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Junkie XL's JUSTICE LEAGUE (2021)


Edmilson
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After watching the film and hearing (God forgive me) the score album the most important thoughts are this:

-Danny Elfman was right, his Batman theme is the Batman Theme (sorry Giacchino)

-Although it hurts I think that the JW Superman Theme is rightfully out of this movie, I hope that the next superman is enough for bringing back THE superman Theme.

-WW´s theme is becoming too much

-Junkie XL is improving in his score writing

-It's an overall better film

-Flash is not only anoying but his musical elements went to hell without Elfman's motif, what's more I felt that Danny Elfman's theme had similarities with Blake Neely's Theme, so it was right.

-Finally, I miss more and more Brian Tyler and John Powell as a good balance between modern superhero film scoring and being respectful with a tradition that comes from Wagner, to Steiner to John Williams...having a Theme that not only appears with the character, but also shapes the character.

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I agree about Flash. I am interested to see what Benjamin Wallfisch will do with the character. I think he can create a much better theme.

 

Superman...not so much. Williams' Superman them is already in 4 movies (five if you count JL). I much rather more exploration of Zimmer's ideas. And if Zimmer is not coming back, then whoever is do the movie next, I hope he writes a new theme for a new generation.

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3 hours ago, Mephariel said:

 

IMO, WW84 is much better score than JL (both versions). Much better melodies and themes. It has the perfect combo of orchestral and synth music, action and romance, and was able to coherently link those elements together.

 

I've heard a lot of people here who like it... unfortunately it just feels hollow to me. I've listened to it two or three times now and I couldn't recall a single new theme in that film off the top of my head.

 

There's several great moments in Justice League I can recall after one viewing of the film.

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Great highlight @Edmilson

This is one of my personal favorites. Absolutely one of the best arrangements of Zimmer's theme I've heard. Has so much more heart and soul than any prior appearance:

 

Watch. It'll turn out this is a reprise of one of those credited cues from MoS of BvS and I'll have to eat my hat. But I feel like I would've remembered a treatment like this.

 

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Not to throw a third video in a row on the page, but the best action theme (to me) is probably At the Speed of Force. Though I generally do like the music used for Barry's scenes. Honestly Aquaman got off the worst, since I dont recognize any unique sound for him at all.

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2 hours ago, MedigoScan said:

Not to throw a third video in a row on the page, but the best action theme (to me) is probably At the Speed of Force. Though I generally do like the music used for Barry's scenes. Honestly Aquaman got off the worst, since I dont recognize any unique sound for him at all.

 

Oh agreed on both points there. I like Flash's material as well, specifically the "Speed of Force" sequence I found quite effective and cool. Not picking up on anything specific for Aquaman either. Maybe Junkie will breakdown themes in one of his studio time episodes.

 

Speaking of, Junkie breaks down "The Crew at Warpower" on his YouTube channel. It's more about the technical stuff and how he effected certain elements and produced the track, since that what studio time is about, but he did mention that a live orchestra was recorded for the score. Which...at time surprises me, because the orchestra doesn't sound super real in some areas. But hey, I guess it's just how it's mixed.

 

Link for the curious. Again, it's more technical about production. If you're looking for a theme breakdown or composition break down, this is not really that:

 

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6 hours ago, Edmilson said:

The score isn't that horrible. This track might be my favorite, it's genuinely touching and emotional:

 

 

 

The track is 2:29 long, 1:20 of it is pure synth pad noise. The rest is a couple of mildly pleasant chords. 

 

If this is a highlight, I'm John freaking Williams. 

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I've listened to a couple of pieces (there's no way I'm going through the whole thing... I don't hate myself that much), and it just sounds awful.

 

No thanks.

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The problem with these Remote Control goon scores is that from beginning to end, they treat each cue as an isolated and separate entity, without ANY sense for what comes before or after, or indeed an arc. 

It's an endless string of individual cues, using the same language over and over. 

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5 hours ago, gkgyver said:

The problem with these Remote Control goon scores is that from beginning to end, they treat each cue as an isolated and separate entity, without ANY sense for what comes before or after, or indeed an arc. 

It's an endless string of individual cues, using the same language over and over. 

 

While I think you've been ridiculously harsh in your other posts. I can agree with this bit.

 

It's probably why none of them feel like they have a cohesive vision or reach their full potential. A lot of their themes tend to stagnate so they sound the same every time you hear them. A lot have mentioned specifically the new chants for Wonder Woman are the same every time you hear them and that's absolutely true. Plus, even her electric cello riff is never developed by them in their own scores. I thought Rupert Gregson-Williams cleverly developed what I thought was always going to be a stagnant riff into something that can be developed in her solo film, but the original composers themselves can't or don't want to develop it. 

 

The only one I felt got some sense of development here was Zimmer's Clark Kent theme. It's used in some nice new ways. That's my thoughts though. You seem to hate every note and moment of this score.

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Junkie proves once again, he's a one-dimensional film composer. These RCP composers struggle mightily with writing themes and variations. They also struggle enormously with orchestration as well. The formulaic instrumentation of loud brass, loud drums, strings, a synthetic choir, and synths once again dominate the sound of this score with not much else offered.

 

Score: 2.5/5

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38 minutes ago, EdC said:

1: Song to the Siren (Rose Betts) (Barry Saves Iris From Truck) (After trk 12)

2: A Hunter Gathers (Superman’s Death, Motherboxes Awaken 1:51, Themyscira Motherbox 3:46, Bruce in Iceland Mountains 5:20)

3: Migratory (Martha Leaves Smallville House)

4: Things Fall Apart (Bruce and Alfred at the Airfield)

5: Wonder Woman Defending / And What Rough Beast (Terrorists Take Hostages, WW Investigates 1:54, WW Rescue (alt) 3:24)

6: World Ending Fire (Hippolyta Visits MB, Steppenwolf attacks/Fall of the Tomb 3:13, Chase Across the Plains 5:30)

7: Middle Mass (Steppenwolf Arrives in Russia)

8: Long Division (Bruce Searches for Allies on Plane)

9: No Paradise, No Fall (Janitor Meets Parademons, Artemis’ Arrow 2:07)

10: The Center Will Not Hold, Twenty Centuries of Stony Sleep (Kryptonian Ship, Vic Speaks w Silas 0:53, Diana Reads Temple Mural 1:41, Arthur Saves Fisherman 4:30, Arthur & Vulko Undersea 5:23)

11: As Above, So Below (Steppenwolf and DeSaad)

12: No Dog, No Master (Legend of Old Gods Amassing Against Darkseid, Attack Begins 2:33, Hiding the Motherboxes 5:12)

13: Take This Kingdom by Force (Steppenwolf Interrogates Atlanteans w Spider)

14: A Splinter from the Thorn That Pricked You (Lois and Superman’s Cloak)

15: Cyborg Becoming / Human All Too Human (Vic’s Football Memories, Accident 2:57, Silas Gives Vic Tape (Powers & Good Deeds) 4:25)

16: The Path Chooses You (Bruce Confronts Barry)

17: Aquaman Returning / Carry Your Own Water (Mera at the Motherbox, Steppenwolf Attacks 1:59, Arthur Arrives 3:27, Arthur & Mera 4:40, Vic Sees Batsignal/Steppenwolf Adds 2nd MB 6:28)

18: The Provenance of Something Gathered (Batman and Friends Meet Gordon)

19: We Do This Together (Arrival in Tunnel, Battle & Flood Escape 3:24)

20: The Will to Power (Steppenwolf’s Antilife Vision, Talk on Stryker’s Island 1:35, DeSaad & Darkseid 2:13)

21: Smoke Become Fire (JL Arrival at Batcave (alt))

22: I Teach You, the Overman (Vic Explains MB and his Origin (alt), Superman Resurrection Idea/Martha Visits Lois 3:00)

23: A Glimmer at the Door of the Living (Manhunter Leaves Lois)

24: How We Achieve Ourselves (Debate Bringing Superman Back)

25: The Sun Forever Rising (Midnight Digging Talk)

26: Underworld (Sneak Into STAR Labs Compound, Silas Sees Vic/Kryptonian ship 3:53)

27: Superman Rising, Pt. 1 / A Book of Hours (Lois In Bed, Clark Goes Into Pool 1:28)

28: Beyond Good and Evil (Barry’s Idea/Lois’ Last Visit, Vic’s Vision of Darkseid’s Future 2:20, Barry Runs 2:54)

29: Monument Builder (Clark Rises and Flies to Monument Site)

30: Monument Destroyer (Clark Feels Threatened, Vs Flash 2:26, Vs Army & Fights Towards Bruce 3:26)

31: Urgrund (Lois Appears)

32: So Begins the End (Steppenwolf vs Silas, After Steppenwolf’s Escape 2:41)

33: The House of Belonging (Clark at Smallville House)

34: Earthling (Cornfield Talk and Reunion with Martha)

35: Flight Is Our Nature (Bruce: “Something Darker”, Troop Carrier Launch 0:41)

36: Indivisible (Motherboxes Unite and Tremors Around the World)

37: And the Lion-Earth Did Roar, Pt. 1 (JL Prep for Battle, Batmobile vs Parademons 1:21)

38: And the Lion-Earth Did Roar, Pt. 2 (JL Vs Parademons, JL Confronts Steppenwolf 1:44)

39: Superman Rising, Pt. 2 / Immovable (Clark Arrives and Kicks Ass)

40: At the Speed of Force (Barry Injured, Darkseid’s Boom Tube, Barry Runs To the Past 1:30)

41: My Broken Boy (Vic Inside Motherbox Vision, MB Separation)

42: That Terrible Strength (Steppenwolf Killed, Darkseid Warned, Darkseid Plans)

43: An Eternal Reoccurrence of Change (JL Emerges Into Dawn)

44: We Slay Ourselves (Silas Tape, Arthur Leaves, Epilogues)

45: Your Own House Turned to Ashes (Arkham Missing Lex, Meeting with Deathstroke)

46: All of You Undisturbed Cities (Knightmare Dream with Joker)

47: The Art of Preserving Fire (Manhunter Leaves Bruce (alt))

48: The Crew at Warpower (Main Theme Suite)

49: The Foundation Theme (from Zack Snyder's Justice League) (Main Theme Suite 2)

50: Batman, a Duty to Fight / To See (Batman Suite)

51: Batman, an Invocation to Heal / To Be Seen (Batman Suite 2)

52: Wonder Woman, a Call to Stand / A World Awakened (WW Suite)

53: Flash, the Space to Win / Our Legacy Is Now (Flash, JL Suite)

54: Hallelujah (Allison Crowe, End Credits)

 

That's pretty useful, thanks!

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40 minutes ago, EdC said:

Gosh I haven't been here in awhile but glancing through this thread there seems to be alot of criticism over this release. Oh well, everybody's got different tastes, but I enjoyed this score for what it is. The film itself is pretty "boutique" IMHO, in that it is overlong and indulgent as a piece of cinema, but if you are a Zack Snyder fan, you will be very happy. For this reason, the score also has a very "lumbering" nature. There's probably a solid 30 minutes of slo-mo in this film, and thus you will hear lots of synth-pad swells and slow fades. The guy did this whole thing from his bedroom in 8 months so it's actually more or less what I'd expect. Having said that, I think it fits very well with the aesthetic established in the 2 previous films. I'm an Elfman fan but I was disappointed in his score to the theatrical release for the most part. I do miss his Flash theme tho. I don't think the new score tops that bit.

 

Anyways, I took the trouble to try to match music to film narrative (an old hobby well documented on my old blog http://cuebycue.blogspot.com/ ) and this is what I came up with. Not a bad way to spend an afternoon during a pandemic! This was all from a single pass so I'm sure there will be corrections...anyways, I thought I'd share here in case someone may find this useful. The release is pretty much chronological aside from track 1. The last tracks are suites. There's repetition to be sure, but no more than I'd expect from a superhero score coming out of the Zimmer school.

 

What does alt mean? Meaning the OST cue is different from the one used in the film?

 

For what its worth as I have said in the thread, I do like the main theme and think it is memorable. 

 

The two big flash moments it definitely makes it presence felt.

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4 hours ago, p0llux said:

Junkie proves once again, he's a one-dimensional film composer. These RCP composers struggle mightily with writing themes and variations. They also struggle enormously with orchestration as well. The formulaic instrumentation of loud brass, loud drums, strings, a synthetic choir, and synths once again dominate the sound of this score with not much else offered.

 

Score: 2.5/5

 

RCP orchestrations are definitely simplistic. But I disagree with themes. If anything, RCP composers are one of the few out there that still write themes. 

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Occasional motifs buried in layers of sound design noise. And I'm not even referring to Zimmer's own not-necessarily-unpleasant symphonic Euro-pop like in his Nolan Batman scores.

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On 3/20/2021 at 2:27 PM, Mephariel said:

Superman...not so much. Williams' Superman them is already in 4 movies (five if you count JL). I much rather more exploration of Zimmer's ideas. And if Zimmer is not coming back, then whoever is do the movie next, I hope he writes a new theme for a new generation.

 

This (though it'd have been 5 films prior to theatrical JL). As much as I do love those Superman scores, there's a great amount of potential within the material from MoS, as much as I don't love that score. It's also why I didn't mind Elfman's Bat theme being present comparatively, given I wasn't 100% sold on the BvS material, so doing a bit more with that old soundscape was fine by me (though Holkenborg's eventual JL work was the better way of going about the character).

 

On 3/20/2021 at 3:54 PM, TSMefford said:

 

I've heard a lot of people here who like it... unfortunately it just feels hollow to me. I've listened to it two or three times now and I couldn't recall a single new theme in that film off the top of my head.

 

There's several great moments in Justice League I can recall after one viewing of the film.

 

This is actually a case where I prefer the complete presentation (preferably cleaned up a bit, wink wink ;)). It solved a lot of the issues I had with the OST, and even provided a better sense of what Zimmer was going for with the whole score. I still have issues with some of it (most of the love stuff continues to leave me cold, and the temp tracking (as refreshingly honest as it is) will forever bug me (besides the Pompeii incorporation)), but I like it now to where I actually feel it's his best superhero effort (probably still prefer Dark Phoenix and TASM2 personally). The Sketches album was a bit underwhelming, but that might help in swaying you with its fun atmosphere. So yeah, WW84 remains the best DCEU score currently.

 

13 hours ago, TSMefford said:

 

While I think you've been ridiculously harsh in your other posts. I can agree with this bit.

 

It's probably why none of them feel like they have a cohesive vision or reach their full potential. A lot of their themes tend to stagnate so they sound the same every time you hear them. A lot have mentioned specifically the new chants for Wonder Woman are the same every time you hear them and that's absolutely true. Plus, even her electric cello riff is never developed by them in their own scores. I thought Rupert Gregson-Williams cleverly developed what I thought was always going to be a stagnant riff into something that can be developed in her solo film, but the original composers themselves can't or don't want to develop it. 

 

The only one I felt got some sense of development here was Zimmer's Clark Kent theme. It's used in some nice new ways. That's my thoughts though. You seem to hate every note and moment of this score.


You've described (more kindly) why a lot of modern scores tend to do nothing for me. There's plenty of good ideas I find in various RCP/other composer's projects, but the whole piece ends up feeling disjointed and a bit dull. Often as a result of them prioritizing hitting every individual on screen beat instead of letting things breathe and build (some complete scores, for instance, being made of a bunch of short cues instead of mostly fully fledged pieces). Most of the Transformers scores are prime examples for me, as I love a lot of themes and action beats in those, but the actual meat of it is incredibly nothing. I actually prefer it if the score is more about mood and general feel instead of pretending to be thematic, as it at least builds towards making that work for the listener. It's likely why I actually clicked with ZSJL on the first listen, because it feeling so earnestly "trashy" made it easy to embrace the noisy chaos that even some Snyder fans are finding hard to swallow. It's odd how that works. I blame my EDM background :P.

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On 3/21/2021 at 8:27 AM, Mephariel said:

Superman...not so much. Williams' Superman them is already in 4 movies (five if you count JL).

 

Six if you count Superman Returns!

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On 3/21/2021 at 8:04 AM, gkgyver said:

The problem with these Remote Control goon scores is that from beginning to end, they treat each cue as an isolated and separate entity, without ANY sense for what comes before or after, or indeed an arc. 

It's an endless string of individual cues, using the same language over and over. 

 

This is a good point and a primary reason I struggle to get into scores of this ilk myself

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2 hours ago, Jay said:

 

This is a good point and a primary reason I struggle to get into scores of this ilk myself

 

There really ends up only being a couple of tracks that I play from scores like this. There's only like 2 or 3 tracks from MoS I ever revisit, the same of even less for BvS, this one has a bit more. I'm finding I quite like 6 or so tracks, granted this score is twice as long. Lol.

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On 3/21/2021 at 9:45 PM, EdC said:

Gosh I haven't been here in awhile but glancing through this thread there seems to be alot of criticism over this release. Oh well, everybody's got different tastes, but I enjoyed this score for what it is. The film itself is pretty "boutique" IMHO, in that it is overlong and indulgent as a piece of cinema, but if you are a Zack Snyder fan, you will be very happy. For this reason, the score also has a very "lumbering" nature. There's probably a solid 30 minutes of slo-mo in this film, and thus you will hear lots of synth-pad swells and slow fades. The guy did this whole thing from his bedroom in 8 months so it's actually more or less what I'd expect. Having said that, I think it fits very well with the aesthetic established in the 2 previous films. I'm an Elfman fan but I was disappointed in his score to the theatrical release for the most part. I do miss his Flash theme tho. I don't think the new score tops that bit.

 

Anyways, I took the trouble to try to match music to film narrative (an old hobby well documented on my old blog http://cuebycue.blogspot.com/ ) and this is what I came up with. Not a bad way to spend an afternoon during a pandemic! This was all from a single pass so I'm sure there will be corrections...anyways, I thought I'd share here in case someone may find this useful. The release is pretty much chronological aside from track 1. The last tracks are suites. There's repetition to be sure, but no more than I'd expect from a superhero score coming out of the Zimmer school.

 

1: Song to the Siren (Rose Betts) (Barry Saves Iris From Truck) (After trk 12)

2: A Hunter Gathers (Superman’s Death, Motherboxes Awaken 1:51, Themyscira Motherbox 3:46, Bruce in Iceland Mountains 5:20)

3: Migratory (Martha Leaves Smallville House)

4: Things Fall Apart (Bruce and Alfred at the Airfield)

5: Wonder Woman Defending / And What Rough Beast (Terrorists Take Hostages, WW Investigates 1:54, WW Rescue (alt) 3:24)

6: World Ending Fire (Hippolyta Visits MB, Steppenwolf attacks/Fall of the Tomb 3:13, Chase Across the Plains 5:30)

7: Middle Mass (Steppenwolf Arrives in Russia)

8: Long Division (Bruce Searches for Allies on Plane)

9: No Paradise, No Fall (Janitor Meets Parademons, Artemis’ Arrow 2:07)

10: The Center Will Not Hold, Twenty Centuries of Stony Sleep (Kryptonian Ship, Vic Speaks w Silas 0:53, Diana Reads Temple Mural 1:41, Arthur Saves Fisherman 4:30, Arthur & Vulko Undersea 5:23)

11: As Above, So Below (Steppenwolf and DeSaad)

12: No Dog, No Master (Legend of Old Gods Amassing Against Darkseid, Attack Begins 2:33, Hiding the Motherboxes 5:12)

13: Take This Kingdom by Force (Steppenwolf Interrogates Atlanteans w Spider)

14: A Splinter from the Thorn That Pricked You (Lois and Superman’s Cloak)

15: Cyborg Becoming / Human All Too Human (Vic’s Football Memories, Accident 2:57, Silas Gives Vic Tape (Powers & Good Deeds) 4:25)

16: The Path Chooses You (Bruce Confronts Barry)

17: Aquaman Returning / Carry Your Own Water (Mera at the Motherbox, Steppenwolf Attacks 1:59, Arthur Arrives 3:27, Arthur & Mera 4:40, Vic Sees Batsignal/Steppenwolf Adds 2nd MB 6:28)

18: The Provenance of Something Gathered (Batman and Friends Meet Gordon)

19: We Do This Together (Arrival in Tunnel, Battle & Flood Escape 3:24)

20: The Will to Power (Steppenwolf’s Antilife Vision, Talk on Stryker’s Island 1:35, DeSaad & Darkseid 2:13)

21: Smoke Become Fire (JL Arrival at Batcave (alt))

22: I Teach You, the Overman (Vic Explains MB and his Origin (alt), Superman Resurrection Idea/Martha Visits Lois 3:00)

23: A Glimmer at the Door of the Living (Manhunter Leaves Lois)

24: How We Achieve Ourselves (Debate Bringing Superman Back)

25: The Sun Forever Rising (Midnight Digging Talk)

26: Underworld (Sneak Into STAR Labs Compound, Silas Sees Vic/Kryptonian ship 3:53)

27: Superman Rising, Pt. 1 / A Book of Hours (Lois In Bed, Clark Goes Into Pool 1:28)

28: Beyond Good and Evil (Barry’s Idea/Lois’ Last Visit, Vic’s Vision of Darkseid’s Future 2:20, Barry Runs 2:54)

29: Monument Builder (Clark Rises and Flies to Monument Site)

30: Monument Destroyer (Clark Feels Threatened, Vs Flash 2:26, Vs Army & Fights Towards Bruce 3:26)

31: Urgrund (Lois Appears)

32: So Begins the End (Steppenwolf vs Silas, After Steppenwolf’s Escape 2:41)

33: The House of Belonging (Clark at Smallville House)

34: Earthling (Cornfield Talk and Reunion with Martha)

35: Flight Is Our Nature (Bruce: “Something Darker”, Troop Carrier Launch 0:41)

36: Indivisible (Motherboxes Unite and Tremors Around the World)

37: And the Lion-Earth Did Roar, Pt. 1 (JL Prep for Battle, Batmobile vs Parademons 1:21)

38: And the Lion-Earth Did Roar, Pt. 2 (JL Vs Parademons, JL Confronts Steppenwolf 1:44)

39: Superman Rising, Pt. 2 / Immovable (Clark Arrives and Kicks Ass)

40: At the Speed of Force (Barry Injured, Darkseid’s Boom Tube, Barry Runs To the Past 1:30)

41: My Broken Boy (Vic Inside Motherbox Vision, MB Separation)

42: That Terrible Strength (Steppenwolf Killed, Darkseid Warned, Darkseid Plans)

43: An Eternal Reoccurrence of Change (JL Emerges Into Dawn)

44: We Slay Ourselves (Silas Tape, Arthur Leaves, Epilogues)

45: Your Own House Turned to Ashes (Arkham Missing Lex, Meeting with Deathstroke)

46: All of You Undisturbed Cities (Knightmare Dream with Joker)

47: The Art of Preserving Fire (Manhunter Leaves Bruce (alt))

48: The Crew at Warpower (Main Theme Suite)

49: The Foundation Theme (from Zack Snyder's Justice League) (Main Theme Suite 2)

50: Batman, a Duty to Fight / To See (Batman Suite)

51: Batman, an Invocation to Heal / To Be Seen (Batman Suite 2)

52: Wonder Woman, a Call to Stand / A World Awakened (WW Suite)

53: Flash, the Space to Win / Our Legacy Is Now (Flash, JL Suite)

54: Hallelujah (Allison Crowe, End Credits)

 

Did you notice that We Do This Together has many alternate sections in it? Possibly tracked music from other Wonder Woman scenes especially. Also, the Aquaman motif return with the water seems to be missing. It begins being different when Wonder Woman jumps down to fight Steppenwolf and her vocal section appears.

 

As well, Vic's vision during Superman's resurrection is completely different. The full choir section has been entirely excised. Odd, considering how much music we have. Maybe it is somewhere else, but I haven't found it yet. Those are the only two examples I have found so far but there may be more.

 

The Darkseid vision being missing is particularly sad, as it has the music for the Omega beams and Superman succumbing to Anti-Life and it's also a pretty good cue.

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I just don't understand why this keeps happening, especially with such a long release.

 

If you release a score album for a movie, you release the music from the movie, not alternate cues or anything. Just doesn't make sense to me

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25 minutes ago, JNHFan2000 said:

I just don't understand why this keeps happening, especially with such a long release.

 

If you release a score album for a movie, you release the music from the movie, not alternate cues or anything. Just doesn't make sense to me


i think often composers include their own intended music on albums whereas the films have lot of tracking and  micro editing.

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Precisely. The music as heard in the movie not always is the composer's intent. More often than not it contains a lot of tracking, microedits, etc. 

 

In JL's case, I'm pretty sure there was a lot of tracking with Wonder Woman's material.

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Darkseid's theme in the Superman: Animated Series was pretty cool:

 

 

 

I was always amazed in the Batman: Animated Series how spot on the themes were in depicting the villains. Not even the movies did it so well (except perhaps Goldenthal's Riddler's and Freeze's themes)

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Much of And The Lion-Earth Did Roar is either alternate or original intention. The film version has quite a lot different. I am thinking maybe some of this was tracked in from the suites at the end but I haven't got that far yet in my dissection. You can especially hear the differences during the carrier destruction of the tower, which seems unreleased. Then again when Aquaman is slicing parademons in the air you can hear a string line that is rather interesting that carries through the next section of the cue, including JL theme interpolations that also aren't included unless they are in the suites.

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Lion Earth Part 1 does feature extensive tracking from the Batman suite and a few bits from the actual OST track placed all over, but there is clearly also music that we didnt get in this OST (like the full opening of the bank heist, which I rather liked)

 

The bigger question to me is why does it sound like some album tracks have music tracked in from the suites?

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Wowzers, I really don't like this wailing woman sound for Wonder Woman in this new film/score; Why change from the cool music she had in her first 4 films?

 

 

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Maybe they are planning an even more massive release when Justice is Gray hits? Honestly, I have no idea. They know the effect the Darkseid vision will have so withholding that music has to be a decision. I suppose it could be composer intention but I doubt it because the whole event has been very fan-servicey so far. It's frustrating to have this much, some of which is actually quite fun and good and still be missing the music from the parts of the movie that are the most interesting.

1 minute ago, Jay said:

Wowzers, I really don't like this wailing woman sound for Wonder Woman in this new film/score; Why change from the cool music she had in her first 4 films?

 

 

 

You still get the original theme a whole bunch, don't worry. It is used for the Amazons as well and sort of connects her to them musically in this film. Artemis' arrow gets a lot of wailing as does that whole ceremony and about every shot of the queen. It is definitely overused but is also clearly not meant to replace her original theme which is, again, used a BUNCH, especially it's underlying rhythm, which is practically omnipresent.

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Maybe Junkie is nostalgic for the early 2000s, when the wailing woman was in almost every "epic" score.

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On 3/22/2021 at 2:45 AM, EdC said:

Gosh I haven't been here in awhile but glancing through this thread there seems to be alot of criticism over this release. Oh well, everybody's got different tastes, but I enjoyed this score for what it is. The film itself is pretty "boutique" IMHO, in that it is overlong and indulgent as a piece of cinema, but if you are a Zack Snyder fan, you will be very happy. For this reason, the score also has a very "lumbering" nature. There's probably a solid 30 minutes of slo-mo in this film, and thus you will hear lots of synth-pad swells and slow fades. The guy did this whole thing from his bedroom in 8 months so it's actually more or less what I'd expect. Having said that, I think it fits very well with the aesthetic established in the 2 previous films. I'm an Elfman fan but I was disappointed in his score to the theatrical release for the most part. I do miss his Flash theme tho. I don't think the new score tops that bit.

 

Anyways, I took the trouble to try to match music to film narrative (an old hobby well documented on my old blog http://cuebycue.blogspot.com/ ) and this is what I came up with. Not a bad way to spend an afternoon during a pandemic! This was all from a single pass so I'm sure there will be corrections...anyways, I thought I'd share here in case someone may find this useful. The release is pretty much chronological aside from track 1. The last tracks are suites. There's repetition to be sure, but no more than I'd expect from a superhero score coming out of the Zimmer school.

 

1: Song to the Siren (Rose Betts) (Barry Saves Iris From Truck) (After trk 12)

2: A Hunter Gathers (Superman’s Death, Motherboxes Awaken 1:51, Themyscira Motherbox 3:46, Bruce in Iceland Mountains 5:20)

3: Migratory (Martha Leaves Smallville House)

4: Things Fall Apart (Bruce and Alfred at the Airfield)

5: Wonder Woman Defending / And What Rough Beast (Terrorists Take Hostages, WW Investigates 1:54, WW Rescue (alt) 3:24)

6: World Ending Fire (Hippolyta Visits MB, Steppenwolf attacks/Fall of the Tomb 3:13, Chase Across the Plains 5:30)

7: Middle Mass (Steppenwolf Arrives in Russia)

8: Long Division (Bruce Searches for Allies on Plane)

9: No Paradise, No Fall (Janitor Meets Parademons, Artemis’ Arrow 2:07)

10: The Center Will Not Hold, Twenty Centuries of Stony Sleep (Kryptonian Ship, Vic Speaks w Silas 0:53, Diana Reads Temple Mural 1:41, Arthur Saves Fisherman 4:30, Arthur & Vulko Undersea 5:23)

11: As Above, So Below (Steppenwolf and DeSaad)

12: No Dog, No Master (Legend of Old Gods Amassing Against Darkseid, Attack Begins 2:33, Hiding the Motherboxes 5:12)

13: Take This Kingdom by Force (Steppenwolf Interrogates Atlanteans w Spider)

14: A Splinter from the Thorn That Pricked You (Lois and Superman’s Cloak)

15: Cyborg Becoming / Human All Too Human (Vic’s Football Memories, Accident 2:57, Silas Gives Vic Tape (Powers & Good Deeds) 4:25)

16: The Path Chooses You (Bruce Confronts Barry)

17: Aquaman Returning / Carry Your Own Water (Mera at the Motherbox, Steppenwolf Attacks 1:59, Arthur Arrives 3:27, Arthur & Mera 4:40, Vic Sees Batsignal/Steppenwolf Adds 2nd MB 6:28)

18: The Provenance of Something Gathered (Batman and Friends Meet Gordon)

19: We Do This Together (Arrival in Tunnel, Battle & Flood Escape 3:24)

20: The Will to Power (Steppenwolf’s Antilife Vision, Talk on Stryker’s Island 1:35, DeSaad & Darkseid 2:13)

21: Smoke Become Fire (JL Arrival at Batcave (alt))

22: I Teach You, the Overman (Vic Explains MB and his Origin (alt), Superman Resurrection Idea/Martha Visits Lois 3:00)

23: A Glimmer at the Door of the Living (Manhunter Leaves Lois)

24: How We Achieve Ourselves (Debate Bringing Superman Back)

25: The Sun Forever Rising (Midnight Digging Talk)

26: Underworld (Sneak Into STAR Labs Compound, Silas Sees Vic/Kryptonian ship 3:53)

27: Superman Rising, Pt. 1 / A Book of Hours (Lois In Bed, Clark Goes Into Pool 1:28)

28: Beyond Good and Evil (Barry’s Idea/Lois’ Last Visit, Vic’s Vision of Darkseid’s Future 2:20, Barry Runs 2:54)

29: Monument Builder (Clark Rises and Flies to Monument Site)

30: Monument Destroyer (Clark Feels Threatened, Vs Flash 2:26, Vs Army & Fights Towards Bruce 3:26)

31: Urgrund (Lois Appears)

32: So Begins the End (Steppenwolf vs Silas, After Steppenwolf’s Escape 2:41)

33: The House of Belonging (Clark at Smallville House)

34: Earthling (Cornfield Talk and Reunion with Martha)

35: Flight Is Our Nature (Bruce: “Something Darker”, Troop Carrier Launch 0:41)

36: Indivisible (Motherboxes Unite and Tremors Around the World)

37: And the Lion-Earth Did Roar, Pt. 1 (JL Prep for Battle, Batmobile vs Parademons 1:21)

38: And the Lion-Earth Did Roar, Pt. 2 (JL Vs Parademons, JL Confronts Steppenwolf 1:44)

39: Superman Rising, Pt. 2 / Immovable (Clark Arrives and Kicks Ass)

40: At the Speed of Force (Barry Injured, Darkseid’s Boom Tube, Barry Runs To the Past 1:30)

41: My Broken Boy (Vic Inside Motherbox Vision, MB Separation)

42: That Terrible Strength (Steppenwolf Killed, Darkseid Warned, Darkseid Plans)

43: An Eternal Reoccurrence of Change (JL Emerges Into Dawn)

44: We Slay Ourselves (Silas Tape, Arthur Leaves, Epilogues)

45: Your Own House Turned to Ashes (Arkham Missing Lex, Meeting with Deathstroke)

46: All of You Undisturbed Cities (Knightmare Dream with Joker)

47: The Art of Preserving Fire (Manhunter Leaves Bruce (alt))

48: The Crew at Warpower (Main Theme Suite)

49: The Foundation Theme (from Zack Snyder's Justice League) (Main Theme Suite 2)

50: Batman, a Duty to Fight / To See (Batman Suite)

51: Batman, an Invocation to Heal / To Be Seen (Batman Suite 2)

52: Wonder Woman, a Call to Stand / A World Awakened (WW Suite)

53: Flash, the Space to Win / Our Legacy Is Now (Flash, JL Suite)

54: Hallelujah (Allison Crowe, End Credits)


 


Songs 

2. A Hunter

Jon Asgersson : Visur Vatnsenda Rosu 

3. Migratory

Nick Cave : Distant Sky > before "wonder Woman defending...."


10: The Center Will Not Hold, Twenty Centuries of Stony Sleep 00:00 - 5:23
Nick Cave : There Is A Kingdom
10: The Center Will Not Hold, Twenty Centuries of Stony Sleep (5.23 - End)


do u have informations about the good place of 

BVS 01 1M1A Main Titles (Part A)
BVS 11 2M4 Wishlist
BVS 49 8M6 The Girl
BVS 54 9M5 The Warden
MOS 13 - 2m08 I Just Wanted to Help
MOS 18 - 3m15 Who Are You ?
MOS 19 - 3m15b First Flight


 

note These tracks are bonus tracks

48: The Crew at Warpower (Main Theme Suite)

49: The Foundation Theme (from Zack Snyder's Justice League) (Main Theme Suite 2)

50: Batman, a Duty to Fight / To See (Batman Suite)

51: Batman, an Invocation to Heal / To Be Seen (Batman Suite 2)

52: Wonder Woman, a Call to Stand / A World Awakened (WW Suite)

53: Flash, the Space to Win / Our Legacy Is Now (Flash, JL Suite)


 

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3 hours ago, Jay said:

Wowzers, I really don't like this wailing woman sound for Wonder Woman in this new film/score; Why change from the cool music she had in her first 4 films?

 

I didn't mind it once or twice, but the idea isn't really expanded on or developed. It's pretty much the same every time. Personally I find her riff just as repetitive. Give her an actual theme! Oh wait, she had one in her solo film that never gets used again outside of it. The thematic respect seems to only go to between Zimmer and Junkie material, ignoring anything else. A common issue I have when Zimmer or Junkie takes over an existing series.

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I think the wailing women idea is really fitting for the character and for the Amazons, but it should have been used more sparsely, and together with some other theme for quieter moments, and then have the classic riff play in action bits with her.

 

And I think for that the theme she had on her own movie or the one Zimmer did in the sequel would have been great to counterbalance the more epic side of her music, which ends up being a bit tiring and repetitive

 

I also just want to say that I really love the Foundation theme, which is basically a theme for the Justice League, that gets a couple of really powerful variations:

 

This variation is really epic, and works perfectly with the scene it's in (2:31):

 

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I wasn't too keen on it when I first heard it in Crew at Warpower. But yeah I like a lot of the other uses of it in the film, especially the links you've got there. It's probably the best theme to come out of the Snyder DC Films besides maybe the Clark Kent theme. I might be elevating it because it's an actual melody vs a drone or a riff, but yeah.

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12 hours ago, Jay said:

Wowzers, I really don't like this wailing woman sound for Wonder Woman in this new film/score; Why change from the cool music she had in her first 4 films?


It's something that even Zimmer himself allegedly realized when he first composed the piece: namely that it was primarily designed as an action theme. As such, it makes it a bit difficult to be able to use it elsewhere without significantly altering it. This is definitely what HZ did with WW84, where he pretty much flipped it to a major key so that it sounded more uplifting and graceful.

I guess as a result of this actually being the direct follow up to its first appearance, Holkbenborg figured he needed a separate identity to compliment the previous one that's still being used. Within the album, I think it's used decently enough, but I can imagine Snyder became so enamored with it that he pretty much over-cranked its use in the film itself.

Unfortunately, it's been tainted for me a bit after I realized parts of the wailing are super derivative. Watch this video and you'll see what I mean:

 

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I bought this score but haven’t listened to it yet.  All the same, I guarantee that if you listened to the Nick Cave and the Bad Seeds songs and the albums they came from, you’d have a better time.

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6 hours ago, mstrox said:

I bought this score but haven’t listened to it yet.  All the same, I guarantee that if you listened to the Nick Cave and the Bad Seeds songs and the albums they came from, you’d have a better time.

 

Why on earth would you BUY this? 

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11 minutes ago, MedigoScan said:

So now Tom uses Junkie XL again for the Godzilla VS Kong score?

Dont confuse me so, Tom!

 

In the OST cover for GvK he is still credited as Tom:

 

Godzilla vs. Kong Soundtrack

 

But yeah, it's much easier writing Junkie XL than his actual Dutch name.

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Huh, I just realised this guy also did the new Kong/Godzilla movie. Question, when will he have composed enough scores before he starts using his actual name?

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