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Aside from casting Keegan-Michael Key to voice Bumblebee, he hasn't hired any other past collaborators to work on the flick (from what I've seen listed on IMDB thus far). I think he'd be smart enough to try and get someone different to score this flick that hasn't gotten too many action or animated credits on their resume like Cliff Martinez (originally apart of Red Hot Chili Peppers with Flea, who provided minor voiceover roles in Josh Cooley's previous projects like Riley's First Date? and Toy Story 4).

I hope the movie is scored by someone along the lines of Tangerine Dream like Cliff Martinez or such instead of a composer known for standard action or animated flicks.

I think the score for Shrek 2 is on par with the first (with a slight preference for the first one more).

mmmmmmmmhhhhhhhhhhhhhhhhhhmmmmmmmmmmmmmmmmmmmmmmmmm

Well, Trent Reznor is one of the most 90s musicians to ever grace the decade. And with the 90s-like atmosphere and soundtrack choices the flick seems to be going for so far, Trent Reznor scoring this makes absolute sense.

Who else thought that the No Time to Die live performance was amazingly gonzo?

You'd think Hans Zimmer would've scored the series seeing as how he worked on The Pacific and teamed up with Fukunaga on No Time to Die.

According to Film Music Reporter, Kris Bowers (Bridgerton, King Richard, Green Book, Space Jam: A New Legacy, Dear White People) has recently been recording his underscore for the upcoming film adaptation of The Color Purple. The movie is directed by Blitz Bazawule (The Burial of Kojo, Black Is King) and stars Fantasia, Taraji P. Henson, Colman Domingo, Corey Hawkins, H.E.R., Danielle Brooks, Ciara, Halle Bailey, Aunjanue Ellis, Elizabeth Marvel, Jon Batiste Louis Gossett Jr., Tamela J. Mann, David Alan Grier, Deon Cole and Stephen Hill. The period drama tells the story of a Black Southern woman who struggles to find her identity after suffering abuse from her father and others over the course of four decades. Marcus Gardley wrote the screenplay based on the Tony-winning musical by Marsha Norman, Brenda Lee, Allee Willis & Stephen Bray, which was based on the Pulitzer Prize-winning 1982 novel by Alice Walker. Oprah Winfrey is producing the project for Harpo Films, alongside Steven Spielberg for Amblin Entertainment, as well as Scott Sanders (In the Heights) and Quincy Jones (who composed the music for Spielberg’s 1985 film adaptation of Walker’s novel). The Color Purple is scheduled to be released on December 20, 2023 by Warner Bros. Pictures. http://filmmusicreporter.com/2023/02/21/kris-bowers-scoring-blitz-bazawules-the-color-purple/

According to his Instagram post, composer Jognic Bontemps is reteaming with director Steven Caple Jr. on the upcoming sci-fi action movie, Transformers: Rise of the Beasts. Bontemps has previously collaborated with Caple Jr. on his first feature film, The Land, and provided additional music for Creed II (scored by Ludwig Goransson). Transformers: Rise of the Beasts is set to be released in theaters on June 9, 2023 by Paramount Pictures. 1171276963_TransformersRiseoftheBeastsOfficialTeaserTrailer2023Movie1080p.mp4

It just got nominated at the 65th Grammy Awards for Best Compilation Soundtrack Album for Visual Media. Despite it being a good movie overall, the new score and songs were definitely the weakest part of this flick for being textbook bland and forgettable (especially for a sequel to a film known for its music being one of the hearts and soul of that flick). What was even the point of supposedly bringing back Harold Faltermeyer if there seems to be no trace of his style anywhere, just Zimmer’s droning and workmanlike wallpaper of a score that doesn’t feel like a good homage to the original or something new that adds to the scenes in any way. In terms of Joseph Kosinski’s legacy sequels, this is LEAGUES better than Tron: Legacy, except for one aspect (and the only thing people remember the most about the flick aside from the visuals and de-aged Jeff Bridges) and that is Daft Punk’s pulsating score. It is almost nothing like the score from the original TRON, but boy does it add the movie hard. Whether the scene involves helping to create atmosphere or add to a rockin’ action sequence, the score delivers in a way to where you can’t imagine the movie without Daft Punk’s score in any way. In that case, what does Hans Zimmer or Lorne Balfe bring to the table that felt essential to have in a score for the sequel of Top Gun? Nothing. Say what you will about the films, but John Williams and John Carpenter definitely added something to the Star Wars and Halloween sequel films with their sound at the forefront that allowed them to create new themes for them to play with in a franchise they are familiar with without resorting to just reciting themes and notes people remember for a paycheck. Same thing could’ve and should’ve happened with Faltermeyer. And if that didn’t pan out for whatever reason, I’m baffled as to why Kosinski did not tap Joseph Trapanese (his go-to composer) to score. He’s apparently a huge fan of the original score and has worked on scores in franchises that have both payed homage to their respective sources while feeling like their own thing that’s new. For Hans, even as a last-minute replacement, I can’t imagine No Time to Die without his score. It feels like he absolutely adores the music of James Bond (even including a few pieces and themes from OHMSS as homages), while not afraid to add that Zimmer edge in a way to where it felt like he was having fun adding his sound to the 007 universe with killer new music with different plus fluctuating tones that also lets his fellow musicians get their time to shine. The only reason I feel Zimmer and Balfe worked on the score is ONLY because of their relationship with Jerry Bruckheimer, Tom Cruise, and/or the late Tony Scott. Even if they liked or even loved Faltermeyer plus his work on the original, it’s clear this was a work-for-hire job for a score that needed something more to a flick almost everyone loved for many reasons that appealed to both fans and non-fans alike. It was a sequel to a film where the music added something in a way to where you can’t imagine the flick without out along with award-winning songs that make you feel so many emotions with or without context because they work so well on their own. Top Gun: Maverick went far and beyond to be a masterful tribute to the original and its director. The original had the direction, the look, the sound, the star power, the sheer 80s-ness of it all. The new one had the emotion, the sympathy, the passion, the danger, the characters, the scope. Even if they were in the original, the new one added or improved upon it even more so that was familiar yet fresh at the same time. Either way, the new film mixed together the past and present of filmmaking and storytelling to create something audiences will remember and go back to, Top Gun fan or not beforehand. If only that was the case with the new music as well. Finally, I don’t remember zilch about the Lady Gaga song. It just sounded like a big yet generic power ballad that is begging to get awards consideration like Take My Breath Away, and for that, it sucks even more now just thinking about it (and like I said, I don’t remember much about it that’s worth reminiscing about).

Would you mind transcribing the article here since I can't seem to load it up properly?

Kosinski might as well have gotten his go-to composer, Joseph Trapanese, to work on the score. He's a huge fan of the original film's score and is pretty good at mixing orchestral and electronic elements together that feel both consistent and unique at the same time. If I had to bring Faltermeyer out of retirement for anything, I'd have done it for Beverly Hills Cop IV. He already worked on the first two films in the series with both its score and soundtrack all drenched in his DNA that's (arguably) way more vital to capture than Top Gun. Plus, he's one of the most memorable elements of the series that define them in terms of tone and how they fit in with the movies proper.

Fine (I guess), but I honestly wished A.R. Rahman scored this instead. Plus, this wouldn't of been his first time dealing with MCU material. https://youtu.be/w5LGdqQAChs

Can you find a source that confirms this? I'd love to know.