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@Cercei<br>Hybrid can definitely answer that best. Richter’s score is used (alongside Balfe’s material) as well as some source pieces. If I remember correctly it’s a mish-mash of the two.I do know that piece, it’s very pretty. I’ll check out his other works, thanks for the recommendation. In terms of minimalism I really am into Brian Eno at the moment. His “Music For Airports” and “The Lovely Bones” are excellent if you like more introspective music.btw, you're saying Lorne recomposed and reworked the entire score. as i haven't seen the movie yet, did the producers end up with not using richters score for it at all and just used the score from Lorne?thanks for your information. but i actually don't understand why they have done that. i've heard now Lornes cues and Richters cues. all those cues from Lorne, they sound very similiar to that what Richter composed, but somehow with less melodies. And you really have to work hard to not use fewer melodies then Richter, as he's a minimalist at its best ^^ with that being said, i can't hear any groundbreaking differences from Lornes part, so what was their idea on hiring it and getting the same style of music, but in a more "light" version? :/i really admire Max Richters work, he isn't that new in this scene. his style is that repeating minimalism. maybe you've heard once the cue "on the nature of daylight" which was used a lot by many other movies. his last score which knocked me out was "Hostiles". such an emotional and intense score, you need to hear that, and probably see the movie as well (with Christian Bale). <br><br>
Really surprised at this album, I’ve never really heard anything from Max Richter but I really like what he ended up writing for this score. It surprisingly flows well for a stand alone listen. It’s funny that the producers wanted a different approach, I think Richter nailed it.<br><br>Balfe’s contribution is excellent as well, I particularly like that repeating chord progression (which is starting to become one of his trademarks considering how many times he has used it). It’s disappointing that they didn’t include more of his contribution though, since he apparently rewrote the entire score.Lorne said in his Twitter, the first album for His Dark Materials come 3rd November, no date, for the moment, for the second album.Was the producersi haven't understood the fact, that Lorne was involved in this. Can someone explain it for me? Was the director not satisfied with Richters music? Was the deadline too near? Or what was the reason why they have brought Lorne to this project?"The Wanderer", "Event Horizon", "You Have To Let Me Go" and "Tuesday (Voiceless)" = WOW WOW WOW!!!
Zanelli is no James Newton Howard, but he did a fantastic job with writing a large scale fantasy score. I’ll even say that, while I think the first Maleficent is stronger overall, I personally like the action writing better here. Also 2 little things I’ve noticed;<br><br>1. The new theme here sounds fairly similar to the Father/Son tune from KFP3<br>2. 2:20-3:30 sounds like it may have been temped from the finale of Fantastic Beasts. (Or maybe I’m just crazy lol)Great work of Zanelli, if is not as good like JNH's Maleficent, is a tremendous work, with a terrific writing and orchestrations, even the most tender parts are terrific.It’s definitely Balfe. I’ve seen the film for the second time two weeks ago so my memory is kind of hazy but luckily I decided to record the end credits for reference and I think it plays in Balfe’s section / variation of one of his themes played on a solo string instrument. <br><br>I think we got most of Richter cues as it was mainly his release. I feel that Lorne has moved on from this project - he didn’t even mention the release so an extended release of his material seems unlikely to happen :( <br><br>For those interested the credits suite plays as follows: <br><br><br>“A Trip To The Moon” (synth part)<br>“I Put All That Away”<br>Variation on the theme in “Underground Lake” at 0:14<br>Variation on the theme in “Trip To Neptune” 0-1:00<br>“To The Stars”Season 2 premieres in 2 weeks, if he was scoring he would be working on it at the moment. But yes no confirmation regarding his return or a new composer. No news regarding new composer might be a hint whether Djawadi is returning or not.I only listened to the first couple of cues so it is too early to form an opinion comparing it to JNH but I disagree the first half drags. Maybe because I love tender themes.
I suspect that the release was just what they had originally planned, with a couple of bonus tracks thrown in to appease Fox. They likely didn't put too much thought in what they added, since people who have spoken with Lorne said he wasn't aware of the release and was surprised Prayer wasn't on it. I'm just glad anything got released at all after everything that has gone before.<br><br>Regarding that theme you mentioned, is it one that sounded like the personal motif Ethan has in M:I Fallout? Because while I did initially assume that was Balfe too, it seems it was actually Richter. Haven't gotten to hear Lorne's parts yet, so who knows he if he also did a similar thing.It’s not included and I’m very confused. I think there’s a good amount of unused tracks or the way the score was used was so terrible that only few tracks were memorable to me. <br><br>There’s a theme that plays during two tragic moments - I thought it was “Prayer” but it isn’t. I think it’s by Lorne as it’s closer to the direction he took. <br><br>I wish they gave us more Balfe :(I know this is probably the wrong place for it but I'd love if Hnas would one day release a CD of just his demo sketches and suites. I find hearing the original intentions/ideas even when rough really fascinating.11.22.19Yeah lol one way or another... :P
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Tom Holkenborg (Junkie XL)Antonio Di IorioConrad Pope
ComposerAdditional MusicConductor
Mortal Engines
Label: Back Lot Music
Length: 70'16
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 (708 votes)
  1. London Suite In C Major (8:54)
  2. No-One You Know (2:51)
  3. The Chase (1:08)
  4. Welcome To London (2:39)
  5. Miss Valentine (4:19)
  6. This Is For My Mother (1:36)
  7. The Outlands (4:52)
  8. A Resurrected Man (4:44)
  9. Ms. Fang (2:05)
  10. In A Sea Of Clouds (1:28)
  11. The Weapon Of The Ancients (2:08)
  12. Shan Guo (3:21)
  13. I Am The Meteor (2:15)
  14. First Strike (2:09)
  15. Night Sundered (4:10)
  16. In The Shadow Of A Shrine (3:29)
  17. No Going Back (5:58)
  18. Windflower (2:28)
  19. The 13th Floor Elevator (4:40)
  20. Alive And Together (4:52)
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Michael Fields reply Replies: 0 || 2019-02-09 09:23:42
MOVIE CREDITS:

Music Composed, Produced, Programmed, Mixed And Mastered By
TOM HOLKENBORG

Score Wrangler
BOB BADAMI

Music Editors
CATHERINE WILSON
STEPHEN GALLAGHER

Orchestra Conducted By
CONRAD POPE

Additional Music By
ANTONIO DI IORIO

Orchestrated By
EDWARD TRYBEK
HENRI WILKINSON
JONATHAN BEARD
TOM HOLKENBORG

Music Preparation By
JORDAN COX

Additional Synth Programming By
EMILY RICE
JONAS FRIEDMAN
MAX KARMAZYN

Technical Score Engineers
ALEX RUGER
JACOPO TRIFONE

Music Production Services By
MICHIEL GROENEVELD

Music Recorded At
MICHAEL FOWLER CENTER (Wellington, New Zealand);
STELLA MARIS (Wellington, New Zealand)

Music Performed By
NEW ZEALAND SYMPHONY ORCHESTRA

Orchestral Recording Engineers
GRAHAM KENNEDY
JOHN NEILL

Orchestral Mix Engineer
JOHN NEILL

Score Recordist
NIGEL SCOTT

Score Technical Crew
ANDREW DALZLEL
BRIAN MAHONEY

Music Mixed At
PARK ROAD POST PRODUCTION

Choir
VOICES NEW ZEALAND CHAMBER CHOIR

Choir Conducted By
KAREN GRYLLS

Solo Sopranos
MORAG ATKINSON
PEPE BECKER

mpolonest123 reply Replies: 0 || 2019-01-24 02:50:17
So just like Divergent, the score is completely butchered in film. The main “London” tune is only used for about 30 seconds in the entire film (disregarding it being tracked into the credits suite) and most of the other music from album seems to be either suites, alternates, or heavily chopped up on screen. The editing in the film is pretty bad, so I’m wondering if that may have affected the score in some way.

Surprisingly there is one excellent unreleased cue, which transitions into “First Strike”, that takes the “Shan Guo” ostinato and overlays the operatic MEDUSA vocals which turn to screams at one point. Also some unreleased Hester/Shrike piano music...

Knight reply Replies: 1 || 2018-12-29 04:58:42
Antonio Di Iorio's credits taken from his website by track number

1 2 3 5 6 7 10 11 12 13 15 16 17 19


Knight2018-12-29 04:59:53
Bit disappointing that the London suite isn't all Tom's work

Anonymous reply Replies: 0 || 2018-12-28 17:12:45
Very strange this score hasn't had more hype on this site.

They came out in the same week but all the hype seems to go to Aquaman which is the B-version of Thor: Ragnarock.

I think this score is more interesting in orchestration and has a better thematic identity. Tracks like 'Resurrected Man' are really great.

Shame it went under the radar cause it is one of the better RCP outings this year

MrZimmerFan reply Replies: 1 || 2018-12-19 00:02:23
Tracklist for Alita

1. A Discovery
2. I Don’t Even Know My Own Name
3. What’s Your Dream?
4. Double Identity
5. The Warrior Within
6. A Dark Past
7. In Time You’ll Remember
8. Nova’s Orders
9. Jackers Mission
10. Unlocking the Past
11. Whose Body Is This?
12. Grewishka’s Revenge
13. Broken Doll
14. With Me
15. I’d Give You My Heart
16. You Just Lost a Puppet
17. What Did You Do?
18. In the Clouds
19. Raising the Sword
20. Motorball


Jean-Luc2018-12-19 01:32:38
Interesting Tracklist!!

Jerry reply Replies: 0 || 2018-12-17 18:49:05
Anybody got an indea for chronological order?

  Your name :   

Please enter number: 1671 

mpolonest123 reply Replies: 3 || 2018-12-14 01:41:38
First Impressions:

This might be one of the most “traditional” scores that Tom has scored at this point in his career. The strings/brass still have the signature JXL sound to them, but the music feels more mature when compared to something like Mad Max or even his most recent outings.

I’m still picking up on the themes as of now (the most obvious being the main fanfare and Hester’s tune) but the idea for Shrike is definitely a clear standout. Especially when it gets an emotional spin later on. The use of woodwinds and the operatic female solo vocals also are a nice addition.

Overall this has to be the biggest surprise of the year for me. Having sorta given up on Junkie after being disappointed by his output in the past few years I never expected him to write a fantasy score on this level (while still keeping one foot in his comfort zone of course). Hopefully more producers actually demand quality music from him, as opposed to the shit we got from
Tomb Raider and Deadpool.


Anonymous2018-12-14 15:42:10
To me it sounds like the composer's usual fare, only this time it has a touch of Conrad Pope every now and then in the orchestrations. Won't be surprised if CP's involvement went beyond just conducting.


mpolonest123 2018-12-14 16:30:08
^ And I think a big part of that is the sound mixing. I understand each composer has their own unique voice, but in Holkenborg’s case he tends to mix everything so harshly, particularly the brass. It definitely muffles the music to a degree.

Similar issue I have with Giacchino, who I think writes amazing music which gets undercut by the really dry mixing.


MrZimmerFan2018-12-14 18:14:35
Conrad Pope is only conductor in this, not orchestrator.

Andreas reply Replies: 0 || 2018-12-14 10:04:01
Am I correct that the music used in the long flashback sc&#232;ne with Hester and Shrike is only sort of present in the final track "Alive and Together" ?

MrZimmerFan reply Replies: 1 || 2018-12-13 19:11:32
I'm listening right now, one of the best works by Tom, by far.

Beautiful choir, great action tracks (even there is a great renditions of the themes, Windflower with that version of Shrike's theme is gorgeous) and multiples themes.


Anonymous2018-12-13 23:19:07
Great work.

I love Tom's aggressive and extreme way of mixing and bold use of percussion.

Glad to see him linked to Alita: Battle Angel too

kingfannypack is the MILFcommander reply Replies: 7 || 2018-12-10 08:14:42
Why wouldn't Peter Jackson have Howard Shore score?


Edmund Meinerts2018-12-10 09:26:24
Peej only produced this film, didn't direct it, and also I sorta think he and Howard Shore don't have the warmest of relationships considering the King Kong firing and then the way the music was mistreated in the Hobbit films.


Anonymous2018-12-10 14:37:39
Skipped the Hobbit films. How so was the music mistreated in those?


MrZimmerFan2018-12-10 15:58:11
Jackson use more LOTR music than the original music created for the movie.

Altough, Watertower releases respect the material written by Shore (as he wanted)


Edmund Meinerts2018-12-10 16:44:14
Especially in the first one, there's a ton of LOTR themes needledropped even though Shore wrote original material for those exact scenes that you can hear on the album, and also there are themes used in scenes where they don't belong at all. Oh and the main theme of the first one and a couple of the secondary ones completely disappear from the second and third movies


superultramegaa2018-12-11 00:05:52
Don't forget the pointless changes like the opening title music for AUE being replaced with an E Major version of The Shire and Gandalf's Farewells for some reason. Or temp tracking earlier pieces of the film in for later scenes.


lumpy2018-12-11 11:15:02
get this a cd-release too


Oscarilbo2018-12-12 20:26:25
The "problem" with The Hobbit scores came just on the first movie and just because it changed from being 2 movies to be a whole trilogy. So... the "punch" points had to be changed on AUJ, meaning that very subtle moments had to be now enhanced every way possible specially by the score so you have much more dramatic emphasis than you had it before, because now you're gonna end the movie MUCH MORE sooner that originally planned.

Nothing to do with Jackson not liking what Shore did. Shore even had the same themes that were ultimately used in the final film, they just were more subtle... even the wrongly music known as "wraights theme" when Throin charges against Azog (which is actually related to all agents of Sauron) was used there by Shore before the changes, just again, the connection was more subtle when that was not going to be the climax of the film.

MrZimmerFan reply Replies: 1 || 2018-12-11 21:18:11
Alita ia going to be release by Milan Records


Jean-Luc2018-12-11 22:41:52
That's a great news!

Nick reply Replies: 1 || 2018-12-10 21:55:23
Tom just released "London Suite in C Major" on his YouTube channel, and I am really loving it. He's usually hit-or-miss for me, but this cue in particular really intrigues me. Sounds like he merged the orchestral sections of Fury Road with the flighty ballads of Hollywood Golden Age music.


Ds2018-12-11 11:35:53
It's great but sadly it's only used in the end credits :-(
I suspect it might have been an alternate version of the opening scene.

Anyway the rest of the score is absolutely stunning, a good balance between heavy action and themes (and incredible choir). A new high in JXL's career, let's hope the OST release does it justice.

lumpy reply Replies: 0 || 2018-12-10 20:49:00
CD Release?

isildur reply Replies: 4 || 2018-12-06 21:57:31
This sounds amazing.
https: //www.youtube.com/watch?v=Rc6U4zYppks


Mike2018-12-06 22:53:46
Consider me pleasantly surprised....


Mike2018-12-06 23:20:05
On repeat listens, it sounds like if someone tossed Fury Road into a blender with Wagner's Ride of the Valkyries and Michael Giacchino's Medal of Honor scores. A surprisingly good combination, if you ask me.


mpolonest123 2018-12-07 01:30:36
I’m pleasantly surprised. The whole thing has a very “classic Hollywood” fantasy type feel to it, with Holkenborg’s usual percussion and strings overlaid. The mixing is still a bit too harsh and overproduced, but I’m loving what I hear so far. Here’s hoping the rest stays consistently strong...


Andreas2018-12-07 09:54:16
Saw the film few days ago. Score is one of the best things in the film. Indeed a mix of BvS en Mad Max, only more orchestral. Can't wait to listen to it again.

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Mortal Engines soundtrack - Tom Holkenborg (Junkie XL) 2018