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"Not to mention the huge chunks of silence at the beginning and end (and sometimes middle) of tracks"<br><br>Edmund Meinerts, Sessions without chunks of silence at the beginning and end was released on rutracker site about month agoGreat. 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>Battle of Aughrim arrangement (so everything lifted from "Silver") is Hans & Ann Marie.
<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.
<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.Mulan is being released on sept 4th. Can't wait to hear Harry's score!!!!Here's an interview about Last Samurai from https: //www.soundtrack. net/content/article/?id=112You can find an interview with Hans on his process for TLS on somewhere, back in 2003 or 2004

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Kong - Skull Island
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  1. South Pacific (0:35)
    Henry Jackman, Stephen Hilton
  2. The Beach (1:27)
    Henry Jackman, Stephen Hilton, Jack Dolman
  3. Project Monarch (2:02)
    Henry Jackman, Stephen Hilton
  4. Packard's Blues (1:14)
    Henry Jackman, Alex Belcher
  5. Assembling The Team (1:48)
    Henry Jackman, Halli Cauthery
  6. Into The Storm (2:44)
    Henry Jackman, Alex Belcher, Stephen Hilton
  7. The Island (1:16)
    Henry Jackman
  8. Kong The Destroyer (3:43)
    Henry Jackman, Stephen Hilton
  9. Monsters Exist (2:27)
    Henry Jackman, Stephen Hilton
  10. Spider Attack (1:39)
    Henry Jackman, Alex Belcher, Stephen Hilton
  11. Dominant Species (2:00)
    Henry Jackman, Halli Cauthery, Alex Belcher
  12. The Temple (5:47)
    Henry Jackman, Stephen Hilton
  13. Grey Fox (2:33)
    Henry Jackman, Halli Cauthery
  14. Kong The Protector (1:49)
    Henry Jackman, Halli Cauthery
  15. Marlow's Farewell (2:37)
    Henry Jackman, Halli Cauthery, Stephen Hilton
  16. Lost (1:27)
    Henry Jackman, Alex Belcher, Stephen Hilton
  17. The Boneyard (1:52)
    Henry Jackman, Alex Belcher, Stephen Hilton
  18. Ambushed (2:21)
    Henry Jackman, Francesco Lupica
  19. The Heart Of Kong (2:11)
    Henry Jackman, Halli Cauthery, Stephen Hilton
  20. Man Vs. Beast (2:31)
    Henry Jackman, Alex Belcher, Stephen Hilton
  21. Creature From The Deep (2:44)
    Henry Jackman, Halli Cauthery, Stephen Hilton
  22. The Battle Of Skull Island (5:46)
    Henry Jackman, Stephen Hilton
  23. King Kong (2:42)
    Henry Jackman, Halli Cauthery
  24. Monster Mash (Bonus Track) (1:27)
    Henry Jackman, Halli Cauthery
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scarecrow9 reply Replies: 22 || 2020-04-16 15:18:39
So with Godzilla vs. Kong still slated for November release who do you guys think will compose the score, loved every MonsterVerse score yet.

So I was wondering who do you guys think will compose Godzilla vs Kong?

I would like to see Junkie XL for this movie. ;-)

mpolonest123 2020-04-16 16:13:40
After KoTM I’m definitely game for Bear McCreary to return. Easily one of the best scores of 2019. Not a big fan of either Desplat’s or Jackman’s scores personally.

If it had to be someone new I would pick Holkenborg.

MrZimmerFan2020-04-16 17:28:09
I would disagree in that concept, every Monsterverse movie has a different tone and each movie/score works tremendously well.

Even McCreary's arragements for Ifukube's themes (terrific) or the most aggressive and chaotic Goldmisthian/Williams/Goldenthal-esque (with touches of Beltrami and JNH) in G14's score or the percussive-massive in Kong.

I would mind if Desplat return or McCreary, even Jackman. But for dreaming speaking... Alan Silvestri :D

mpolonest123 2020-04-16 17:46:33

Like I said, it’s more of personal taste for me. I found Desplat’s score fairly forgettable, the most memorable piece in that movie is the tracked Ligeti stuff for the HALO scene. Jackman’s score for Kong has some good moments throughout, but like most Jackman scores I find it pretty bland. It doesn’t help that I really dislike that film too (Peter Jackson made the definitive Kong imo, with one of JNH’s greatest scores).

Silvestri would be a solid choice, if only because he still has the chops to write great action material.

Edmund Meinerts2020-04-16 20:05:14
In a dream world, Don Davis.

In a realistic one, I say let McCreary continue for now. His KotM was one of last year's best scores and I'd love to hear him make the Ifukube Godzilla theme duke it out with Max Steiner's one for King Kong. Which reminds me, we don't actually need a Silvestri score for that movie because we've basically heard it already - both those themes pop up in Ready Player One :p

mpolonest123 2020-04-16 23:43:00
@Edmund Meinerts

LOL, I honestly forgot about that score but yes, RPO already covered both themes for Silvestri.

And Don Davis would be an excellent choice. His action material for The Matrix/JP3 is some of the best in the industry. It’s a real crime he isn’t still working as much (same for David Arnold).

Macejko2020-04-17 10:10:57
I wholeheartedly agree. McCreary’s score was spectacular and I’d love him to return.

Miralsice2020-04-17 14:09:24
I was disappointed in lack of thematic connection between movies and there is small chances that they will return at least Jackman's Monarch and Kong motifs, reuse of Desplat material even less.

Miralsice2020-04-17 14:11:28
@Edmund Meinerts Really good choice, Davis is a great variant for monster moive. In addition it would be joy for me if Christopher Young get involved in this crossover, his style (not only horror, but also an action) is perfectly fit for clash between giant monsters.

MrZimmerFan2020-04-17 18:58:48
Nobody apparently knows in the Godzilla's franchise, not always use Ifukube's theme.

Kow Otani creates a terrific theme for the character and works awesome (also one of the best Godzilla movies, GMK) even Michiru Oshima (who semingly inspire Desplat for his theme) create a furious and well crafted theme. Also the dark and atmospheric theme by Reijiro Koroku in 1984's Gojira, good stuff.

Even King Kong, John Barry and John Scott make very good themes for his respective movies, even this one are no very good, JNH with his masterfully score and also Jackman with his more tragic theme for the character.

Every director gave his directions of the composers, also this is not like Marvel or DC, there is more important connections because the characters are constantly in there, in the Monsterverse is different, and different approachs in the three movies (also, Toho have the rights for the music, and in older Godzilla movies use stock music, specialy the Godzilla's March, not even recomponse since the Heisei Era, until with RPO and KOTM), and works really good in the movies: the atmospheric, chaotic action by Desplat in G14, the agressive action packed wonder by Jackman on Kong (also the nice nods to Alan Silvestri action music in tracks like Ambushed or Man vs. Beast) or the most epic greatness by McCreary in KOTM, even McCreary said he creates his own Godzilla's theme for the movie, but after trying in the 'rebirth' sequence, wich also tried with the Desplat's theme, he concludes the use of the original theme by Ifukube.

MrZimmerFan2020-04-17 19:00:07
Also, i forget, the Masaru Satoh scores, he dosen't use the original Ifukube's theme, he create different themes for every movie he compose in the Showa era.

Miralsice2020-04-17 23:43:02
@MrZimmerFan I also noticed it, while explore Godzilla's musical world.

The way I see it - every new design is a new Godzilla and that's why he get a new musical theme. Particularly in the case of Legendary Godzilla. His origin is completely different from every other versions and that's why he must have a new theme and Ifukube didn't fit with him (for me, of course) in terms of internal logic of the movie. I mean this universe don't even connected with Godzilla 1954. But if we look at this as epic monster movie with big effort to envoke nostalgia feelings it works really good.

Miralsice2020-04-17 23:44:57
By the way @MrZimmerFan, do you have a link where McCreary talking about work with Desplat theme? I read many of interviews, but there was almost nothing about Desplat's work.

MrZimmerFan2020-04-18 01:04:13
In his blog of-the-monsters/

MrZimmerFan2020-04-18 11:20:34
'The way I see it - every new design is a new Godzilla and that's why he get a new musical theme. Particularly in the case of Legendary Godzilla. His origin is completely different from every other versions and that's why he must have a new theme and Ifukube didn't fit with him (for me, of course) in terms of internal logic of the movie. I mean this universe don't even connected with Godzilla 1954. But if we look at this as epic monster movie with big effort to envoke nostalgia feelings it works really good.'

Eh, no.

Masaru Satoh compose new themes in every movie he worked in the Showa era, because the changing tone of the movies and aspects, specially Son of Godzilla or Godzilla vs. the Smog Monsters, in that movies, you heard two different themes for the main character.

The Return of Godzilla is a sequel to the 1954 movie, and use a new theme for the character. Is not for the designs, if that so, Ifukube have create 4 new themes in the 4 movies he worked in the Heisei era, because is a different Godzilla. The problem is Toho, he has the rights of the music (even they create a entire score for Godzilla vs. Gigan only with stock music from other Ifukube scores). Desplat could use the original theme if Toho approved to used it (not until 2018 in RPO, wich also is a Warner Bros movie), but he accomplishs the original work of Ifukube in the 1954 original movie, also nods to his writting in the Toho movies.

Let's put this example, Godzilla 2000, have a new theme for the character in the Japanese cut, by Takayuki Hattori, but in the American cut, J. Peter Robinson, was allowed to use stock music from Toho, but no new arragements, because he felt the score by Hattori was pretty bland (also one of my least favorites scores in the franchise), was is not that bad when you compare to something like Godzilla: Final Wars, man, really bad score.

Miralsice2020-04-18 13:52:42
Yes, Showa (part of it) is my wrong. But does Godzilla completely change his design in Heisei after 1984? No, if memory serves. So there is no need in change of theme.

And if I remember correctly Godzilla 2000 include Ifukube theme in one scene (when Godzilla walking through the city) in Japanese cut as well. But this movie (as almost all from Millenium era, not to mention Heisei) have a connection with 1954 movie and it explains use of Ifukube's theme. In terms of internal logic of the movie universe of course. But it's just my thoughts anyway :)

And by the way, Riichiro Manabe is composer of Godzilla vs Hedorah (also Godzilla vs Megalon) not Masaru Sato

Miralsice2020-04-18 13:59:30
And about part of Showa, I forgot to mention, that Sato's Godzilla theme from "Son of Godzilla" (if I remember correctly) he composer is same from "Godzilla Raids Again" with increased tempo and additional instruments adding. My ears could be wrong, so I need to recheck.

Miralsice2020-04-18 14:04:05
"In his blog of-the-monsters/"

Maybe it's a harsh words from me, but it sounds like they just don't want to work with other material when they finally got Ifukube music. Anyway, knowing how much McCreary and Dougherty loves Ifukube's music, I can understand their choice :)

MrZimmerFan2020-04-19 12:30:20
'And if I remember correctly Godzilla 2000 include Ifukube theme in one scene (when Godzilla walking through the city) in Japanese cut as well. But this movie (as almost all from Millenium era, not to mention Heisei) have a connection with 1954 movie and it explains use of Ifukube's theme. In terms of internal logic of the movie universe of course. But it's just my thoughts anyway :)

And by the way, Riichiro Manabe is composer of Godzilla vs Hedorah (also Godzilla vs Megalon) not Masaru Sato'

Oh, yes, i forgot it was Riichiro Manabe.

But Godzilla vs. Biollante was Koichi Sugiyama and they use the original (not recompose, it was stock music) Ifukube's theme, is curious, because Godzilla vs. King Ghidorah was actually compose by Akira Ifukube and not, Godzilla 2000, use the theme in the American cut, the Japanese cut (which i have, german blu-ray) dosen't use the theme, uses the theme compose by Hattori.

And for McCreary, this quote:

''I sketched Godzilla’s rise from the sea with a variety of themes, including my own original theme, and even Desplat’s theme. However, every version paled in comparison to the classic Ifukube Godzilla Theme blaring as he ascended from the depths. When I first played that scene for the creative team, featuring Ifukube’s theme, I saw a tear roll down Michael Dougherty’s face''

Miralsice2020-04-22 12:08:14
@MrZimmerFan I checked my japanese version of the movie and american version, it revealed that my version of japanese cut contains Ifukube theme in scene where Godzilla walk through the city I talked about few day ago. This is not a lie, my version contains only Takayuki Hattori music without any of J. Peter Robinson tracks, and tempo of Ifukube theme is sounds slowed down.

But that's not all, I also rechecked my Godzilla: Millenium album with Hattori music and found out that it also contains Ifukube theme. So looks like you have a different japanese cut of the movie where Iufukube theme was removed, or I don't know how else to explain this.

Miralsice2020-04-22 12:11:42
'And for McCreary, this quote'

Yes, I meant it when I said that my words is too harsh and that McCreary and Dougherty is a big fans of Ifukube music :)

Miralsice2020-04-22 12:13:11
Oh, and by the way, Son of Godzilla really contains an advanced Sato's theme from Godzilla Raids Again with additional instruments and increased tempo.

MrZimmerFan2020-04-22 13:54:18
'I checked my japanese version of the movie and american version, it revealed that my version of japanese cut contains Ifukube theme in scene where Godzilla walk through the city I talked about few day ago. This is not a lie, my version contains only Takayuki Hattori music without any of J. Peter Robinson tracks, and tempo of Ifukube theme is sounds slowed down.'

The American version includes the J. Peter Robinson tracks, and yes, my mistake, the japanese cut includes stock music from the original Akira Ifukube's theme (the Heisei arragement from Godzilla vs. Mothra), but that my point: none of this music is new arragements of the theme, is just like in Godzilla vs. Biollante or Godzilla vs. Gigan.

Just for clarified, Hattori dosen't use the theme, is Toho putting that theme in the movie, like the end credits of GMK

Hybrid Soldier reply Replies: 1 || 2017-06-06 23:30:55
Composer credits for those interested !

Edmund Meinerts2017-06-06 23:41:07
Thanks as always :)

Jordan reply Replies: 0 || 2017-03-21 21:00:43
I received today the CD edition, ordered via WaterTower Music shop, and very surprised that it's not a CD-R ! It's a real pressed disc.

Adrian reply Replies: 0 || 2017-03-12 00:36:37
Amazing soundtrack, amazing movie

Edmund Meinerts reply Replies: 1 || 2017-03-04 01:04:55
...and I just realized I used the word "impressed" or some variation thereupon four times in that post. *facepalm*

Edmund Meinerts2017-03-04 01:05:32
And this was supposed to be a reply to the other thread!

...I think I need to go to bed. :p

mpolonest123 reply Replies: 4 || 2017-03-03 17:32:08
:-/ Hmmmmm.... This is really an underwhelming score. It's not bad by any means, but most of the action/suspense music is incredibly generic. And the horn of doom... really?!?

I will say, I do like the use of electric guitars in the first half ("The Island" is pretty badass) and there is some decent orchestral writing in the second. There just seems to be something missing that would make this feel more inspired.

MrZimmerFan2017-03-03 18:56:17
I'm not the biggest fan of Jackman, but I think is a enyoable score (honestly, I prefer Uncharted or Pixels, but I have fun with this). I like the guitars with orchestra (The Battle of Skull Island have this epic/heroic theme for Kong or the textures for Monsters Exists)

Not the worst.

mpolonest123 2017-03-03 20:58:59
Like I said, it's not a bad score at all. I won't even compare it to JNH because the film is obviously a different beast entirely. The problem is the lack of a distinct voice mixed with some bland, modern action material that borrows heavily from Silvestri and Brian Tyler.

Jackman has always had trouble finding his sound. His scores are always enjoyable but they seem to have trouble being distinct enough. That's one reason I love TWS. The electronic style mixed with the traditional action scoring allow it to be fresh and original, no matter how harsh it gets. If you didn't tell me Jackman scored Skull Island I honestly wouldn't be able to tell you who did.

Macejko2017-03-03 22:39:14
Yes, Jackman underdelivers yet again. I swear, the best thing that came out of his career was Matt Margeson.

Edmund Meinerts2017-03-04 01:04:18
Heh. That's harsh, but I have to admit that Margeson's recent work has impressed me more than Jackman's. The latter had some excellent scores early in his career, but since Wreck-it Ralph he hasn't really impressed me...was not at all impressed with his Captain America scores and even his latest animated/comedy scores like Big Hero 6 and Pixels were missing something. Although I did think Birth of a Nation last year was an impressive new direction for him.

Mortifer V. reply Replies: 0 || 2017-03-03 20:35:56

JBSO99 reply Replies: 0 || 2017-02-27 15:59:50
In the official youtube chanel of WaterTower Music you can listen to the track "The Island" and it sounds amazing. I hope the score will be a s epic as this track!

Dimitris Krommidas reply Replies: 2 || 2017-02-26 20:56:40
It will be a great epic score, Jackman is great, but shame that it doesn't get a cd release.

Jordan2017-02-27 09:33:05
CD available on the WaterTower website. I ordered one.

Dimitris Krommidas2017-02-27 15:08:29

Iamtommie reply Replies: 0 || 2017-02-26 19:50:27
Cool, can't wait!!!!© 2001-2018 OST 
Kong - Skull Island soundtrack - Henry Jackman 2017