TOM HOLKENBORG aka JUNKIE XL

I know, i had his first solo album but when i was a kid. But the fact that he doesn't credit him openly doesn't mean that Zimmer hasn't left his stamp on the way Junkie xl works and writes for film (haven't heard it yet btw).

If all you give me surrounding the score is vague grumpiness without any argument, mirroring your grumpiness and negative judgements for scores yet to be released, how am I to know you've heard it? (even apart from the fact you can hear the orchestra at several moments of the score, as well as some other specialty instruments and vocals not included in your summary, rendering the comment false).

Also, "you'll" implies future tense.

Well you've heard it already, why not someone else too?

Ehm.

I was hoping to find SOME kind of conversation on the score, mentions in Now Playing, people discussing against it with fair arguments to discuss it, talking about it, WHATEVER. The fact no-one mentions it apart from a lot of suggestive "I'm sure it'll be shit" if mentioned, also with the score having been released JUST yesterday, I don't think it's unfair to assume no-one heard it yet.

If Erik heard it, why not going a LITTLE BIT further then "stay away, it's shit", creating a negative buzz around a score without any fair argument.

Thanks for your opinion. Since it's clear you don't really want a conversation on the matter I'll refrain from a reply.

And I've got one tip for you: if you don't want to talk about a score, then stop leaving comments in the thread of its composer. If there's one thing message boards annoy me it's the negative unfounded buzz of people that do feel an urge of showing their anger or annoyance towards a work but don't feel so inclined to say WHY.

Also, Jusid's work would've been a day one purchase on CD for me, clips unheard, instead of an iTunes purchase, but you can't blame Junkie XL for stepping into his shoes. He delivered a completely different work.

Actually, I'd be interested to read why to think it's amazing.... if that's how you actually feel about it.

-Erik-

First of all, a little nuance. I certainly don't think the score is 'amazing', nor does it dazzle me with its creativity or orchestral color. As you mentioned, much of that just isn't there. But it's not where Junkie XL is coming from and as such not what I expected from it. His background is dance music (for the record, I've never been much of a fan of this either - and I'm Dutch like him, so I've pretty much grown up with him, popular as he is around here ). I guess the age-old saying is applied here: don't blame a roller coaster for not being a Cathedral.

Basically what he did is putting his recognizable sense of propulsive rhythm into an orchestral environment, creating a score that has a welcoming edge and rawness that I feel is often lacking from scoring (of course, a lot of scores don't call for it, but if it does, rarely does a film score composer go 'all the way'). This does indeed lead to a score that features many cues with the 'wall of sound' and pure chaos, but I'd say this is exactly what the film needs. For me, it leads to thrilling cues, especially when he layers it with the specialty instruments.

In between, his soundscaping show a certain assuredness that is not like the aimless droning much of the minor RC collaborators come up with. Tracks like Artimisia's Childhood have a strong build-up, going from an organic solo instrument building into a thrilling percussive conclusion.

I don't really care the orchestra isn't always clearly defined - in between the chaos there are some lovely moments of quietness delivered by the strings, and during the action there are powerful layers of brass laid on top, but overall the soundscape as created by Junkie XL, sometimes reminding me of the atmosphere of Passion of the Christ, is enough for me to create an appropriate mood.

I wouldn't say the score is brilliant by a stretch, but for Junkie debuting with a full Hollywood score for the first time solo, I can clearly make it out as a work of his and I'm impressed with his handling of the Persian instruments and created mood and energy. I understand the score certainly isn't for everyone, but I also feel its a work that draws a lot of quick unfair judgements. I can tell there's passion and thought put into the music and it's a step up for him as a composer, delivering to his targeted audience and what the film clearly needs. There's just room for him to grow. And please, if you must deliver themes, let someone else write them for ya. You just don't do well in the melody department.

PS: Yes! Marathon is an annoying rehash of Arcade from Man of Steel! But shamelessly I enjoyed that track so much that I don't really mind this expansion of it . It's clear he got the job thanks to this work.

Thanks for your review and alternate view on the score, Bob. Can't say I share your opinion but I can now see why you enjoy certain aspects of the score.

-Erik-

His name is Tom Holkenborg btw

Interesting what Zimmer says on facebook, regarding Federico Jusid's rejected score for 300: sequel

Hans Zimmer

I think Zimmer didn't blame him for this , for working hard, but for not knocking on the director's door more frequently and playing him his ideas before he came up with an entire score before rejection.

Jusid's a wonderful composer; if Snyder indeed wanted Junkie XL's Zimmerisms, then why did he hire a symphonic composer instead?

Very good point...who in the 300 sequel production team is previously affiliated with Jusid?