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And top gun:maverick....big 4Yeah seriously, he hasnít done much in a year plus. Heís definitely taken some time off for touring and other things, which may be a great thing for his inspiration... who knows, but Iím guessing the time off has let his brain take a break and maybe he has a ton of new ideas for the big 3 (WW:84, Dark Phoenix, Lion King) coming up in the next year and a half. <br><br>Or maybe Iím just hopeful/wishful thinking lol.Plus, Blue Planet II came out last year. That score is as far from Widows as possible.I'm not sure, but I think this site is not the right place to ask for copyright, since it is "almost official". But, here you can find the label of every officially released album you want, so you can ask the company labeled.That collaboration was barely a year ago. This is literally Zimmer's first significant score since then. You can't deduce a pattern from two data points.
IMDb says that Lorne is one of the 3 composers of Battlefield V. I am confused.... :DWell, if you check what Hans Zimmer did recently there wasn't much material for him to write a good theme too. A lot of it was types of movies that were synth type music. I think The Dark Phoenix and Wonder Woman (apart from his amazing theme for her already) will have some good typical Hans Zimmer feel to it which I am excited for.For the first time of my life but with sound experience, I assist on that one too.  A very good job from all that team.<br>I only was surprised to not see Hans Zimmer itself and quickly understood that it was "the world of..." and not HZ live ! No regret for my first even if I'm a bit frustrated and regret my mistake ;o)<br>Do you have a tip for me to do it again and avoid that mistake again? When you purchase a ticket, it's hard, you have sometimes to go deeper to see that, finally, he's not gonna be there!<br>Have a great day U all.<br>I wishCool Hybrid! Been at the concert in Oberhausen last Saturday. A lot better then expected to be honest. Pedro's Oogway's Ascend was very good, Pedro outdid himself there (at the 2nd Zimmer concerts I thought he wasnt that great compared to Richard).<br><br>
Yeah! The hell are the other comments about though? The Last Stand is miles ahead of X2. You weren't even saying TLS was the best X-men score, you were just saying it's Powell's best score. Man people are dumbHi, I want to add some seconds of 8 track for the background of my small documentary about races, my first one, is it possibile to ask for copyright? Should I write to some email addresses?<br>I'm kind of the same way, even on a personal level. The synth and power anthems, even from the Media Ventures era, is just kind of getting old to me. The incessant momentum, the lack of thematic progression, it all wears on you eventually.I think you really nailed how I feel about this score. I donít personally mind the tense electronic elements (this is music that I can enjoy on its own level) but I do feel let down by the lack of a theme or any solid motif to anchor the music. Especially in the emotional cues.<br><br>The one thing that I keep coming back to is how this sounds so much like something Johann Johansson would have written. I actually really like his music style, but it is pretty jarring to see Zimmer do minimalism on this level. No objections here, but I canít wait to get some exciting Zimmer music again.Not for nothing but it's kinda odd how Zimmer has been declining ever since, IMO, his collaboration with Wallfisch on Blade Runner 2049.... <br><br>Honestly, I've been straying towards John Carpenter's Halloween 2018 and horror synth ever since....is Zimmer retiring or something? Because I'm finding myself not into him so much, anymore.
I honestly wasn't expecting much from this film on a musical level, but some tracks that are available are OK to listen to. McQueen has never been a proponent of larger-scale thematic music in his scores, he seems to be a mood-inspired person, and Zimmer can do that very, very well. <br><br>Coming back to the music, Zimmer seems to have embraced his textural roots. 2018 has been all about texture really in the action films, i.e. Black Panther's percussion layers, Mission Impossible: Fallout, Widows. Thematically, there seems to be a solemn progression for Marcus that reappears in "My Son", that relies on familiar elements (i.e. drone strings layered on top of each other, lower bass accompaniment), and some of the action textures in "We Have A Job To Do" and "Perimeter Check" is a nice callback to the Media Ventures style of things. <br><br>I'm admittedly disappointed with the fact that there is nothing beyond residually, well-anchored momentum and tension to the score,and the album length is shocking. But it is what it is. I love the underlying, throbbing synth bass ripples, I've always had a soft spot for them. <br><br>Honestly, it's a one time listen for me. I'm more excited about his dual superhero bonanza return next year- Wonder Woman 1984 and X-Men Dark Phoenix. I'm definitely not expecting him to use John Ottman's brilliant theme for the latter, although I will definitely be impressed if by slight chance, he does. The "Money" is quite soothing in a melancholy way. "The Calm Before The Storm" uses some worthwhile sombre piano treading that I'm always a stickler for.Come to Bratislava, Slovakia too.I wonder with all of the Easter eggs if Jackman will incorporate some character themes like possibly the Imperial March for Storm Troopers Or Disney themed for the Disney characters@Anonymous on the Blu-ray it should have surround sound. Just that it's out on iTunes in Australia already - which is how I got it - and iTunes bonus features are obviously only in stereo.<br><br>@Ahmad - the benefit here is really all the film version edits of the cues we already have on the album. And some of them are quite different from the album ones....<br><br>The tracklist I came up with for now for the iso score. Total runtime is 2:08:16.<br><br>A Storm Is Coming (Logos) / Julia / Good Evening, Mr. Hunt	4:51			<br>Self-Destruct	0:23			<br>Plutonium Trade / A Terrible Choice	6:14			<br>The Manifesto	1:46			<br>Fallout (Main Titles) / Your Mission (Part 1)	2:07			<br>Your Mission (Part 2)	2:21			<br>Free Fall (Part 1)	1:57			<br>Free Fall (Part 2)	2:14			<br>Grand Palais / Consequences Of Love	2:01			<br>Bathroom	6:12			<br>No Pain, No Gain (Outro) / As Ugly As They Come 	2:09			<br>I'll See You In My Dreams / Widow Bar	2:33			<br>The White Widow / Should You Choose To Accept...	5:38			<br>Busy Day Tomorrow	0:41			<br>Framing Ethan / The Exchange	6:37			<br>Escape Through Paris	6:11			<br>Steps Ahead	1:11			<br>Je Suis Dťsolť	1:04			<br>Unfinished Business	0:34			<br>Did You Ever Choose Not To?	1:51			<br>You're Mine Now	0:30			<br>We Are Never Free	4:52			<br>Widow In London	1:45				<br>Trapped	3:14				<br>The Mission Is Terminated	2:02			<br>No Hard Feelings / The Exhortation	6:46			<br>Stairs & Rooftops	6:25			<br>Kashmir	7:10				<br>Julia (Reprise) / Fate Whispers To The Warrior	5:06			<br>And The Warrior Whispers Back	8:20			<br>I Am The Storm (Part 1)	4:12			<br>I Am The Storm (Part 2)	1:21			<br>Scalpel & Hammer	3:47			<br>Cutting On One	1:25			<br>The Last Resort 1:48			<br>There's No Reason To Be Sorry / Mission: Accomplished (Curtain Call)	4:51	<br>End Credits	6:28I wonder what the quality on the disc will be like but definitely not expecting lossless. Three commentaries and the isolated score and language tracks. That's a lot and the movie is not short lol. <br><br>In general, I don't think we're missing much to begin with (but it's really cool and should be done more often). There's a cool bit where the "Syndicate" theme was used I think in the film version of "Escape Through Paris" and the album version doesn't have that bit.
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Tom Holkenborg (Junkie XL)Aljoscha ChristenhuŖ
ComposerAdditional Music
Tomb Raider
Label: Sony Masterworks
Length: 72'06
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 (1000 votes)
  1. Return to Croft Manor (8:13)
  2. Seeking Endurance (1:09)
  3. The Bag (1:49)
  4. Path Of Paternal Secrets (3:39)
  5. The Devil's Sea (4:11)
  6. Let Yamatai Have Her (13:23)
  7. Figure In The Night (4:15)
  8. Remember This (3:26)
  9. 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)
Create Topic

Miralsice reply Replies: 4 || 2018-06-20 19:00:57
According to Film Music Reporter Junkie will score Mortal Engines.

http: //filmmusicreporter.com/2018/06/18/junkie-xl-scoring-mortal- engines-movie-adaptation/


Mephariel2018-06-20 20:11:56
Best chance Junkie XL will ever have to score a masterpiece. Hope he do one this right.


Ds2018-06-20 22:07:40
Do you say "masterpiece" based on Peter Jackson's name, or based on the trailer? Because I'm really afraid for this movie, I love Jackson's films, but it just looks too dumb :-p


Edmund Meinerts2018-06-20 23:45:56
He already did score a masterpiece in Mad Max Fury Road, although his music for that was no masterpiece. ;)


...2018-06-21 09:05:33
Conrad Pope orchestrated and conducted this in New Zealand so i hope this isnít Junkieís regular sound design, percussion and synth score.

Michael Fields reply Replies: 0 || 2018-04-20 09:23:36
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

George reply Replies: 1 || 2018-03-28 19:32:21
"MGM as a studio was very clear as like 'we want this to be a modern score, we want this not to feel classical, we don't want it to feel thematic, we don't want it be overly orchestral...'"
-Junkie XL on his latest "ask me anything" video on youtube.

So there's your answer. MGM literally did not want a good memorable score. I like how relatively open and honest he is about it. Almost like he knows some of us might not like how this score sounds haha.


Ian2018-03-28 21:25:17
In short: "We want a shit score."

Ds reply Replies: 1 || 2018-03-22 20:03:55
I think one of the things that plague this score (and many others) is that nowadays everyone feels the need to not only have a opinion, but share it as quick as possible on social media or message boards. But music isn't always likable at first listen. Usually (and I speak for myself here, but I'm pretty sure any people feel the same) the quicker I love a song, the quicker I'll get bored by it and forget it. On the other hand, scores or songs that took me a few listens to fully appreciate tend to have a much better longevity in my playlists.

At first I wasn't impressed by this new JXL effort and, if I had listened to it only once or twice, I would have quickly labelled it as "typical JXL drummy stuff but not as cool as Mad Max". But after seeing the movie and giving the album a few more spins, I'm now ranking this among his best scores. It's packed with crazy ideas popping up everywhere, neat sound effects, an epic main theme and a few very touching light moments.

I'll admit it's a tough listening experience, mainly because of the very long tracks which sometimes tend to 'hide' the great stuff. But it's so damn worth it. In the context of the film it's simply awesome and in perfect sync with the pictures, it enhances the emotion, the action and the epicness in a way not many scores do. Junkie XL definitely improved over the past few years. Of course this score bears his mark and his sound, it's certainly not a classical score, but it's incredibly rich and detailed. It's just not obvious, and requires a bit of patience and perseverance. I'm happy I didn't judge it immediately, and I can only invite you to spend a little more time with it before dismissing it (and its composer) publicly.

Just my 2 cents :-)


MrZimmerFan2018-03-22 20:09:02
The score enchances the more emotional and physcical side of the character, and i love that.

I believe this movie don't benefit a more classical adventure score, reminds (outiside, the movie is an adaptation for the 2013 reboot) the vision of Jason Graves for that game, saving distances.

And yeah, there is a ideas everywhere the score.

Ahmad reply Replies: 10 || 2018-03-21 19:31:16
Go to JXL's Youtube channel and watch his latest video. He talks about the process of scoring the film. If you have a problem with the score, direct your criticism and complains at the director/producers/studio because JXL delivered the score they wanted. They wanted to stay away from themes and wanted an a very alternative score. If Tom didn't deliver that, they would've found someone else who would've done the job and you'll still complain that it doesn't sound how you wanted lol.

I've heard a couple of tracks which I liked a lot.



Edmund Meinerts2018-03-21 20:03:13
The fact that the directors insisted on a shitty score doesn't absolve the score from being shitty.


rockhound2018-03-21 20:34:41
and that means, tom did the perfect job. they wanted a shitty score and tom delivered. i am sure they would have fired desplat, williams or whoever, just because they would have failed. the task was to compose a shitty score and tom did that. their problem, if nobody buys the soundtrack album or avoid to see the film, just because of a bad filmscore. for us it is great, because we save money.


Ahmad2018-03-21 20:56:59
You guys are hilarious.


META2018-03-22 00:10:48
LOL so they wanted a score with no themes...Just random stuff against action music....Makes sense.


Everan2018-03-22 04:30:20
It's 2018, everything is shitty


MrZimmerFan2018-03-22 09:43:10
Yeah, everything is shitty like Red Sparrow ;)


Edmund Meinerts2018-03-22 09:49:25
Red Sparrow is pretty shitty except for two cues (okay, admittedly two very long cues :p )

Black Panther wasn't shitty though, nor was Cloverfield Paradox!


MrZimmerFan2018-03-22 09:58:40
Red Sparrow is one of the best by JNH, no kidding now


JBSO992018-03-22 17:11:44
I don't think it's one of JNH's bests, but it's really one of the best scores of this year, until now.

I think it will probably be surpassed by his other scores coming this year, especially Fantastic Beasts 2


MrZimmerFan2018-03-22 18:03:51
I think have a lot of depth in there, the orchestrations, the tension (reminds a lot of Herrmann) and his main theme.

And yes, is one of the best of this year, for the moment.

mpolonest123 reply Replies: 30 || 2018-03-08 18:46:29
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.


Rigby2018-03-15 15:27:42
As much as I hate Deadpool, even I have to admit that there was something distinctive and memorable about that score. Tomb Raider is so generic and bland, even the main theme is forgettable.


Meta2018-03-16 13:21:42
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.


mpolonest123 2018-03-16 13:54:17
Itís funny you say that, in The Dark Tower there is an amazing string section at the opening of ďDeath Always WinsĒ (which was cut out of the film of course) that lasts maybe 10 seconds and is probably the highlight of the score for me.

As for Tomb Raider, Iíve tried revisiting it in the past few days to see if I would like it better.
No.
Almost everything about this score is functional at best, undeveloped at worst. Itís almost as if long sections go by with only sound design, just to have a burst of drums or orchestra, then back to sound design. And yes, I know Mad Max was the same case, but itís frustrating to hear a lesser version of that sound years later from the same composer.


Edmund Meinerts2018-03-16 16:02:07
I wasn't a huge fan of Mad Max in the first place, but I'm increasingly convinced that it was the peak of Mr. XL's powers as a film composer.


mpolonest123 2018-03-16 16:40:21
@Edmund
I think one of the key problems is that he seems to pick the shittiest films to work on. Point Break, Dark Tower, Tomb Raider, etc.
But then we get Black Mass, Brimstone, and Mad Max, all excellent scores/films. And I know the quality of the film doesnít need impact the quality of the score but JXL obviously is pigeonholed as an action/electronics composer. I would love to hear him expand his range and work on scores outside of the action genre. Much like how Hans does a number of different scores.

Imagine a Junkie XL comedy or romantic drama!


MrZimmerFan2018-03-16 17:48:26
I don't Mad Max as score was great, i enjoyed few tracks, but not much neither. Also that too for Deadpool, the main theme is kinda good, the rest is forgettable.


MrZimmerFan2018-03-16 17:53:56
Also, i saw Tomb Raider... it was OK


meta2018-03-17 07:02:43
@mpolonest123

I agree...And, after the promise with Man of Steel and Mad Max (Technically it's OK and serviceable, but I hold this one personally dear, so I give it a pass) I have to say that after Bat v Sup Junkie has gone by the wayside...I dunno if it has anything to do with his influence with Zimmer or what, but...Apart from Point Break and Max, I don't really care for his other stuff...at all.


This guy seems to be waning worse than most all the RCP composers...Hell, I'm even finding Rupert Gregson Williams to be surpassing him, these days....and I don't give a crap about Rupert's work at all, save Tarzan when he woke me.


Ds2018-03-17 11:14:37
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.


MrZimmerFan2018-03-17 11:25:44
@Meta: Really Point Break was interesting?, it's only 10 minutes of music released, and i din't care about it, honestly, and the movie was really, really bad.

As for Tomb Raider, the music was serviciable in the movie, but i more comfortable with it than Point Break.


mpolonest123 2018-03-17 13:21:27
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 Iíve 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 Iíve 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 Iíve heard in recent memory). Itís 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?


mpolonest123 2018-03-17 13:22:53
I genuinely wish we could hear Justice League, I would have loved to see what he brought to that under Zack Snyder, a director who actually understands music.


MrZimmerFan2018-03-17 13:59:08
For the themes mostly, this Batman and this Superman fit with the themes written by Zimmer. But the score by Elfman is miles better than MoS and BvS (for those two, BvS is much interesting and better than MoS, which is only good)



mpolonest123 2018-03-17 14:28:27
@mrzimmerfan
I disagree with you there. I love Man of Steel, I think the themes and the overall bombastic nature of the score work perfectly. As for BVS, Iím not a huge fan honestly. There are some amazing highlights, but the tone of the score is so downbeat. It lacks the soaring elements of ďFlightĒ or ďWhat Are You Gonna Do...Ē and the action highlights of ďTerraformingĒ or ďEscape From ShipĒ.

To each their own though :-)


Edmund Meinerts2018-03-17 14:48:21
"Zack Snyder, a director who actually understands music"

A matter of opinion, and not an opinion I share.


mpolonest123 2018-03-17 15:03:38
@Edmund
Heís definitely not my favorite director, but I do think he knows how to place emphasis on music as opposed to Joss Whedon or any of the other studio director who treats it like a byproduct. One of my biggest pet peeves is when directors/composers just use music as a sonic wallpaper, instead of letting it improve and add to the scene. John Ottman is a great example. He can write great themes, but he tends to write underscore which adds nothing to the film. Thatís why Zimmer, Williams, James Newton Howard, etc. are so good. They treat each moment with care.


Meta2018-03-17 15:25:39
@MrZimmerFan

Point Break is a lousy movie, but the score and guitar main theme isn't all that bad. Those 10 minutes on the soundtrack don't do it enough justice at all.

But again - this is Junkie doing action scoring....Miles better than any of his slow stuff. For me, anyway.


MrZimmerFan2018-03-17 15:35:11
@mpolonest: But that moments are simply moments, not the entire score, i prefer BvS, because there is a variety in it: Batman, Wonder Woman, Luthor, and is more complex than MoS (also i prefer the movie over MoS).

And yes, the theme for Superman is cool, but that dosen't make the entire score cool too.


mpolonest123 2018-03-17 15:44:43
@mrzimmerfan
Oh no, I mean I love the score as a whole. I was just saying my personal highlights. Man of Steel emotionally resonated with me. But thatís cool that you like BVS, I personally just think Man of Steel is more engaging.


Edmund Meinerts2018-03-17 18:09:01
"I do think he knows how to place emphasis on music as opposed to Joss Whedon or any of the other studio director who treats it like a byproduct."

I agree with you, except that Snyder and I have very different ideas about what makes good (film) music, and how to emphasize it. Ridley Scott is a somewhat similar case. Somehow he has gotten a ton of great music written for his movies over the years despite the fact that his musical instincts are really strange and misguided sometimes. At least Snyder doesn't butcher the scores he gets.

You're right that a director like Whedon doesn't seem to pay that much attention to how music can enhance his movie. But as someone who cares about film music 95% of the time as albums, not in film, I often find that a director who gets out of the way and just trusts the composer to do his/her thing is preferable to one who gets overly involved with the scoring process and has lots of ideas about how things should sound. That the subsequent scores end up buried or ineffective in their films is a shame, but the music at least tends to be good on its own terms.


Mephariel2018-03-17 18:53:35
I don't think Junkie XL picks the shittest films to work on. It's just that art film directors won't choose him to score their films. Even in RCP, a lot of his colleagues are more well respected than he is. I would argue Benjamin Wallfisch is already more well regarded. Mad Max is an exception because of its unique setting and story line.


Olive2018-03-18 17:04:34
Wallfisch has shown himself to be a superior composer to XL, let's face it. I do not even see why he's running after Zimmer since he's able to run a career himself.

@TheZimmerFan

<But the score by Elfman is miles better than MoS and BvS (for those two, BvS is much interesting and better than MoS, which is only good)>


The music is less simplistic and may please the purists, but, no, MoS and BvS are better by a small margin than JL by one factor: thematic material and characterization of the movie. Elfman should have had more freedom to work on the themes he and Williams wrote.


MrZimmerFan2018-03-18 17:46:31
@Olive: Is better because there is variety and orchestration, and i'm not a purist (i liked BvS, there is more complexity in it than in MoS), but Danny Elfman has more integrity in that score than in that two scores.


Hybrid Soldier2018-03-18 17:50:20
Elfman's score is like Whedon, horrendous & out of place.


mpolonest123 2018-03-18 17:54:34
@Edmund
Iím in the same boat. When I watch a movie I normally donít pay attention to the music unless itís really distinctive. As a stand alone listening experience I usually want to get music that fits a mood and can hold my interest throughout. Take Silvestriís Avengers score for example. The big statements of the main theme and some of the action cues are excellent. Unfortunately itís surrounded by generic underscore that slows the album down imo. But then you have TASM2, which constantly has something going on no matter what. I feel like thatís something which does relate to the directors, not so much the talent level of the composers.

@olive
Ben Wallfisch is LEAGUES ahead of JXL as a composer, partly because heís had years of experience in film composing. Hopefully his recent successes give him more high profile projects.

As for Justice League, I actually love that score, but I think the main issue is Elfman completely ignoring what came before and trying to force in the classic themes. Had he done his own spin on Zimmerís material there would a better connection to the previous ones.


Hybrid Soldier2018-03-18 17:58:58
Leagues above, and yet I doubt Ben will ever be able to write something like "Brothers In Arms" from Mad Max.

Comparing people is kinda useless...

The only who's right is Hans in the end, he knows when to use one and when to use the other... ;)


Edmund Meinerts2018-03-18 18:23:46
"Elfman's score is like Whedon, horrendous & out of place."

Out of place, yes. Horrendous, no.


Mephariel2018-03-18 18:53:39
@Olive

Wallfisch's career unquestionably benefited from his involvement with Zimmer. He wouldn't have gotten a chance to work on blockbuster films like Dunkirk, Blade Runner 2049 without Zimmer's influence. Wallfisch is a very talented composer, but let's be honest here, his music doesn't immediately strikes anyone as a big action guy. Having Zimmer's name pushing you helps.


Olive2018-03-19 00:48:12
@MrZimmerFan

<Is better because there is variety and orchestration>

It is not because a score is orchestrated that it is automatically superior to one half orchestrated and half electronic. My problem with JL is that it's a small score for a composer with as many facets as Elfman. The music is uninspired and (taking one or another track) ends as it begins, nothing catches yours ears beyond of the romantic moments and of the new interpretations of the themes for the heroes.

@mpolonest

<I actually love that score, but I think the main issue is Elfman completely ignoring what came before and trying to force the classic themes.>

Elfman had two paths: Ignore everything and do things his way or respect what Zimmer did and maintain the sound of previous films. What did he do? He made an uninspiring hybrid of both.

@HybridSoldier

<Leagues above, and yet I doubt Ben will be able to write something like "Brothers In Arms" from Mad Max.>

Everyone in RCP knows how to do a power anthem these days.

@Mephariel

<I would not have gotten a chance to work on blockbuster films like Dunkirk, Blade Runner 2049 without Zimmer's influence.>

Obviously not. It could be in smaller jobs and present some potential for years to come.


Ds2018-03-19 17:18:53
Olive, if you think Brothers In Arms is nothing more than a RCP power anthem, then you're obviously missing something... To me it's one of the most brilliant action tracks of the last few years.

Junk reply Replies: 1 || 2018-03-18 00:45:15
It is somewhat bizarre that you all are thinking directors actually want to work with Junkie. Surely, the only reason anyone hires him is that they want Zimmer who is not available. Yes, some may have heard Mad Max but it would be silly to think anyone actively wants a Junk score.

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Olive2018-03-18 16:50:10
It's a half-truth to everyone who makes up the RCP team, unfortunately.

But I honestly doubt that ANYONE wants to work with XL.

Snyder worked with him 3 times. 300, BvS and Man of Steel. Sometimes I even get the impression that he's always liked Tom's approach more than Zimmer's approach. See all the percussion and synths of all those scores that are far more present in the Xl field than Zimmer's.

Olive reply Replies: 1 || 2018-03-10 18:43:12
So much synthetic noise. I'm disappointed. Lara Croft is a lot rich material for having so uninspired music.


meta2018-03-17 15:28:00
and some nice boob representation, too.

Scorefan reply Replies: 2 || 2018-03-04 01:25:42
@Hybrid, Antonio Di Lorio wrote additional music? Thanks


Iamtommie2018-03-08 18:18:35
I've listened to the score and in a few of the tracks are jungle sounds. I think it's awesome because it makes it kind of creepy


MrZimmerFan2018-03-08 18:42:14
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.

MrZimmerFan reply Replies: 10 || 2018-03-01 16:50:11
I listened Seeking Endurance.

Not bad, grandiose theme, with certain electronics and percussion.

Now i have better expectations.


George2018-03-01 18:20:25
Where did you listen to it?


FaresTdkr2018-03-01 18:24:51
Me too...


MrZimmerFan2018-03-01 18:29:41
Here

https: //itunes.apple.com/lk/album/tomb-raider-original-motion-pict ure-soundtrack/ 1349241208


Olive2018-03-01 21:52:22
I will find it too!


FaresTdkr2018-03-01 21:59:44
Well 1 min of music that give no filling about this kind of movies!


MrZimmerFan2018-03-02 00:03:31
But much interesting than PRU


...2018-03-02 00:04:58
Agreed MZF, I get some Ferris Wheel vibes from this (divergent)


Ian2018-03-03 03:16:13
LOL, they have well over an hour of music to choose from and they release the very end of a theme and some ambient music?


Olive2018-03-03 21:08:38
Maybe there are no better tracks? This happened with Justice League last year.


MrZimmerFan2018-03-03 21:25:28
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!

MrZimmerFan reply Replies: 0 || 2018-03-01 16:50:00
I listened Seeking Endurance.

Not bad, grandiose theme, with certain electronics and percussion.

Now i have better expectations.

MrZimmerFan reply Replies: 2 || 2018-02-19 19:45:25
Track times

1. Return to Croft Manor - Junkie XL (8.13)
2. Seeking Endurance - Junkie XL (1.09)
3. The Bag - Junkie XL (1.49)
4. Path of Paternal Secrets - Junkie XL (3.39)
5. The Devil's Sea - Junkie XL (4.11)
6. Let Yamatai Have Her - Junkie XL (13.23)
7. Figure in the Night - Junkie XL (4.15)
8. Remember This - Junkie XL (3.26)
9. Never Give Up - Junkie XL (5.36)
10. Karakuri Wall - Junkie XL (4.38)
11. What Lies Underneath Yamatai - Junkie XL (8.35)
12. There's No Time - Junkie XL (4.01)
13. Becoming the Tomb Raider - Junkie XL (7.15)
14. The Croft Legacy - Junkie XL (2)


JBSO992018-02-19 23:12:19
Great! Many long tracks. I'm especially looking for that 13 minute track. I hope the soundtrack is great.


George2018-02-19 23:29:09
The long tracks are usually fairly promising. Fingers crossed that this turns out well!

MrZimmerFan reply Replies: 12 || 2018-02-14 20:27:14
I'm bit curious about this.


mpolonest123 2018-02-14 20:51:03
Thereís no doubt going to be drums. What Iím personally hoping to see is less sound design and more traditional themes.


Olive2018-02-14 21:56:25
Iím personally hoping to see a bunch of fun tracks! We deserve it!


mpolonest123 2018-02-14 22:50:00
@olive If we get anything on the level of ďRoland of EldĒ or Point Break, that would be awesome!


Olive2018-02-15 01:42:41
I wish so much more! The movie promises to be as good as the last Jumanji! I'm not a big fan of Point Break or Dark Tower, but I think XL has a lot of stuff to explore this time, like in Mad Max.It does not have to be anything extraordinary, just something that gives life to the film.


MrZimmerFan2018-02-15 14:30:32
I like Dark Tower, not a terrific score, but i liked it.

But Point Break... oh, god


Krazkor2018-02-15 23:00:00
Point Break is fantastic!!!!


Anonymous2018-02-16 02:03:04
welp, looks like we're back to the whole "tom holkenborg aka junkie XL" thing again


Ian2018-02-16 19:11:46
Funnily enough, I'm far more critical of Hans than Junkie, given how much the former relies on ghostwriters, but the fact of the matter is that Hans fundamentally understands how to write a film score, and Junkie, from what I've heard, simply doesn't. Mad Max, although a success, is more a function of the film suiting an extremely rhythmic, percussive sound, rather than Junkie being competent, IMHO. So - somewhat joking here, as I know it won't happen - I'd be down for Hans writing a suite for this and Junkie basically copy/pasting it into the film.


Olive2018-02-16 20:43:48
Hans does not have the credit as a producer on this.

XL is limited, I agree, but I hope he does something fun (the film is not even taken seriously).


mpolonest123 2018-02-16 21:22:42
Itís interesting with Junkie. As a composer on a purely scene basis, heís not that good (this is coming from someone who loves his music). My primary issue with him is that he tends to score scenes with ambience, or stretched out sound design. That was a huge problem I had with Dark Tower.

But like I said elsewhere, heís still growing as a composer. Watch something like Black Mass where the music in film complements the scenes amazingly.


Hybrid Soldier2018-02-16 23:00:50
The funny thing with Dark Tower, is that the production was so lost they made him write the score 3 times... Who knows what were the other versions like...


mpolonest123 2018-02-16 23:27:29
@Hybrid Really? I guess itís not a total surprise considering how much of a mess the film turned out to be. Divergent was a similar situation where the score in-film was butchered...

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Tomb Raider soundtrack - Tom Holkenborg (Junkie XL) 2018