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Track List:
1. Heaven and Earth (4:24)
2. Fire Up The Shuttle (1:45)
3. Unauthorized Entry (4:36)
4. Deportation (1:54)
5. Darkness (4:49)
6. Things to Come (4:36)
7. You Said You�d Do Anything (3:30)
8. A Political Sickness (3:48)
9. Arming Projectile (1:25)
10. Zero Injuries Sustained (1:30)
11. I�d Like Them Dead (1:21)
12. You Have No Idea (2:11)
13. The Raven (1:58)
14. Let the Girls Out (2:08)
15. I Don�t Want to Die (1:35)
16. Matilda (2:53)
17. Step Aboard (2:54)
18. Heading to Elysium (1:54)
19. Keep Them Busy (:53)
20. When He Wakes Up (1:39)
21. We Do the Hanging (1:06)
22. Kruger Suits Up (2:25)
23. The Armory (:58)
24. I�m Right Behind You (2:25)
25. Fire and Water (1:51)
26. The Gantry (1:08)
27. Breaking a Promise (3:18)
28. Elysium (3:45)
29. New Heaven, New Earth (2:22)
Just ask in this thread for links, folks.
f92/ryan-amon-elysium-ost-2013-a-138639/ (Thread 138639)
Also, just another example of why we have so many generic scores…
This is taken from a post by someone else on another forum, discussing the difference between what Ryan Amon wrote for Elysium and what we actually got in the final soundtrack.
""Ryan Amon composed many cues that included woodwinds and elaborate/intricate woodwind runs. Director Neil Blomkamp made it clear that he didn’t like their inclusion. He also preferred the sampled/synth percussion that Amon used. Thus, the only live instruments are the strings and the brass (and the female vocals).
Additionally, it was Neil Blomkamp’s idea and desire to use a solo "wailing" female voice. Ryan initially resisted the request, as he felt that the approach was clich� and overused, but Blomkamp continued to insist on these (supposedly for the "human" element), so Amon yielded and went with the flow (as would I in his position). Ryan decided to use these vocals in combination with a solo piano, which I think was a wise decision (a la Goldenthal on FINAL FANTASY) and helped to at least improve the situation.
Lastly, Amon said that he submitted nearly 200 cues for the film- almost NONE of which were composed to picture. He would fire off files of all different styles to Blomkamp and the editing team, who would start to place their favorites over sections of film. Amon said that he offered up synth cues, purely orchestral cues, hybrid cues, contemporary cues, classical-ish cues, sound-design-ish cues, melodic cues, etc. The style that you hear in the final film is definitely the direction that Blomkamp decided to go. Once this was determined, Amon then focused on that style for the rest of the score.
All this is to say that Amon did exactly what he was hired and directed to do. Which was a very smart thing to do for his first film, as it will ensure that it was not his last. He loved working with Blomkamp, and loved working on a film (he’d never done one before).
Do I like the score? Honestly, no. But I’d have done the same thing in Amon’s place (well, not exactly the same thing, but you get the point). I don’t dig the score, but for now I give Amon the benefit of the doubt when it comes to talent/ability. To have an informed opinion of Amon’s ability as a composer, I’d need to hear a lot more of his work, and in very different circumstances.""