruise character is one of those nasty drunks at the beginning, who obviously has some serious problems he's trying to deal with, or not deal with. He's obnoxious and restless, suffering sleepless nights and is very un-Tom. For me, this character's journey was about his need to earn tranquility and peace, so within the score there's this very romantic, overblown and passionate theme. It's like a juvenile way of dealing with life and death – the pain and liebestod.<br><br>However, to contrast with these very relentless themes, there are a number of stark, formal and sober pieces, because I wanted to take Tom's character on a journey. He comes from America and ends up in this foreign place where he doesn't speak the language or understand the culture. But at the end of the movie, I want the audience to think that there isn't a more beautiful place for him to be, that he is at home in Japan and finally at peace.<br><br>There are many useless acts of bravery we do out of misguided romanticism, and this movie is full of courageous and dignified acts of bravery. So I wanted to play off these acts, since both the American and Japanese cultures have a concept of heroism, and I just wanted to see if I could play with the nature of the two different concepts.<br><br>So you didn't want to do the stereotypical Japanese thing...<br><br>Absolutely not! Take Akira Kurosawa's Ran, for example, which has this brilliant score where Takemitsu writes Western music, but with an Eastern accent. Somebody asked me a few days ago why As Good As It Gets was European – why did I write a European score for a quintessentially American story? For me, it's because Jack Nicholson was crazy in the movie, and I felt one of the great things about America is how they always think we Europeans are crazy. So by writing a European-styled score, it's my way of saying that Jack is crazy, but it's alright!<br><br>How do you feel about people who criticize your work for not fitting into the time period, like Gladiator?<br><br>The reason I take these jobs is because I'm interested in foreign cultures, and every time I get to work on a movie I'm thrown into the adventure of whatever that culture is, the time, and wherever the story's taking place. So one of the things I'm very careful about is not to be historically correct to the culture, but, on the other hand, not to insult the underlying aesthetics of that culture either. I remember watching Chariots of Fire and thinking how brilliantly the music worked, never missing that it wasn't period instruments! I grew up listening to Bach played by a symphony orchestra – it's the wrong sized orchestra with the wrong instruments, but I don't think that's the point.<br><br>With Gladiator, Pietro Scalia brought in a CD saying "this is Ancient Roman music," and I said, "Says who? You went to the Ancient Roman music store and bought an Ancient Roman music CD? Bullshit!" We're not anthropologists. Look at he costumes Ridley Scott had: they were more Napoleonic than Roman, which was perhaps fitting since Napoleon had stolen all of his good ideas from the Romans regarding how to make his generals look cool – and so did Hitler! So I got criticized for making the "Entry into Rome" cue too Leni Riefenstahl – but that was the joke! I am allowed to have a sense of humor in my music!<br><br>Earlier this summer your credit on Pirates of the Caribbean was "Score Overproduced by". What was the deal with that?<br><br>Well, I thought honesty was a virtue! But seriously, Jerry Bruckheimer quite rightly asked me not to give him "that old-fashioned Pirate music," and Gore Verbinski, who I adore and did The Ring with, said, "Well, it is a pirate movie, so we have to disguise it." In the end, I spent a day and a half writing tunes, Klaus Badelt wrote a lot of stuff, and we rolled up our sleeves, got drunk, behaved in a debauched way, and produced a score!<br><br>There was a lot of criticism regarding that score, but in the end it had to serve the film - which it did. You seem to get a lot of criticism on any project you do.<br><br>I had the misfortune of going onto the Film Score Monthly web site recently to look something up and vanity made me type in my own name. I suddenly realized that you can't ever get it right. Who do people want me to be? The guy that writes Matchstick Men? Or the guy that writes The Rock? Or the guy that writes Driving Miss Daisy? My need is ultimately to write for myself. I mock myself and I'm ironic about the way I speak about it because if I take it too seriously, it would be a pompous and boring thing to do. But at the same time I take each note I write very seriously – none of them are random.<br><br>The Internet Movie Database always lists you as being attached to multiple projects, so I was curious, what's Sharktail?<br><br>I complained to Jeffrey Katzenberg that I couldn't cross any more Red Seas, or deal with any more horses that can't speak – I wanted to do one of the fun animated movies instead. There's also a hip-hop element in Sharktail, and I haven't been there yet, so it's new territory! King Arthur is still in production, and I literally just got the first bits of footage just before you came here.<br><br>Are you working on all of these projects simultaneously?<br><br>I'm thinking about them! I'm also working with Jim Brooks on his new comedy, Spanglish.<br><br>And speaking of comedies, you recently did Matchstick Men for Ridley, which had a very Nino Rota vibe to it....<br><br>And I gave him credit! I thought, what if Nino had written the theme and I was just doing the variations? But I bet I'm going to get criticized for that because it's not like Gladiator.<br><br>So when did you last have a vacation?<br><br>Well, I went to Japan for a couple of days at the end of November for the Japanese premiere of Samurai, but look, I love what I do! In January I'll travel to Morocco because Ridley will be shooting his next movie, Kingdom of Heaven, so that's like a holiday!<br><br>My family and I are going away at Christmas, and what we used to do would be to rent a house in the mountains and go on these skiing holidays. It would be a crappy house, not as nice as the one we live in, my wife was still going to the market, and we're still washing our plates – so it wasn't a vacation, it was a lot of work! It's taken us a long time, but we just figured it out: we're not practical with vacations – we're staying at hotels! But while the Zimmer family isn't talented when it comes to vacations, we're talented when it comes to work!<br><br>I sat through Samurai the other day, and for the first time watched the whole movie from top to tail with everything finished and completed. It felt really good, better than a vacation. But luckily there were enough things wrong for me to think that I learned something from the experience, and now I can't wait for the next project to try these new ideas out.<br><br>The soundtrack to The Last Samurai is available from Elektra Records, and the film is currently in theaters. Matchstick Men is available on Varese Sarabande Records.<br><br>With thanks to Chet Mehta at Chasen & Co, Jason Cienkus at Warner Brothers, and Nina Lynch and Mark Wherry at Media Ventures for helping with this interview. And, of course, special thanks to Hans.Mulan get his release... through Disney+, 4th September.
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Lorne BalfeMax ArujAndrew ChristieGary Dworetsky
ComposerAdditional MusicAdditional MusicAdditional Music
Assassin's Creed III - The Tyranny Of King Washington (VG)
Label: UbiSoft Music (Digital Download Only)
Length: 98'27
HZimmer.com 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 (5990 votes)
  1. Assassin's Creed III Main Theme (Wall Of Sound Remix) (3:08)
  2. Ratonhnhaké Ton (2:30)
  3. The Tyrant (3:20)
  4. Frozen (2:56)
  5. Solitude (1:38)
  6. Frontier At Arms (3:19)
  7. Winter's Grasp (3:10)
  8. You Must Succeed (2:16)
  9. Seekers (1:29)
  10. Tracking The Prey (2:54)
  11. Against All Odds (2:35)
  12. He Is Our Beacon (2:01)
  13. The Betrayal (3:35)
  14. Swift And Silent (2:31)
  15. Rooftop Chase (2:28)
  16. Dark Alleys (2:07)
  17. The Key (2:15)
  18. Escape Artist (1:50)
  19. Closed City (2:19)
  20. Helpless (2:26)
  21. The Ruse (2:48)
  22. Nightmares (2:21)
  23. The Redemption (2:55)
  24. Fallen Warriors (2:35)
  25. Wolf In Sheep's Clothing (1:11)
  26. Taking Up Arms (1:39)
  27. The True Rulers (1:21)
  28. Risking Everything (2:12)
  29. Alone Against All (2:53)
  30. Unwavering Resolve (1:41)
  31. Laying Up The Trap (1:00)
  32. The Will To Endure (2:19)
  33. King Washington (3:37)
  34. Ghost Trail (2:31)
  35. Duel At Dawn (2:17)
  36. Man With The Wolf Hood (2:23)
  37. The Betrayal (Alternate Version) (3:35)
  38. The Redemption (Alternate Version) (2:54)
  39. King Washington (Alternate Version) (3:37)
  40. King Washington (Revisited Version) (1:49)
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MacArthur reply Replies: 18 || 2013-08-22 22:42:49
Anyone know why the title is against George Washington


MacArthur2013-08-22 22:47:19
Cause for one i know he wasn't a King and 2 he wasn't a tyrant


Macejko2013-08-22 23:31:26
Whereas you are the king of stupid questions.


Edmund Meinerts2013-08-23 02:59:28
I believe a facepalm is in order.


MacArthur2013-08-23 03:28:22
You have a problem with the question


MacArthur2013-08-23 05:18:49
I just sounds like a lot of propaganda


MacArthur2013-08-23 05:19:09
It*


Edmund Meinerts2013-08-24 00:10:44
I have a problem with you being a fool. The game's premise is alternate history: what if George Washington had been a tyrant rather than the founding father he really was? Obviously nobody actually thinks that this is what he was really like.


Areozz2013-08-24 04:27:34
I think this is just a case of "MacArthur has never played this game and thus has no idea what it is really about." Nothing else to do here.


MacArthur2013-08-24 07:21:24
You're right i haven't played it but you never know who might take the premise of the game literally that's my concern.


MacArthur2013-08-24 07:23:54
cause some people who would wish to destroy this country would love people to believe that.


MacArthur2013-08-24 07:24:25
Inform me what is it about the story I mean


MacArthur2013-08-24 07:27:57
Cause if it turns out that washington is a hero figure at the end it would be fantastic news for me


Edmund Meinerts2013-08-24 15:36:42
You really think a fantasy/alternate-history game would pose a threat to the US by people taking it literally? Jesus. The Red Scare ended in the 1950s, you do know that, right?


Areozz2013-08-24 16:30:09
MacArthur, I hope you know that you can type more than one paragraph before submitting your comments.

See? See how easy it is? All I had to do is press 'Enter' twice. You ought to get all your thoughts completed and organized instead of posting one sentence at a time several minutes apart.

Plus: seriously?


MacArthur2013-08-24 18:54:39
Actually the Red scare ended in the 80's with Reagan.

So in essence, yes I do know when it ended. I also asked what the game story line was about.


Macejko2013-08-24 20:05:37
Are you aware of a magic tool known as Google?


AngryGuy2013-08-24 22:34:15
Leave it Macjeko, MacArthur sounds like a 9 years old retard, flooding all around, who hasn't understood this site is not Twitter.

At some point he'll get tired of flooding here, and he'll return where he belongs : far from here.


MacArthur2013-08-24 22:58:45
I know google but I read books you can't trust everything on google. Go read a book.

Prott reply Replies: 0 || 2013-08-22 16:53:01
Great interview (with short snippets from the score and recording session) with Lorne and Hans about their involvement in Beyond: Two Souls
http: //www.youtube. com/watch?v=t2yAsaaWo9A

Can't wait to play the game, it sounds like something really interesting and inovative (both gameplay and videogame music vise)! :)

Assassino reply Replies: 0 || 2013-07-09 01:32:41
Brian Tyler will compose the score for AC4.

Hybrid Soldier reply Replies: 6 || 2013-04-09 19:49:46
Lorne is not scoring Assassin's Creed IV - Black Flag... He's too many projects going on, no time for it.


Jimmer2013-04-09 23:00:23
Do you know who is? Another Remote Control grunt or someone else?


Hybrid Soldier2013-04-09 23:20:36
Ask UbiSoft...


Assassino2013-04-10 06:25:34
That makes me sad... His work on AC3 was amazing. He is a master in his thing :(


Mike2013-04-12 03:55:02
Wonder if it'll be Jesper Kyd...


zeroman2013-04-12 05:33:27
I've also been wondering myself if Jesper Kyd is coming back to the franchise on this one. So far I still haven't any info anywhere at all who will be doing Black Flag.


Anonymous2013-05-22 09:37:16
Shame. I was looking forward to a At Worlds End take on Assassins Creed pirate theme by RCP.

Kyd will probably use a lot of ambient again instead of epicness.

zeroman reply Replies: 3 || 2013-05-17 17:06:24
On facebook the composers they had listed were Jesper Kyd and Lorne Balfe. So I guess Kyd and Balfe will be working together again.


zeroman2013-05-17 17:17:25
Correction: I mean't to say Kyd & Balfe will be working on Black Flag according to facebook.


Edmund Meinerts2013-05-17 18:34:52
That's good news! Balfe's stuff is solid enough but Jesper Kyd is a more unique voice.


Everan2013-05-17 18:48:26
My fave was Revelations, loved how they worked! Looking forward for a pirate theme :D

OKKU reply Replies: 0 || 2013-05-12 17:51:16

WONDERFULL! Greatjob.Thanks Lorne.....Dear All, You must listen this tracks :

-2-Ratonhnhaké Ton (2:30)
-10-Tracking The Prey (2:54)
-36-Man With The Wolf Hood (2:23)

zeroman reply Replies: 1 || 2013-03-23 05:33:11
I wonder who will be the composer for Assassins Creed 4 Black Flag. So far I haven't seen any info released on who the composer might be. I'm assuming Lorne might not be the composer for Assassins Creed 4 considering all the projects he's got going on this year....Then again I could be wrong.

Hybrid do you know if Lorne will be doing the score for Black Flag?


fabien2013-03-24 19:36:40
a fantastic score.
I would say also a dancing score sometimes. So funcky !
Love it!

Also reply Replies: 6 || 2013-03-22 06:18:35
I'd say Angels and Demons was another decent example of the level of awesome when they come together to collaborate. Almost all of the composers Edmund listed were working their asses off on A & D too.


Edmund Meinerts2013-03-22 11:08:13
Yeah, definitely another good example. :)

Of course, on the flipside you have On Stranger Tides which is a prime example of how NOT to do it...


Jimmer2013-03-22 12:22:06
Tell me again why we're arguing with this ".e.eiknl." guy who obviously knows nothing about music since he's calling Lorne the worst composer from RC? Clearly this guy is a douche and should not even be given the time of day. The end.


Macejko2013-03-22 12:22:28
Personally, I'm not quite fond of an idea of multiple composers making one score. A film/television/game soundtrack, in my opinion, should be a focused work of one single guy. And although I have nothing against Lorne Balfe personally (he is not my favourite, but he can make some decent work sometimes), I really, really hate the idea of him always having multiple projects to do (just for 2013 he has 11 (!!!) scores coming up or already released), and other RCP composers are barely struggling with two or three each year. Every other score coming from RCP these days is from Balfe. There is absolutely no justice in that.


Mike2013-03-22 19:16:32
I'm with Macejko, to some degree. If "additional" composer means a few cues here and there, I'd be alright with it. But with a lot of Hans Zimmer scores they end up doing way more than just "additional" work. Hans writes the themes and these other guys go to work to make cues. If they want to do that, they could at least say on album covers, "Music by Hans Zimmer & Remote Control Productions". But to say just "Music by Hans Zimmer" seems a little dishonest.


.e.eieknl. 2013-03-22 22:53:38
Yeah!!! The Worst!!! Composer of RC and of the World!!!!


Areozz2013-03-23 04:42:00
^^Whoops! Looks like a fiercely opinionated 13-year-old found internet access again. There's no point in arguing with this .e.eieknl because he/she/it is entitled to his his/her/its own opinion and this is an open site.

.e.eieknl. reply Replies: 8 || 2013-03-21 20:38:36
Wow! 4 Additional Composer.... Lorne Balfe the Worst Composer from Remote Control!


Mike2013-03-21 20:42:46
No way...Didn't On Stranger Tides have more than that?


Mike2013-03-21 20:51:57
Oops...Here I go, derailing the discussion to another work again.

Sorry. lol.


Hybrid Soldier2013-03-21 21:19:13
Thinking in number is just plain stupid, actually.


Mike2013-03-21 21:32:14
Agreed. The number of additional composers doesn't really matter as long as they don't end up writing the whole score for the principal composer. If they're new, it gives them experience for later.


Edmund Meinerts2013-03-21 22:27:04
At World's End had something like half a dozen additional composers and look how that turned out. Each composer got to shine, too: Zanelli with the new big Calypso piece, Orvarsson with Cutler Beckett's death, Jackman with Up is Down and the wedding action cue, Balfe with some of the Beckett-related stuff like Just Good Business, Gire and Sponsler with the first part of the maelstrom battle (man, it's nice to finally hear that cue SFX-free) and of course Zimmer himself coordinating the whole thing with all those amazing themes, new and old.

To me At World's End is the ultimate example of the RC collaborative system at its very best. So much talent, so much amazing music. So don't knock a score just because of the additional composers!

Boom, topic derailed AGAIN. ;)


.e.eieknl. 2013-03-22 00:17:27
THE WORST COMPOSER FROM REMOTE CONROL!


Mike2013-03-22 00:18:00
lol, Edmund


Barbarosa2222013-03-22 22:06:38
The worst? Are you deaf and blind? You just can´t see the huge amount of talent as Lorne definitely has! He is the main follower of Zimmer, he is like him in his youth... Tell me, where you can find so massive piece of emotions like in Balfe´s work? Huh? Do you know, how many movies and games he is actualy working? Many, and therefore 4 additional composers.

David reply Replies: 3 || 2013-03-21 12:43:34
Wow! Is it out? Or when it will be released?


Hybrid Soldier2013-03-21 12:49:11
It has "unofficially" leaked but will hit digital stores next month. I'm waiting for the release date... :)


Hybrid Soldier2013-03-21 19:15:11
It should be released on april the 23rd !


Mike2013-03-21 20:33:29
Is it just me, or are Lorne Balfe albums generally pretty long?

[This would be a good thing] :)

Macejko reply Replies: 0 || 2013-03-21 13:50:29
It's good to see that Insanity Wolf is getting popular :)

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Assassin's Creed III - The Tyranny Of King Washington (VG) soundtrack - Lorne Balfe 2013