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Because that opinion is clearly wrong when Dunkirk came out in 2017.The douchebag with the fucked up hairline known as Hybrid soldier erased my previous comment because i said Zimmer barely writes his own music. Can't even have an opinion on this website anymore? It's like I was bashing him or said anything terrible.I can't agree with Genius: Picasso. I like the score, but it doesn't have enough direction. Just a lot of soundscaping. It is like the score is just there. <br><br>Balfe has this same problem with a lot of his scores.<br><br>I am so tire of people claiming Balfe has potential. It is like a basketball fan constantly claiming that Player X is two years away from being two years away. Every year people say Balfe is going to do something great. I am still waiting for this. That said, I haven't listened to MI:6 yet.Christopher Nolan of music? You serious? You compare Balfe with Nolan, one of the most talented directors of this generation? Nolan always does his own shit. He doesn't tempt scenes from other movies and recolor them and call them his. <br><br>Has Balfe written a great score that is truly his own yet? Maybe I just haven't heard it. <br><br>The only thing Balfe and Nolan has in common is that they are both white and they are both British.So I've finally decided to give this a listen today, and it was a lot of fun! The general quirkiness, source cues that actually benefit the score, and one of the best themes that I've heard from Zimmer in Moriarty certainly make this one a keeper. A lot of people barp on the OST, but it certainly made me interested to hear the music in a better form. I'll probably have to listen to it again before forming a definitive opinion, but as is, it managed to actually live up to the hype.
Music By Harry Gregson-Williams<br>Additional Music By Stephanie Economou<br>Music Supervisor By Jabari AliTotally phoned in...I got nothing from this...Y'know, up until recently, I also thought Lorne was one of the least interesting RCP composer next to Junkie XL. Then I listened to Genius: Picasso (because of that one Balfe troll's recommendation interestingly enough), and now I see enormous potential in him. That is one of the most interesting television scores I've heard so far. The orchestrations and overall complexity is an enormous achievement for Lorne and shows that he can do much more than generic sample composition. <br><br>I'll probably skip this score because I have no interest in Mission Impossible, but I have a lot more interest in Balfe's career now thanks to his work on Genius: Picasso. If he continues on that level of composing, he may actually get some notoriety.Um.....guys, why are we acting like Kraemer doesn't have the skill to do a different sort of score? I'm fairly positive Jack Reacher doesn't sound anything like RN. Really, the reason he wasn't brought in was because, apparently, McQuarrie was pissed that he was overruled in how he wanted the film to sound, so be deliberately chose not to hire him this time. Purely a thing of spite. And a lot of the disappointment lies in those who normally don't pay attention to film music, which shows just how special that particular score was.<br><br>Really, I'm confident that had McQ had his way this time, and with Kraemer on board, he would've made something that did fit the new tone of the film. Composers should be able to challenge themselves to do something that is out of their comfort. Which is likely why a lot of Zimmer scores are the way they are, since he's allowed to differentiate every once and a while.<br><br>As is, with this logic, Cruise should not have hired McQ again if he wanted a different kind of movie for Fallout.Hot take: Cruise saying that Fallout is the best score in the franchise is the equivalent of Danny Elfman saying there is only one Batman theme. Just marketing tricks to get one more excited.<br><br>Me personally, the general M:I sound isn't something I tend to get excited for, though I definitely acknowledge it's objectively well done. With M:I-2 though, while it's technically dated and incredibly cheesy, I admire it for those reasons, and is incredibly fun for me. Not to mention that the Spanish guitar is a lovely touch, and Injection is proof that there is more to Zimmer than some might think.<br><br>Balfe as a composer, to me, seems like tbe sort of guy who's told to get synth that fit the film well enough, and call it a day. Sure, there's one or two scores that go above and beyond to actually be something of note, but otherwise he's among the least interesting of the RCP bunch. Feel free to feel however you want, but that's my two cents.<br><br>It's frustrating that you have to deal with some of the touchier fans Edmund, but I'll admit that I do get a laugh everytime it happens. I love music, but I don't feel the need to get overly defensive about. I would just enjoy it and leave it like that.
Meh on this one...Listening to it doesn't really do much for me. Maybe because I dont care for Cruise, or MIssion Impossible, or maybe because I already heard better from Inception and Fury Road....Even on last year's Dunkirk Hans wrote 90% of it. Unless you are born in the last few months there is plenty of music which Hans wrote and many can remember.Interstellar is barely 3 years old.SamualPF - there people go again misconstruing my comments about some of the posters here as negative comments against Balfe or his music. I didn't say anything about the score. But sure, keep pushing that agenda.<br><br>George, you make fair, well-articulated points and for what it's worth, I never included you among those who have, shall we say, aroused my suspicions. I'm looking forward to checking out the score for myself and rest assured I'll give it a fair shake when I do. I've liked plenty of Balfe scores in the past, I swear I'm not a hater! :pNone of Kraemerís music is reused! Thematic consistency says what?
I actually always listen to a new score with an open mind. If I start expecting something and the score doesn't sound like it or doesn't have a certain thing in it I will always be dissappointed. If I don't expect anything and it turns out a score is a dissappointment, it's not such a big deal.<br><br>For example:<br>A lot of people wanted/expected a lot of individual hero themes in Infinity War. I didn't think it was necessary and I'm absolutely in love with the score.<br><br>And in the cause of reprising themes from 30+ different character in a score of 2 hours would have been chaos. If you're talking about LOTR and themes, that's different story. Those scores were almost all 3 or 4 hours.<br><br>But all and all. I don't think this is a better score than RN, but I don't think it's a bad score. It fits the movie, and I think that's what a score is all aboutEdmund ........<br><br>Yet again another negative comment about Balfe based on no fact . Sums you up really . The fact Tom Cruise who has produced the franchise has said he thinks is the best means something .we all get it that you donít like his music but simply contain yourself for always wanting to make pointless comments about him .<br><br>The reviews have been amazing for he filmmand Balfes scores . This may irritate you but at least watch the film and listen to the score then give a proper opinion.give it a goNo offense, Edmund, but if you havenít listened to it then donít make a judgement call on those of us that like it. Fallout in my opinion is the only really good RCP blockbuster score this year, and Iím going to voice my opinion on that. Pacific Rim, Tomb Raider, wrinkle in time, and Skyscraper have all been disappointments for me so when this surprisingly came out two weeks early, and I surprisingly liked it, then of course Iím going to ďflock overĒ and tell you all about how I feel. <br><br>Reviewers liking it is fun for those of us that like it. Tom cruise, who actually IS known to like film scores and has been to concerts for film scores (like Brian Tyler, even though Iím not crazy about him), liking it is also exciting for those of us that like this score and also for us who were excited to hear an updated RCP take on Mission Impossible. I root for all the RCP composers to succeed and create something memorable, and when others seem to like that too then Iím going to comment on it.<br><br>Whether it was Lorne Balfe, Henry Jackman, Ramin Djawadi, or Hans himself who scored this I would have been one of the first to tell you all if I liked it. And if I hated it I would also have voiced my disappointment... but simply put I was not disappointed and Iím glad that others are liking it, including reviewers and Tom Cruise.Once again, and not for the first time on this site, I can't help get the feeling that a Lorne Balfe score page is getting brigaded. Seems like every time he puts a new score out, a bunch of people flock to the page with glowingly positive comments (and brooking not even the slightest criticism), frequently from irregular users with very generic names who don't ever post in threads by other composers. And then using weak, tired arguments like "the reviewers love it" (I trust film reviewers on scores about as far as I can throw them) or "Tom Cruise said it's the best" (and since when is Cruise an authority on film scoring?) or "this is a new/modern/DARK M:I movie" (no excuse for a bad score). It feels, quite frankly, like shilling.<br><br>Disclaimer: haven't actually heard the score, I'm making no judgment on the music itself here. This is merely an observation of the posting patterns here.Iím right there with you. I definitely think Balfe is very talented, although heís far from one of the best composers out there. Especially compared to Zimmer.<br><br>That being said, Iím not crazy about MI:2. The highlights are solid (Injection and Bare Island especially) but I find most of the score either schizophrenic or just not as developed as the scores that influence it. Sorta like how everybody loves ďThe RingĒ but I canít personally canít help but hear it as a lesser version of Hannibal.

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Steve JablonskyBryce JacobsLuke Richards
ComposerAdditional MusicAdditional Music
Label: Milan Records
Length: 74'38 (Score: 70'43) 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 (236 votes)
  1. Hostage, Pt. 1 (7:29)
  2. Will & Sarah (3:56)
  3. Welcome To Heaven (2:40)
  4. Botha (3:22)
  5. The Crane (7:06)
  6. Chopper Ambush (3:54)
  7. Duct Tape (2:38)
  8. Bridge Collapse (3:10)
  9. Proper Motivation (3:44)
  10. Out On A Ledge (4:27)
  11. Georgia & Henry (2:52)
  12. Reflections (5:25)
  13. Hostage, Pt. 2 (1:56)
  14. Reboot (2:19)
  15. Lucky Man (5:07)
  16. Skyscraper (5:00)
  17. The Pearl (5:38)
  18. Walls - Jamie N Commons (3:55)
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Bayhem reply Replies: 9 || 2018-07-12 09:55:25
Brand new interview with Steve. It makes you appreciate this score even more:

superultramegaa2018-07-12 14:23:14
How is it that the one time he goes in-depth about his writing process, it's for a score I didn't particularly care for? Why has he never gone this into detail about writing scores like Steamboy or the Transformers films?

rockhound2018-07-12 14:45:47
because these scores are "typical hollywood scores" which don't need an explanation. but with Skyscraper and Deepwater Horizon, many filmmusic fans are wondering, why such an approach and not an orchestral "hollywood" one. nobody has to like that score, but there is for sure a reason behind that approach, which i can understand and accept.

superultramegaa2018-07-12 15:48:01
Not even close. Most film music fans don't really care and are more interested how a composer comes up with a theme, what their inspirations are, and what they believe the theme truly represents in the story.

When I watch a composer interview, I am not primarily looking for their opinion on a director or why a score has an aesthetic, I want them to talk about how they wrote that one piece of music I really liked, and what it represents in a story.

This is why Howard Shore and John Williams interviews often end up being the best as they're talking about what most people want them to, not how the newest aesthetic is not conventional Hollywood even though these watered down, ticking clock, electronic sound design, ear bleeding, droning depressionsville scores are conventional Hollywood now because directors have a hard-on for whatever keeps the audience from looking at their cell phones and not actually thinking about or feeling anything.

Why do you think modern horror has resorted to the method of playing the loudest noise you can think of so people pretend something is scary, even though they'll forget they watched a scary clown come into frame and go back to Instagram to narcissist themselves to death? If you make something thought provoking and something attempting to push boundaries like the Babadook or The Witch people will either call it boring or laugh at it because it can't automatically be called scary because a loud noise didn't play in their ear-holes.

Yes, I have been watching Zero Punctuation lately I don't see what that has to do with anything.

My point is I don't see why this score, a mostly sound design filled, conventional, score with occasional bursts of emotion gets a really great interview out of Jablonsky, instead of Steamboy, a masterpiece of an action-adventure score, or Transformers, a masterpiece of an action movie score, both with a sophisticated array of themes and motifs that require more elaboration, rather than Skyscraper. Most of the ideas and explanations Jablonsky provided I had mostly figured out on my own because there was only a few easy to grasp themes, so I don't really see why this is the score he was chosen to elaborate on.

George2018-07-12 17:58:54
What if we get these in-depth interviews because he knows itís a bland sounding score so he almost has to defend the reason as ďthis is what fit the story, and what the director wanted,Ē etc. Last year with Dunkirk, we got some good interviews about the process of building that score because maybe Hans had to explain what he made it sound so mad to defend himself against the people upset with how annoying that score was to listen to. But then take the kung fu panda movies, or pirates, we donít get these in depth interviews other than the bonus features on the DVD, maybe because they donít need explained or ďdefendedĒ because they work well on their own as pieces of music. Idk, just a thought.

MrZimmerFan2018-07-12 19:15:04
For your knowledge, the guy who interviews Jablonsky is a soundtrack editor.

And one of the most importants, he has interview people like Marco Beltrami or Bear McCreary.

Bayhem2018-07-13 09:03:32
superultramegaa, I get what you're saying. And I agree with most of it. You know what it's all about at the end of the day? The director! Clean and clear.

Steve works with a lot of young 'hip' directors, like the director of this movie and the director of Keanu. And whether we like it or not, you can't expect those directors to want what bigger and older directors like Mike Bay, Tony Scott, Jim Cameron want. I mean it's all there: look at the scores for the Bay movies, the Cameron movies, the Scott movies - they're pretty much all perfect. Melodic, powerful, very little sound design, etc. Why? Because those guys come from a different time. A time when sound design scores were almost non-existent. A time of great melodic scores with actual themes.

The younger directors tho, they are mostly influenced by the "new" sound design stuff. And they want that in their films. And composers oblige. Bottom line is this: Don't just focus on the composer. Focus on the director as well. Who's the director? As crazy as it sounds, that will tell you whether you gonna like the score or not.

Bayhem2018-07-13 09:14:13
rockhound, you are really underestimating these great scores by calling them "typical hollywood scores". It's exactly the opposite actually - scores like Skyscraper (as much as I like it) can be called "typcal". While scores like Transformers are much, much more.

I mean, look how influential and popular the first Transformers score is? Same with the first Pirates score. The Armageddon score. The Gladiator score. The Titanic score. A "typical" score can't achieve that. As to why they spend more time talking about scores like Skyscraper? Answer: publicity push. These types of non-franchise movies need all the help they can get. So studios want even the composers to give a lot of interviews. You don't need that on a Transformers movie, or a Pirates movie, or a Marvel movie.

Bayhem2018-07-13 12:28:20
George, in the case with Steve and Skyscraper I think it's all about the studio push for more aggressive marketing. This is the biggest (budget-wise) original movie of the year and the stakes are high. So clearly the studio wanted to use all players and to promote the movie as 'hard' as possible. That's why you have Steve up there giving interviews and being quite visible. Hell, he even put up the movie's poster as a wallpaper on his Twitter account. I don't think he's ever done that with his previous movies.

Whether he personally is proud of the score or not, only he knows that, but for my money all those interviews are a result of the studio pushing to make the movie more visible. Not Steve trying to "defend" the music.

Bayhem2018-07-13 12:30:33
"Why 'Skyscraper' Composer Didn't Want a Marvel-Style Score" r-didnt-want-it-sound-like-a-marvel-movie-1126563

SPECTER208 reply Replies: 4 || 2018-07-11 04:29:09
Is Steve still part of RCP? Or does he have his own company now?

.s.s2018-07-11 04:37:56
÷hm since Lone Survivor at Arata Music

Bayhem2018-07-11 10:32:55
You never really leave MV/RC :) Well, unless you're Badelt or Powell...

MrZimmerFan2018-07-11 12:26:16
But Powell before join Hans, was an asistant for Patrick Doyle

Edmund Meinerts2018-07-11 16:20:11
and Wallfisch started out assisting Dario Marianelli, what's your point?

Bayhem reply Replies: 0 || 2018-07-08 00:13:32
Just finished listening to the score. In short - pretty damn good. Some usual distorted, harsh electronic sounds here and there, but there are a lot of pretty cool stuff as well. The second half of 'Proper Motivation' (1:45 onward) is one of my favorite bits from the entire score. Pure Jablonsky magic.

I also really like the subtle homage to Faltermeyer's 'Top Gun' score in the 'Will & Sarah' track.

'Georgia & Henry' and 'Lucky Man' are very beautiful, Rabin-style tracks that work great on their own.

'Hostage, Pt. 1' is a nice mix between Steve's own 'Pain & Gain' and 'Nightmare on Elm Street'.

Now, some people may not share my views on this score, but at least you have to agree that it delivers slightly more than 'Battleship'. More than 'The Last Witch Hunter'. It's also pure Jablonsky. He clearly had freedom to do his thing. Yes, would've been great to hear some powerful choir and vocal work (Steve is great at that), but then again this is not exactly the type of movie that requires choir work. I think the only track with a little bit of choir is 'The Pearl'.....

Standout tracks for me:

'Proper Motivation'
'Lucky Man'
'Will & Sarah'
'Georgia & Henry'
'Hostage, Pt. 1'
'The Crane'

superultramegaa reply Replies: 2 || 2018-07-05 19:15:26
Well, just finished the score and... it's alright. It definitely shows that Jablonsky really understands emotional tracks, and those are the most solid parts of the score. "Will & Sarah" is a wonderful piece of music and "Welcome To Heaven" also contains a lot of solid atmosphere, utilizing the strings to their fullest effect.

Unfortunately, the action is definitely underwhelming. It's got the modern RCP problem of burying the orchestra in electronic sound design and focusing more on the rhythm instead of any kind of melody whatsoever. With the exception of "Chopper Ambush", I just couldn't find much to enjoy in them. They're simply unmemorable and very, very loud.

However "Reboot" and "Lucky Man" redeem the score at the end with an enjoyable action finale and Jablonsky's signature "victory" track, (as MrZimmerFan put it), is as fun as always. "The Pearls" is also a very enjoyable suite being a nice mix of atmosphere and emotional elements vaguely reminiscent of Charlie and the Chocolate Factory's ending string-work.

So yeah, the action is mostly a waste, and made only to serve the scenes they're in rather than evoke any emotion on their own, but the tracks where the score slows down and focuses on soft string, guitar, and electronic work are well worth the listen.

My personal highlights include: Hostage Pt. 1's beginning and ending, Will & Sarah, Welcome To Heaven, Chopper Ambush, Proper Motivation, Georgia & Henry, Reboot, Lucky Man, The Pearl

Mephariel2018-07-06 05:02:48
I just finished the score. The last 5 tracks saved this album from being a total disaster. But even that, very generic stuff. I say only "Georgia & Henry" and "Lucky Man" are worth a listen.

Bayhem2018-07-08 00:08:15

I agree. The action bits are nothing new. But Steve really shines with the more subtle, emotional tracks. Those tracks are the standouts for me, as far as this score is concerned.

Bibi reply Replies: 4 || 2018-07-05 18:50:54
"Skyscraper" = Battleship

MrZimmerFan2018-07-05 18:52:32
No way

Battleship is more sound-design. Skyscraper is not.

Bibi2018-07-06 18:48:54
Dude just listen this track from 3:43 to 4:15 and then "Art of war" from 2:50 to 3:25. It is the exact same thing.

MrZimmerFan2018-07-07 10:35:55
Oh, you talking about the cue itself... well, certain notes

Bayhem2018-07-08 00:05:24
I just listened to the entire Skyscraper score. Still fresh in my mind. Aside from some harsh electronic sounds, it is NOTHING like the Battleship score.

MrZimmerFan reply Replies: 15 || 2018-07-04 11:58:48
First track from Soundcloud

https :/ /

Andreas2018-07-04 13:17:29
They also released track 18: Walls on soundcloud.

MrZimmerFan2018-07-04 14:25:52
Yeah, but that track is a song

MrZimmerFan2018-07-04 14:25:53
Yeah, but that track is a song

Andreas2018-07-04 15:12:01
Sounds alright. Too bad is not a Sia song. Missed opportunity haha.

superultramegaa2018-07-05 02:44:48
If that represents the score, (which I'm sure it does), looks like I may have to skip this one. Lot of sound design, diluted orchestra, and dull electronic/pop elements. I know some people will say "It's just one track", but it's not only the intro track, but a 7 minute long intro track.

There's no way the score's going to change much from this. Plus the fact that this score ends with a song, tells me it's going for a more Pain & Gain/TF4 vibe. Oh well, yet another disappointing career move from Jablonsky. Hopefully some day he'll attempt to go back to strong orchestral work.

Jeff2018-07-05 03:01:35
I saw the film and this track is sadly the highlight of the score, don't expect anything more interesting than this.

Bayhem2018-07-05 12:19:34
I saw the film and this track is sadly the highlight of the score, don't expect anything more interesting than this.

How about actually listening to the actual score album before making these "big" statements. Just a suggestion......

Bayhem2018-07-05 12:26:17

Dude, WTF?? What's with these wild jumps to conclusion? You haven't seen the movie, you haven't heard the actual score album. Sure, feel free to not like it, but at least give it a proper chance. Listen to the whole damn thing.

I think your level of anticipation for this was so high that even the smallest negative thing on the topic will turn you off completely. That's not good. Don't let this kinda thing consume you.

superultramegaa2018-07-05 16:46:02
Well, it's a 7 minute long intro track. Like "Sacrifice" it's supposed to get you prepared for what most of the score is going to be. So it's very unlikely the score's going to change much from that first track.

Of course I'll try to give the rest of the score a chance, but that track kinda tells me it's going to be Pain & Gain mixed with Deepwater Horizon. Neither score am I overly fond of.

Ds2018-07-05 17:42:18
Pain & Gain is one of Steveís finest scores imo, way above the pack of electronics driven ambient scores. If Skyscraper retains any of that, Iíll be happy.

Btw am I the only one to hear Dunkirk in the middle of that first track? :-o

mpolonest123 2018-07-05 18:03:47
Pain and Gain is a pretty solid score imo. Even Deepwater Horizon is effective in the context of the film.
I have to admit I was hoping for more of a fun throwback score for Skyscraper, Iíll give the rest of the album a chance when it drops although Iím not really sold on this one cue.

MrZimmerFan2018-07-05 18:16:27
If you expected something like Pain & Gain (which is enteraly electronic), no, this is not like that

There is electronics, yes, but not is in the type of Dunkirk, for example, there is orchestra (mostly there is brass and percussion, both real and synth), and there is a cool track, in the end (both Skyscraper and The Pearl are suites), Lucky Man, is the typical 'victory' Jablonsky track.

And Georgia & Henry is lovely with the strings.

Bayhem2018-07-06 09:31:28
As far as I'm concerned, the Pain and Gain score is one of the best Jablonsky scores. I find myself listening to it even more than the Transformers power anthems. It's that good! The director of 'Keanu' hired Steve exactly because he was a big fan of Pain and Gain.

I don't see how a person can be negative about that score. But then again, it's all matter of opinion. We are all allowed to have our opinions.

MrZimmerFan2018-07-06 10:38:45
Pain & Gain was good, but I prefer Ender's Game (maybe in most fan for the epic scores than an electronic driven one, but i like this kind of scores)

Bayhem2018-07-08 00:03:03
Well, to be completely honest, Ender's Game was the only Jablonsky score I wasn't really interested in. Still haven't listened to the whole thing.

But, I will take your word for it and I will check every track out.

Jean-Luc reply Replies: 1 || 2018-07-05 20:14:45
I'm just finishing the score and it's an okay. I gave 7/10 stars, but I really like Will & Sarah, and a few tracks because, I feel some of these tracks are emotional mostly. I was wondering about that director with Rawson Marshall Thurber should hire with Theodore Shapiro composer it's seem they work together in a few movies, but I can't imagine what it sounds like Theodore Shapiro's music for skyscraper movie. Also, I'm preferring with Peter Berg & Michael Bay is a better chemistry with Steve Jablonsky in action movies.

Bayhem2018-07-07 23:59:51
Clearly Steve delivers some of his best work when he works with Bay, but I have to say I was pleasantly surprised by Skyscraper. Much, much better score than, say, Steve's The Last Witch Hunter. At least in my opinion.

Andreas reply Replies: 1 || 2018-07-05 16:08:52
Score comes out tomorrow digital.

Hostage Part 1 - 7:29
Will & Sarah - 3:56
Welcome To Heaven - 2:40
Botha - 3:22
The Crane - 7:06
Chopper Ambush - 3:54
Duct Tape - 2:38
Bridge Collapse - 3:10
Proper Motivation - 3:44
Out On A Ledge - 4:27
Georgia & Henry - 2:52
Reflection - 5:25
Hostage Part 2 - 1:56
Reboot - 2:19
Lucky Man - 5:07
Skyscraper - 5:00
The Pearl - 5:38
Walls - 3:55

MrZimmerFan2018-07-05 16:24:05
There is actually orchestra in the action tracks (with electronics, obviously), and the more lighter/sweet guitars for the main characters

It's OK

Jack Afrogarrix 2018 reply Replies: 2 || 2018-06-23 03:04:45
Booklet credits

Music by steve Jablonsky
Additional Music By Bryce Jacobs, Luke Richards & Christian Wibe
Orchestra Conducted By Alastair King
Music Supervisor By Margaret Yen & Peter Afterman

Bayhem2018-06-23 20:44:55
No Nick Glennie-Smith?? This sucks. Usually he's the orchestra conductor on the Jablonsky scores.

Speaking of, Nick REALLY needs to score another movie. He's the secret weapon of MV/RC. Love the guy.

MrZimmerFan2018-06-23 20:56:35
The score was recorded in Abbey Road, and probably Nick isn't aviadable in that moment.

But yes, is terrible underrated composer, i f*** adore A Sound of Thunder

MrZimmerFan reply Replies: 3 || 2018-06-21 11:55:19

1. Hostage Part 1
2. Will & Sarah
3. Welcome To Heaven
4. Botha
5. The Crane
6. Chopper Ambush
7. Duct Tape
8. Bridge Collapse
9. Proper Motivation
10. Out On A Ledge
11. Georgia & Henry
12. Reflections
13. Hostage Part 2
14. Reboot
15. Lucky Man
16. Skyscraper
17. The Pearl
18. Walls

Bayhem2018-06-22 13:45:02
Thanks for sharing. Btw, I like the fact that we will see a physical release as well (couple of weeks after July 13).

MrZimmerFan2018-06-22 14:43:04
Obviously, it's Milan.

Btw, the last track is a song by James N Commons

Bayhem2018-06-23 20:35:00
Milan or not, it doesn't matter. Don't take anything for granted. Physical media is on its way out, BIG TIME. Unfortunately.

I would be the last person on planet Earth who would give up on physical media, but I can't ignore the facts - most people simply prefer digital over physical. That's why, to me, any news about an upcoming physical release of a score is surprising (and great).

I admire labels who still put out physical copies, but the complete, 100% transition to digital is just a matter of time. Blockbuster Video was just the start of it...Sadly.

superultramegaa reply Replies: 2 || 2018-06-18 18:56:26
As long as Steve knows to keep this score mostly melodic with little to no sound design, I'll probably be happy with it.

Bayhem2018-06-19 08:52:20
Steve is a very accommodating composer. So it's really up to the director's vision. With Bay, you know you gonna hear some of the best stuff Steve has to offer and that's because they share the same "musical ear".

When he's scoring Peter Berg movies, Steve often relies on sound design and his scores for those movies are not really melodic. The few exceptions aside, Berg likes sound design scores. And he likes to experiment A LOT (example: the MRI machine sound that was incorporated in the Battleship score. Bold choice!).

Where does the director of Skyscraper stand in all of this?

Personally, I think this score will be "in the middle". Little sound design there, little melodic cue over here.... : ) I don't expect power anthems, simply because - as big as the movie is - it's not "Michael Bay big". I do hope for a little choir work though. Steve is great with choir.

superultramegaa2018-06-19 19:14:17
I know woodwinds, with few exception, have been completely abandoned by RCP, but man would it be nice if Steve fit woodwinds into the small scale family scenes. He's great with them, but for whatever reason he doesn't seem to be able to use them unless it's an animation, The Sims or IDEA specifically, or fantasy (even then The Last Witch Hunter had no woodwinds). They add so much to the soundscape and make any score so much richer.

I'm listening to the Lord of the Rings Trilogy again currently, and god, they'd be nothing without all of those flutes and clarinets. Even when the main instrument is brass or string, the addition of woodwinds is so cleverly implemented by Shore, and they not only blend, but they actively enhance the sound.

Of course I'd also love Steve to continue using choir. He even seems to be getting better with it, with Transformers 5's use of it resembling the Halo franchise in a number of ways. It would be a wonderful surprise though if he went back to woodwinds eventually. I'm definitely not of the belief that they can't be used in a modern day setting either (Silence of the Lambs and the Spider-Man scores use them particularly well).

Bayhem reply Replies: 0 || 2018-06-18 14:02:43
I assume that's the official cover....

I dig it. Very Die Hard-y : )

Bayhem reply Replies: 2 || 2018-06-04 15:48:49
Why I'm looking forward to this score? Aside from loving Steve's work (duh!) the young director of the movie (Rawson Thurber) is a Michael Bay fan and having Bay's main composer at hand I wouldn't be surprised if we end up with a nice throwback to the "Golden Years" of MV/RC.

Watching the trailer of Skyscraper, there are certainly scenes that would play GREAT with a classic MV/RC sound over them. Whatever the case though, I'm sure Steve will deliver.

MrZimmerFan2018-06-04 17:21:59
It is something like Geostorm, i'm happy

Bayhem2018-06-07 10:30:40
Truth be told, I still haven't heard the Geostorm score. I've heard good things about it, how it's a nice throwback to the classic MV/RC sound, etc. I really have to check it out. Thanks for reminding me : )

MrZimmerFan reply Replies: 3 || 2018-06-02 11:30:24
I was going to comment the release of this :D

Meta2018-06-02 15:52:22
I hope it goes bull Battleship

Edmund Meinerts2018-06-03 01:02:14
I hope it stays as far away from Battleship as humanly possible!

Bayhem2018-06-04 09:35:57
I hope it stays as far away from Battleship as humanly possible!

Blame Peter Berg if you didn't like the Battleship score. He pushed for that sound. He's not involved here anyway, so no worries : )

Evenstar reply Replies: 0 || 2018-06-03 16:03:13
A new Jablonsky score release is alwyas welcome! :)

superultramegaa reply Replies: 0 || 2018-06-02 20:11:24
Hopefully Jablonsky manages to keep up the quality streak he's been on since 2015 with this score.© 2001-2017 OST 
Skyscraper soundtrack - Steve Jablonsky 2018