Archive Collection

Another cue title/number revealed! 10M8 "Helena's Theme Rev" Source: JKMS Instagram post.

Amazing work, as always. One thing to add - I believe we have the cue title for "Helena’s Theme (For Violin And Orchestra)". It's "Helena's Theme (For Anne Sophie Mutter)", as seen at the start of this music video!

1. Raiders 2. Crusade 3. Temple 4. Kingdom 5. Dial Enjoy all five of them, love the original trilogy. Kingdom gets the edge over Dial because it has the "Spielberg" touch, even if he's on autopilot throughout.

Since it was a promotional score - like an FYC album uploaded to Disney’s award sites, would there be any reason why someone couldn’t reshare it on here…?

William Ross or John Powell would do a fine job. Depends if they want it to feel like classic SW or something more contemporary and stand alone.

The sessions have been circulating online for a while! Great score

There's around 40 secs of additional music in the End Credits - 02:30:14 to 02:30:55. Anyone know where this is from? It's been tracked in.

Listening to the "Airplane Mutiny" cue, I noticed that it has the bassline from William Ross's "Pulse of the City", but also some hints of Williams's Voller Theme. So who wrote it? Let the speculation begin...

What an insult

Reznor/Ross's The Killer has been uploaded - film versions, not the album mixes. Track 12 is missing.

To be fair... Raiders had its first expansion 14 years after its release!

This is exciting news, and may pave the way for a large-scale reissue of the Star Wars/Indy scores one day...

It's crazy that Disney didn't release a high res version of the album for purchase!! However, if you want to have the score in 24-bit/96khz lossless format, you can download it from Disney’s FYC site: https://debut.disney.com/fyc/twds/movie/indiana-jones-and-the-dial-of-destiny-1687388228406?tab=music

The strangest part of the new score is how Lorne has claimed that recording in several locations helped to convey the character/emotion of each of the cities depicted in the film… which is a farce, considering that every location is underscored with the same plodding, homogenised sound. Contrast that against Kraemer’s approach. Each location had a very clear orchestrational and compositional character - and Kraemer never needed a free holiday to any of these locations to craft a superb score…

They don't sound bad, but their sounding pitch/speed is different from the one that it was recorded at... which is a technical error, and something which should have been fixed before the release.