Tracklist:
01 – Survive
02 – Escape
03 – Immortan’s Citadel
04 – Blood Bag
05 – Buzzards Arrive
06 – Spikey Cars
07 – Storm Is Coming
08 – We Are Not Things
09 – Water
10 – The Rig
11 – Into The Canyon
12 – Brothers In Arms
13 – The Chase
14 – Moving On
15 – The Bog
16 – Redemption
17 – Many Mothers
18 – The Return To Nowhere
19 – Claw Trucks
20 – Immortan
21 – Chapter Doof
22 – Walhalla Awaits
23 – My Name Is Max
24 – Let Them Up
25 – Mary Jo Bassa
26 – Coda
https://mega.co.nz/#!l59lgA7S!FZT3_3liFGHNJDGOzB-q6GFMj2ZmxuSrBGBufWtYsBg
source: iTunes France
Thanks a lot for putting this up.
Cheers,
Tball
Can you share the REAL iTunes m4a?
Thank you.
Thanks!
Trop fort 😉
You are right. It’s heavily percussion based which is the same as in MoS and 300. One can only wonder what Powell and Beltrami would’ve conjured if they would’ve done it. I remember reading an old Beltrami interview somewhere where he was asked about his opinion regarding his best work. He had said that his score for the upcoming Mad Max Fury Road score was his favourite. Sadly, we won’t know what he had come up with then.
Anything that featured heavy percussion was Junkie. Zod’s theme, Oil Rig, most of the action scenes, etc. He worked on almost half of the score.
I really hope his Batman theme won’t be percussion based, but we’ll just have to wait and see, I guess.
the movie is good but my least Fav Max movie…. Junkies shite is just Noise upon Noise upon noise…. He�s a DJ not a composer….. it�s just more Remote Control recycled crap imo
Totally agree with you!
Mad Max: Fury Road (2015) Soundtrack Score > Tom Holkenborg aka Junkie XL
Link V0: MMFuryRoad.zip (232,69 MB) – uploaded.net (http://uploaded.net/file/2fajq36e)
God man…He’s got talent but Tom could use better synth layering….and LESS tinnitus-inducing treble…better tools, Zimmer….
God man…He’s got talent but Tom could use better synth layering….and LESS tinnitus-inducing treble…better tools, Zimmer….
Sorry, but this sounds noting like Zimmer!
I really hope his Batman theme won’t be percussion based, but we’ll just have to wait and see, I guess.
Well that explains a lot.
As soon as you figure out how to buy FLAC off of iTunes France.
apple doesn’t sell lossless audio in any country at this point.
also mr. hdlossless is just an annoying leecher and has become his own running gag.
That’s my point. 😉
But thanks for the upload.
God man…He’s got talent but Tom could use better synth layering….and LESS tinnitus-inducing treble…better tools, Zimmer….
Sorry, but this sounds noting like Zimmer!
This is a pure JXL work, he brought most of his percussions, he used ”I mean, those drums that he composed and conducted” for MOS, that’s why it sounds so familiar. But this is still not Zimmer.
Also you can hear a re-tracked tempo from his score 300: RoaE, in track Immortan’s Citadel. And, a few selected synth from TDKR.
But nice score, I like it. 🙂
———- Post added at 10:59 AM ———- Previous post was at 10:42 AM ———-
Interesting!
Mad Max: Fury Road soundtrack: Mondo releasing special edition vinyl | EW.com (http://www.ew.com/article/2015/05/11/mad-max-fury-road-soundtrack-mondo-releasing-special-edition-vinyl?12)
———- Post added at 02:33 PM ———- Previous post was at 02:32 PM ———-
And thanks for the share, massively appreciated 🙂
definitely looking forward to this one…
cheers
Finaly!
thanks for the upload
———- Post added at 09:07 PM ———- Previous post was at 09:06 PM ———-
QUESTION: I opened the Apple m4a version of the soundtrack and noticed that most of the tracks are labeled "extended version" or "bonus track." Just was curious if there was a reduced version of the soundtrack floating around too?
1. Survive 1:30
2. Escape 2:14
3. Immortan’s Citadel 8:41
4. Blood Bag 2:30
5. Spikey Cars 3:11
6. Storm Is Coming 5:36
7. We Are Not Things 1:37
8. Water 3:15
9. The Rig 4:13
10. Brothers In Arms 4:22
11. The Bog 6:58
12. Redemption 1:45
13. Many Mothers 5:15
14. Claw Trucks 5:31
15. Chapter Doof (Extended Version) 7:04
16. My Name Is Max (Extended Version) 4:43
17. Let Them Up 2:36
Total Album Time: 71:01
The CD version.
———- Post added at 09:08 PM ———- Previous post was at 09:07 PM ———-
It’s weird they’d shorten tracks on the extended version though, tracks 15 & 16 on the CD are longer the extended versions to the ones on the extended version. Crazy stuff.
———- Post added at 09:07 PM ———- Previous post was at 09:06 PM ———-
1. Survive 1:30
2. Escape 2:14
3. Immortan’s Citadel 8:41
4. Blood Bag 2:30
5. Spikey Cars 3:11
6. Storm Is Coming 5:36
7. We Are Not Things 1:37
8. Water 3:15
9. The Rig 4:13
10. Brothers In Arms 4:22
11. The Bog 6:58
12. Redemption 1:45
13. Many Mothers 5:15
14. Claw Trucks 5:31
15. Chapter Doof (Extended Version) 7:04
16. My Name Is Max (Extended Version) 4:43
17. Let Them Up 2:36
Total Album Time: 71:01
The CD version.
———- Post added at 09:08 PM ———- Previous post was at 09:07 PM ———-
It’s weird they’d shorten tracks on the extended version though, tracks 15 & 16 on the CD are longer the extended versions to the ones on the extended version. Crazy stuff.
Ah thank you I was unaware that the iTunes version differed from the physical release… thank you. 🙂
Almost always. Deluxe editions are never physically released. The Mondo vinyl will be the standard, I have to make a decision on getting it or not….
Hmmm I just saw on the albums iTunes page the extended version at $11.99 and the other at $9.99. Go figure.
Can’t wait to watch the movie!
How should I describe the experience?
Let me see . . .
Ah, got it.
HO . . .
LEE . . .
FUCK!!!
Believe the hype. If Avengers: AoU didn’t do it for you, MM:FR will punch your junk. It’s a junk puncher. And you’ll smile and say "Please, Sir, can I have another?"
Dr. Miller and his band of lunatics have made the summer’s action movie, if not the year’s. Leave it to a seventy year, actually two seventy year olds, because this movie would not have looked this amazing without the skills of cinematographer John Seale, to show the young-uns how you do action: no shaky cam, no ADD editing, and no vehicular CGI.
In comparison Furious 7 looks like bumper cars at the local fair.
Bottom line: see it and see it on the biggest screen you can.
I am fucking loving it, and it may be THE score I listen to all summer long
That’s the one track everybody likes. Gimme another one.
I like walhalla awaits and let them up 😀
Nope it�s dreadful…. it�s more suited to people that actually don�t like music 😉
———- Post added at 12:55 PM ———- Previous post was at 12:54 PM ———-
I am listening to the score and there is something off about it, like most of Junkie XL’s works. I wish I knew what it was. Does he not use the same tools and mastering techniques as Zimmer? Some of the tracks have the potential for greatness, but I feel like I’m listening to experimental temp tracks a lot of the time. Maybe Junkie XL just isn’t a good composer.
He�s a DJ not a composer….. the reason people adore him is because he�s part of Zimmers clone factory…. and created that horrible noise for Zod in Man Of Steel
i do like some tracks here, but the whole 2hrs of music sounds like 5 minutes stuff on loop…with noise in the middle…
Thanks for your share Gauthier G ;D
i do like some tracks here, but the whole 2hrs of music sounds like 5 minutes stuff on loop…with noise in the middle…
It’s not hate directed at Avengers: AoU, I think it’s more disappointment that Marvel, instead of moving forward, treaded water with the film. Nothing of real consequence happened. Add to that a weak villain in Ultron and its a movie that failed to meet a lot of expectations. Certainly failed to meet mine.
Compare and contrast that with MM:FR where the consequences are real and deadly, you feel for the characters, especially the Five Wives and Nux, and in Immortan Joe and Furiosa you have a truly villainous villain and a truly furious hero(ine).
And the soundtrack is amazing. Perfect complement to the film. DAK called it "the score of the summer" to which I wholeheartedly agree. Looking at the summer schedule its hard to see a rival, until December. Then we get to hear John Williams hopefully tear the roof off and shower us with musical greatness.
Miller, Seale, Williams: the Old Guard getting it done.
Thanks for the share!
I am fucking loving it, and it may be THE score I listen to all summer long
Zimmer’ review of ”Mad Max” (Facebook)
Just got back from watching "Mad Max, Fury Road"
My very talented friend JunkieXL truly outdid himself, as did the incredible cinematographer John Seal, DP on my first Hollywood movie "Rainman".
Bob Badami and Junkie disappeared off to Australia for a long time on this one – and all I ever got to see was one random frame on Bob’s computer that instantly made me want to see this movie.
It was worth the wait!
That’s the one track everybody likes. Gimme another one.
Blood Bag is very powerful. The second half of this track fits the guy who plays the flamethrower guitar. 😉
Here’s the link to the trailer: https://www.youtube.com/watch?v=vjBb4SZ0F6Q.
i do like some tracks here, but the whole 2hrs of music sounds like 5 minutes stuff on loop…with noise in the middle…
Really? I finally listened to Avengers 2 last night. I wasn’t blown away, but I did enjoy it.
I have yet to listen to Mad Max. Will give it a listen to today.
Here’s the link to the trailer: https://www.youtube.com/watch?v=vjBb4SZ0F6Q.
The cue before it is the most popular piece, Brothers In Arms. The one you’re asking about, I’m not sure yet. I’ve still yet to get all the way through the OST. I feel like I may have heard it on there, but I’m not positive. Surely someone else can answer for me…
I was ready to like your post because of your opinion on Avengers: Age of Ultron, but what is stopping me from doing so and, I’ll admit, actually causing me profound annoyance is the fact that you provided material with which anyone with the gift of simple logic could positively infer the direction of Fury Road’s narrative elements less explored so far in its marketing campaign while the movie only just received its initial single-screen release barely a week ago and is still due for a wide release (today, though that is time-zone relative and ignoring IMAX 3D releases). Honestly, I am astounded by the naivety of your post. I am sure it was not in bad faith or with malice of forethought, done if only to qualify your previous statements on A:AoU, and while I am fully aware that this exact instance will receive only so much viewership – FFS definitely qualifying as one of the more niche fora to begin with – I am certain that if you’re doing it here, inadvertence notwithstanding, it is very likely that you’re doing it elsewhere and that’s unacceptable. I’m not a particularly excitable Mad Max follower but I know others who are as close to literally bleeding while waiting in anticipation as anyone could possible be without finding themselves locked up and en route to a loony bin. Please, please, pretty please, I am begging you to stop. If not for the fact that a (select) few have had the possibility to see the movie, do it because Mad Max is one of the most well-regarded franchises in film history, whether critically, commercially, or even academically, its experimental approach to narrative being subject of study in modern film and dramatic writing schools. It’s not an ordinary franchise and it is not just Miller before post-Miller seemed to happen with Happy Feet and Babe. Excuse the melodrama but it’s film history demanding respect and you shouldn’t shatter that, at the expense of others, simply to advance a 2-cent comparison with a film as vacuous and meaningless as A:AoU. I beg you and anyone else feeling inclined to continue a similar discussion, please don’t spoil the movie.
Also I didn’t specify that nature of anyone’s fate. I wrote "the consequences are real and deadly" and you’re correct it was meant to contrast with Avengers" AoU which is consequence-less. However, it’s hardly on par with leaking that Vader is Luke’s father.
Anytime you venture into a thread discussing a film you take the chance of reading a spoiler. Let’s not get so precious that writers must traffic in the vague so as to avoid the merest hint of a spoiler.
You pay your money and you take your chances, for here, there be tigers. (And lions and bears, oh my!)
Now, parenthetical considerations aside, this part of the forum concerns soundtracks. Furthermore, given that the movie has just today received its wide release, it is absolutely nowhere near my reasonable expectations to encounter synopses or free, unqualified discussions of Fury Road on this thread as they would be, given the nature of this particular corner of the forum, irrelevant. It will be less so, in just over a day or so, but for me to reasonably expect it any time before then (let alone yesterday, which is when you posted) you would have to expressly announce that you would be doing me, and incidentally everyone else here, the immense disservice of ruining a movie whether or not it has been misguidedly labelled as a "reboot".
If that isn’t enough, the semantics here are fairly airtight. (Oh, I agree- they’re so boring to discuss but in front of this species of challenger perhaps necessary). There’s a very limited number of meanings that can be ascribed to "deadly". In that vein, I would recommend a different online thesaurus from the popular Dictionary.com. In truth and fact, your comparison was actually all but on par with leaking that Vader is Luke’s father but that is obviously a subjective assessment highly dependent on the emotional investment of viewers in the respective franchises.
People on here probably haven’t seen the movie. After today some probably will have and that’s when I will start being cautious and selective of my thread choices. But if you wanted to discuss it yesterday you should’ve opened a new thread in the relevant section and tagged it accordingly. Quite frankly, if you’re a time-traveller, I’m more excited to learn about the science behind how you got here (if only to take completely different measures). Otherwise you should cordially shut the fuck up. (Oh my!)
And when you have to resort to profanity to get your point across in argument, you’ve lost that argument.
And when you have to resort to profanity to get your point across in argument, you’ve lost that argument.
Ah, children’s novels- puts things into perspective. Not surprisingly, the reductionism is strong with you. If you believe a single blade of profanity sufficient to propel one’s arguments into the valley of irrationality, you might benefit from more substantial reads. Unless you would prefer not to; everyone is entitled to court unreasonableness now and again. Ah, humanity.
What a waste!!
Here’s the link to the trailer: https://www.youtube.com/watch?v=vjBb4SZ0F6Q.
It’s this song 🙂 Out just today ! 🙂
https://www.youtube.com/watch?v=S0QZS18tn_Y
bad spoiler !!! death penalty at least for ya ! 😀
(with a bit of torture as foreplay)
Are you the Scrivener? Preferring not to participate in life, except through the medium of the Internet? Your little Dead Letter Office?
Or perhaps you are an injustice or wound collector, over reacting to any real or perceived slight. You launched a lengthy diatribe over one phrase, felt compelled to demonstrate just how right you are – except you attributed the quote to the wrong author and if I were referring to William Blake I would have spelled it "tyger" – and how wrong I am.
I understand your type. You’re a bundle of raw nerves wrapped in human skin actively seeking out any stimulus so you can react negatively to it. You think motion equates to action. Life must kick you in your face from the moment you wake up until you fall asleep. But fortunately for you there is the Internet. Paraphrasing Harlan Ellison, the good thing about pornography is it keeps the perverts in the bathrooms.
The Internet is your pornography, keeping you behind the keyboard so you don’t need to interact, like Bartleby, with real life. You can prefer to withdraw, becoming smaller and smaller.
Beware, Bartleby came to a sticky end.
P.S. It’s a movie. Grow a thicker skin.
———- Post added at 01:27 PM ———- Previous post was at 12:29 PM ———-
bad spoiler !!! death penalty at least for ya ! 😀
(with a bit of torture as foreplay)
500 lashes with a wet noodle!
What a waste!!
Skipping through… there’s certainly no stand alone replay value here for me. I mean, I’d achieve the same degree of artistry & annoyance just by turning on all the electric appliances in the house. Reminds me of what I had to endure throughout my younger brother’s headbanger phase back in the ’80’s.
Though I know Melville isn’t for everyone, the narration does indulge in occasional straightforward congruity – eg. I thought it was self-evident that it was the unnamed narrator to speak the wonderfully solipsistic "Ah, humanity!" so ending his reflection on Bartleby’s own sad, egoistic resignation. So, honestly, I don’t quite understand how you missed the allusion to Bartleby directed at you – which though silent I believed to be fairly resounding – and ended up suggesting that of me. I’m not sure if that was yet another wholly misguided, naive reading or an attempt to manipulate my words, a synchysis of sorts.
I apologise by the way for the delay, but I was out in more than pleasant company – moving, avoiding a few painful kicks to my teeth, would-be-producing my own pornography if only I had invested in a camcorder. I would argue that of the innumerable, different layers of the Internet anyone is bound to find something sufficiently appealing to their pornographic tastes. I have a proclivity for redheads, classical music and languages. You review television shows. Either way, Life is beautiful.
P.S. My life is deeply rooted in the film and stage industry for no other reason than the firm belief that they both offer canvases like no other medium does and I thoroughly enjoy what I do. I’d conclude saying, "Grow a little respect." but I’m aware that you have no reason to do so and I definitely will not entertain your obvious perverse compulsion to induce whichever modern Carneades you meet here into a sycophantic retelling of their lives, proving your point. Know that your rebuttal is awaited with passive anticipation but just so we speed things along, here’s my reply: "Macbeth Act V, Scene V especially lines 26-28". This time, actually feel free to take them out of context.
The times they are a-changin
True; you can barely understand a word Dylan says anymore.
🙁
Lol! If this is what George Miller wanted, knowing the kind of music his films usually have, then is not Junkie’s fault.
Maybe it’s Miller’s fault, or Powell’s for going full sabbatical, when he was attached to write the score since 2006 (ironically, he dropped from proyects with his partners like Greengrass and Liman, and suddenly he’s writing the replacement score of the next Peter Pan score).
Maybe it’s Miller’s fault, or Powell’s for going full sabbatical, when he was attached to write the score since 2006 (ironically, he dropped from proyects with his partners like Greengrass and Liman, and suddenly he’s writing the replacement score of the next Peter Pan score).
Yeah you�re right…. I�m gonna sue the ass offa Powell…. whoever is responsible for this noise should pay…. Christ
Though on that note, i think this one is a bit better. Just a little.
Maybe it’s Miller’s fault, or Powell’s for going full sabbatical, when he was attached to write the score since 2006 (ironically, he dropped from proyects with his partners like Greengrass and Liman, and suddenly he’s writing the replacement score of the next Peter Pan score).
Maybe he had some kind of personal emergency that made him take a leave of absence and he’s just now able to get back into the game. To you it may seem sudden but to him it probably didn’t. He’s one of my favorite composers working right now but I don’t think he would have been a good fit for Mad Max anyways.
Powell seemed to be upset and annoyed about film music lately. He only worked with Kimberly Peirce again in Carrie, but his score got rejected and Beltrami replaced him (same with Mad Max, but it was Beltrami whose score was rejected). HTTYD 2 doesn’t count since it was obvious Powell was going to return, the first score made him popular to lots of people.
Compare and contrast that with MM:FR where the consequences are real and deadly, you feel for the characters, especially the Five Wives and Nux, and in Immortan Joe and Furiosa you have a truly villainous villain and a truly furious hero(ine).
And the soundtrack is amazing. Perfect complement to the film.
Just watched the movie, i partly agree the music fits the movie world quite good, raw, fury, war-ish
but i disagree on the character department. i didnt watch avengers2 so i cannot compare the music in that movie with this one
but i do hear characters in avengers2, however not here. MM:FR is a masterpiece. so little time but so many emotions. cant believe it gives almost all characters blood and flesh with all the actions going on! Sadly, no music is there… just pump-up recycled The Joker Theme music to me…(why so serious with more drums)
For a movie with 90%action so the score works 90% of time. But spending 18 months on this…..
well, at least the director has a say to this, so this is what the movie wants. on the other hand, i heard avengers2 tracked a lot of old stuff, maybe tyler got busy with furious7 or just not liked by the director
@emptymetaljacket
there’s nothing spoiled. you will be fine to enjoy the movie
Oh man, I would have loved to have heard Beltrami’s score for Mad Max. I can’t pass any kind of judgement on the new score (haven’t heard it yet) but if Beltrami recorded a score and they booted it, I guess this Junkie stuff is really what he (the director) wanted. If Beltrami DID record a score hopefully it will "escape" into our hands.
Personally I hate the idea that Powell might be sick of the business. Hopefully a sabbatical will help him recharge.
Powell was going to score Mad Max…?
I wonder how that would’ve turned out…
I wonder how that would’ve turned out…
Less Junky?
I wonder how that would’ve turned out…
It was on 2006, right after Miller released Happy Feet. Powell worked during the 4 years of production. Mad Max 4 was being in talks, but apparently it went dud, and Miller did Happy Feet 2 with Powell returning.
That’s pretty interesting. Thanks for the info!
Do you have any idea why out of all movies, Powell returned to score Pan?
but i disagree on the character department. i didnt watch avengers2 so i cannot compare the music in that movie with this one
but i do hear characters in avengers2, however not here. MM:FR is a masterpiece. so little time but so many emotions. cant believe it gives almost all characters blood and flesh with all the actions going on! Sadly, no music is there… just pump-up recycled The Joker Theme music to me…(why so serious with more drums)
For a movie with 90%action so the score works 90% of time. But spending 18 months on this…..
well, at least the director has a say to this, so this is what the movie wants. on the other hand, i heard avengers2 tracked a lot of old stuff, maybe tyler got busy with furious7 or just not liked by the director
@emptymetaljacket
there’s nothing spoiled. you will be fine to enjoy the movie
How can a movie be masterpiece when there�s no plot or story…. MM.FR has no story and Max says maybe 15 lines in total…. it�s a good movie but Hardy ain�t Mad Max to me
———- Post added at 11:01 AM ———- Previous post was at 10:57 AM ———-
I think Zimmer and WB had a say about getting Junkie in Mad Max since he scored Paranoia, the Zod portions of Man Of Steel, and 300: Rise Of A Empire (besides Run All Night). Zimmer was the music producer of these, including Divergent.
Warner Brothers have to get off Zimmers Cock. Remorte Control seem to be scoring everything coming out of the fuckin studio… it�s getting beyond fuckin crazy now….. in fact Zimmer needs to fuck off into retirement …. him and his factory of clones is getting beyond Tiresome
I’m not really clear about where you stand on this. Could you elaborate? Try to clear up some of the confusion?
I think Interstellar proves that it’s not time for Zimmer to retire.
Do you have any idea why out of all movies, Powell returned to score Pan?
No. It’s like Williams rejecting the last 5 Harry Potter films to work with Spielberg or in The Book Thief. Or Horner scoring Spider-Man. He’s scoring it because he wants it.
Touch�
I liked what you said but honestly, last year wasn’t that great a year for scores. I’m a raving J�hann J�hannsson fan but I thought the score for TToE was quite underwhelming (the best cue in the film isn’t even his) and I feared from the moment it was announced that whatever would result from Desplat and Anderson working together would win at most festivals for that category as it in fact did although I thought it sounded way too familiar (as in Fantastic Mr. Fox). Zimmer… sigh. I really want to like Zimmer because I want to conform but he’s a lost cause. Even with Interstellar he tried developing something different to his late-period entries and inexplicably, maybe maybe completely fortuitously, he ended up with a simply beautiful sound but that was the extent of his effort. The rest of his score is just variations of the same leitmotifs with the odd track now and again. I love the score and it’s my favourite background music of choice but all I hear is a missed opportunity.
And thank God The Theory Of Everything didn’t win. It was temp tracked with Desplat to death, even copying themes from Philomena and Extremely Close & Incredibly Close.
With respect rocklegend, but you’re misremembering The Road Warrior. Max had a total of 16 lines of dialogue in that film. Going by your metric, MM:FR should be on par with TRW.
Max is a man of action and that speaks louder than words. (If chunks of exposition equaled quality Avengers: AoU would be a cinematic masterpiece.) Miller understands that movies move and so does Max.
As for plot: you can boil the plot of TRW to Max needs gasoline. That’s it. That’s the engine that drives, no pun intended, the film. A simple plot does not mean simplistic because as the proverb goes "there’s many a slip twixt the cup and the lip." TRW’s plot is simple but look how many events go wrong for Max. By the movie’s climax he’s half blind, driving the rig with one hand and success seemingly depends on the Feral Kid retrieving a shotgun shell at 80 miles an hour. (That proves to be a MacGuffin but yet another example of events going against Max.)
The plot for FR: Max survives another day. Simple but again realizing that goal almost get him killed. A simple plot for a movie is not a bad thing or a sign of lazy writing. It makes the movie easier to follow because the motivations of the hero and villains are clear and keeps the action grounded. Counter that with Avengers: AoU where every action set piece had to be bigger than the last and by the end we got Ultron’s evil plan, straight from the mind of Wil E. Coyote, Supergenius. (I really wish Ultron had taken the time to explain his evil plan to the Avengers because Stark would have ripped that plan a brand new opening.)
Now if your dislike of MM:FR is predicated on the lack of Mel, well that’s your choice. I have friends who can’t get past that the new Star Trek films don’t feature the original cast. To me, that’s on par with disliking the current James Bond films because there’s no Sean Connery.
At some point, actors age out of what’s acceptable or plausible.
Max is a man of action and that speaks louder than words. (If chunks of exposition equaled quality Avengers: AoU would be a cinematic masterpiece.) Miller understands that movies move and so does Max.
As for plot: you can boil the plot of TRW to Max needs gasoline. That’s it. That’s the engine that drives, no pun intended, the film. A simple plot does not mean simplistic because as the proverb goes "there’s many a slip twixt the cup and the lip." TRW’s plot is simple but look how many events go wrong for Max. By the movie’s climax he’s half blind, driving the rig with one hand and success seemingly depends on the Feral Kid retrieving a shotgun shell at 80 miles an hour. (That proves to be a MacGuffin but yet another example of events going against Max.)
The plot for FR: Max survives another day. Simple but again realizing that goal almost get him killed. A simple plot for a movie is not a bad thing or a sign of lazy writing. It makes the movie easier to follow because the motivations of the hero and villains are clear and keeps the action grounded. Counter that with Avengers: AoU where every action set piece had to be bigger than the last and by the end we got Ultron’s evil plan, straight from the mind of Wil E. Coyote, Supergenius. (I really wish Ultron had taken the time to explain his evil plan to the Avengers because Stark would have ripped that plan a brand new opening.)
Now if your dislike of MM:FR is predicated on the lack of Mel, well that’s your choice. I have friends who can’t get past that the new Star Trek films don’t feature the original cast. To me, that’s on par with disliking the current James Bond films because there’s no Sean Connery.
At some point, actors age out of what’s acceptable or plausible.
Fair points I can�t really argue with any of that but the Mad Max part…. I don�t like Nu-Trek not for the cast but because it�s a Star Wars knock off well the 2009 film is to me anyway…. As for Bond… yes Bond has different actors but Bond was a Literature chararter ….. Max to me was all about Mels protrayal of the Character …. Bond is based on Fleming but Max is based on Mel if you know what I mean
———- Post added at 08:36 PM ———- Previous post was at 08:34 PM ———-
I think Interstellar proves that it’s not time for Zimmer to retire.
I think Interstellar proves that Zimmer is great a coping himself…. Horner gets a bad wrap but Interstellar is just another The Thin Red Line imo ……
The mix is awful, though. Green lantern awful. There’s a couple of parts with choir that it’s barely heard. Also, Junkie needs to record his scores with a sound of his own, not the artificial Zimmer sound that some of the RC alumns have adapted (like Jablonsky).
I haven’t seen the film myself yet, and have few expectations apart from being dazzled by an expertly choreographed and edited CRASH, BANG, BOOM smorgasbord, so just of of curiosity: what were your expectations and how were they deflated?
I easily find fault with Zimmer’s music but… ummm… even I will admit that The Thin Red Line is one of the greatest scores in recent film history, whether you’re talking about the ridiculously complete bootleg, the soundtrack album that was actually released or what was heard with the film. It was/is a significant milestone in scoring modern cinema and from an orchestration point of view as deserving of the term "masterpiece" as any one of Zimmer has ever and probably will ever be. Yes, it requires patience and a stubbornly acontextual approach to it definitely will not help you appreciate it but if ever Zimmer displayed any artistry, it was there.
Junkie needs to record his scores with a sound of his own, not the artificial Zimmer sound that some of the RC alumns have adapted (like Jablonsky).
I had no idea Junkie had scored RoaE… "Noice" *pun intended*. That’s actually what I’ll limit my answer to because everything was just so wrong with it, I’m not even interested in my own opinion of it hahaha Actually… 2/10 and – obviously – those points are for Eva Green’s left and right breast, respectively. And if you’re saying that Jablo’s music hasn’t a modicum of personality I wholeheartedly agree and will add that his music has no place anywhere on the mainstream, not even in gyms.
I had no idea Junkie had scored RoaE… "Noice" *pun intended*. That’s actually what I’ll limit my answer to because everything was just so wrong with it, I’m not even interested in my own opinion of it hahaha Actually… 2/10 and – obviously – those points are for Eva Green’s left and right breast, respectively. And if you’re saying that Jablo’s music hasn’t a modicum of personality I wholeheartedly agree and will add that his music has no place anywhere on the mainstream, not even in gyms.
The Thin Red Line is one of the greatest scores in recent film history ….. mmmmm no it isn�t and it doesn�t even come close… the score that defined Zimmer is his Batman Trilogy …. The score that got Zimmer noticed was Gladiator …. got him mainstream…..
It was/is a significant milestone in scoring modern cinema and from an orchestration point of view as deserving of the term "masterpiece" ………………. As someone who has studied film music a score with long sustained chords with Pop Music progressions ain�t a masterpiece by any stretch of the imagination …. and it pails compared to what went before from the likes of Goldsmith, Williams, Barry and Hermann …..
I would go as far to say that Interstellar is more of a masterpiece than The Thin Red Line in that Zimmer stretched himself a bit more by introducing arpeggiated sequences …. it�s still a monotonous score to listen to …. imo
It’s an outstanding action flick. I’ll go so far as to say it’s the best of the series. It’s high praise for Hardy that I so effortlessly accepted his stepping into the role, when this…
… was as iconic as action heroes got for me in my impressionable years.
That said, for me, it still didn’t have the revolutionary feel that The Road Warrior did 30 years ago – or that The Raid did a while back. But that’s an unreasonable expectation for any movie. Just go and be entertained. You’ll definitely get your money’s worth.
Plus, I’m not a big fan of nowadays scores but Junkie XL captured the essence in an incredible way, the score in this case makes 50% of the movie, outstanding…
For a movie which has "no plot or story" was able to engage me for whole 2 fxcking hours, isn’t that masterpiece enough? 😉
To me, i like the story, the story about all the women, all the death
I understand your feeling/disappointment of Max takes a backseat as a sidekick though
Junkie’s music works great in most of the sequences especially Storm is Coming sequence, but I wanted him to do away with the score towards the end and let the furious sounds of the vehicles do all the talking. Would’ve been more visceral like the convoy-Batpod chase in TDK.
No, I’m talking about the recording sound. Every composer has his own sound (due to the mikes being EQed to specific settings), but Jablonsky and JXL records their scores with the same artificial sound as Zimmer’s. John Powell did the same with his Face/Off score, but then he kept his own recording style, much more organic than Zimmer’s one.
It was/is a significant milestone in scoring modern cinema and from an orchestration point of view as deserving of the term "masterpiece" ………………. As someone who has studied film music a score with long sustained chords with Pop Music progressions ain�t a masterpiece by any stretch of the imagination …. and it pails compared to what went before from the likes of Goldsmith, Williams, Barry and Hermann …..
I would go as far to say that Interstellar is more of a masterpiece than The Thin Red Line in that Zimmer stretched himself a bit more by introducing arpeggiated sequences …. it�s still a monotonous score to listen to …. imo
Zimmer became "mainstream famous" well before Gladiator (and I will infer; prior to your birth — as you seem to be under the mistaken impression that Gladiator solidified him). Thin Red Line is indeed a masterful moving monument to what film music can and should be, and was regarded so by plenty before Gladiator or Nolan’s Batman franchise were ever a glimmer in any studio pencil pusher’s eye!
Among the vast potpourri array of Zimmer’s notable pre Gladiator era efforts, include his groundbreaking work with Ridley Scott on Black Rain and Thelma & Louise; Tony Scott on Days Of Thunder and ESPECIALLY Crimson Tide; Ron Howard’s Backdraft; and his unorthodox but surprisingly resonant approach to character dramas such as Rain Main and Driving Miss Daisy. And lest we forget — that little Academy award winner — The Lion King!
Zimmer made his name by marrying the Morricone aesthetic of slow-burn-orchestral-minimalism-into-crescendo-of-operatic-bombast with the New-Age/Progressive-Rock/Pop-Synth/World-Music scores pioneered by Tangerine Dream, Vangelis, John Carpenter, Goblin, Giorgio Moroder, and Harold Faltermeyer — and in the process popularized an identifiable style of his own that forever changed the artform of film music and has influenced nearly everyone and everything since its inception (NO pun intended).
Film music has not been "ruined" by Zimmer, he just adapted it to a modern sensibility grown out of collaborative pop-rock mentality. And if something can be destroyed by simply changing its method, then perhaps it was high time for apocalypse anyway. Zimmer simply occurred inside the metamorphosis, and baffled some by the fluttering wings that came forth. That’s not transgression — that’s transcendence!
In his career however, unlike so many others — in fact ANY other (outside of possibly Goldsmith) — rather than rest upon his established brand, Zimmer has constantly stretched, innovated, evolved, expanded, and diversified beyond his box — equal progressiveness in form, substance, and quality — while the many clones he has mentored and influenced have been hard pressed to keep up (with the exception of rare gem John Powell). Every 5 years or so, just when everyone thinks they can define his style, Zimmer flips it up and proves he’s versatile!
And I think Tom Holkenborg’s work here on Mad Max: Fury Road is quite strong, and quite surely could have never existed without Zimmer.
I saw the film twice in the first few days of release, and it has already become one of my all-time favourite movies. The rush I get watching that film is virtually unparralelled (and I’ve yet to see it in 3D), and I don’t think I have been this satisfied or excited by a film since the likes of Kill Bill Vol 1 or Sin City (both of which were also visually iconic and had a simple structure). Miller’s vision of an extended chase sequence certainly worked for me, and the few quiet moments were certainly welcome. The world-building on display here is phenomenal in my mind, with the sparse dialogue still managing to convey a sense of backstory to these characters, as well as a reasonable development for the core trio (Max, Furiosa, Nux). By the film’s end, I felt like I knew so much about this world and its characters. Similarly, all the sets, vehicles and props seemed to have a logical place in this world, and somehow also had a sense of backstory to them. I really fail to think of another film that has made me so eager to attend repeat viewings in the past ten years, and even though I have slight issues with Hardy as Max, these minor gripes in no way hold it back from me giving it 10/10.
I was initially dubious about the score being by Junkie XL, and had held off from listening to it until after my first screening of the film. In the week since, I have listened to nothing else and have fallen in love with most of the score. I think it totally works for the film, feeling like a character all on its own, and creates sounds that just work perfectly with the respective scenes. For me, this score actually has character, which is more than I can say for any Marvel score (IMO). While I can understand why people might think this score just bangs you over the head, with nothing but distorted percussion, however there are also many instances of sweeping orchestral music that really elevate the score and the movie as a whole. I actually like the percussion on this one… the scenes involving the Doof Warrior are what got me excited to listen to the score separately in the first place, but the more symphonic moments also get stuck in my head. But its also worth noting that part of my love for the score eminates from memories of the film and its imagery itself, unlike some other scores I love completely separate to the film (and in many cases, for films I otherwise hate).
My favourite tracks are:
– Blood Bag: The first of the big notable actions cues, and also the cue most representative of the Doof Warrior (although the percussion and metal guitar sounded far more prominent in the film)
– Storm Is Coming: I love the rhythmic, pulsating nature of the percussion on this track, as well as how it leads into the first notable symphonic theme, again resuming the pusling percussion to end out the cue.
– Brothers In Arms: Naturally, this is one of the primary highlights of the album, also leading into a memorable symphonic sequence that just sort of morphs out of the percussion that opens the track.
– Many Mothers: Helloooooo Ennio Morricone! This track brings back so many memories of Morricone tracks, which I felt elevated the scene greatly, and even in spite of the theme in Storm Is Coming, this was the first time in the film I felt the score harkened back to the Brian May score of TRW by bringing that emotional heft.
– Chapter Doof: Yep… I just can’t get enough of the doof sound right now, and while again I feel this track doesn’t feature the metal guitar as strongly as heard in the film, it still just brings back the memories of the iconic imagery in the movie.
Yeah, too bad it’s for US customers only.. and Mad Max is an australian icon.
Mad Max: Fury Road 2XLP (PRE-ORDER) ? Mondo (http://mondotees.com/products/mad-max-fury-road-original-motion-picture-soundtrack-2xlp)
Mad Max Fan Theory Will Make You Want To See FURY ROAD Again | Nerdist (http://nerdist.com/mad-max-fan-theory-will-make-you-want-to-see-fury-road-again/)
Awhile after this talk, during a post-film reception, I spoke with Miller about his affinity for that black and white version of Fury Road. He said that he has demanded a black and white version of Fury Road for the blu-ray, and that version of the film will feature an option to hear just the isolated score as the only soundtrack — the purest and most stripped-down version of Fury Road you can imagine.
http://www.slashfilm.com/fury-road-trivia/
Still think people on this forum are too quick to mislabel things as "great" or "brilliant". Compared to soundtracks of the past decade, MM:FR is very, very, very weak. The drums pound to the point of sensory deprivation and the more symphonic arrangements are moving, but not all that much. If brilliance is insisted upon as a descriptor, it’s expedited brilliance plucked out of thin air and one that will fade and not stand the test of time.
Eight Awesome Bits of Mad Max Fury Road Trivia – /Film (http://www.slashfilm.com/fury-road-trivia/)
I heard about this this morning. Miller is demanding it, doesn’t mean WB is 100% doing it. I’d like to think that becasue it’s George Miller, they’ll allow it, but I’m not getting my hopes up until it’s set in stone.
Still think people on this forum are too quick to mislabel things as "great" or "brilliant". Compared to soundtracks of the past decade, MM:FR is very, very, very weak. The drums pound to the point of sensory deprivation and the more symphonic arrangements are moving, but not all that much. If brilliance is insisted upon as a descriptor, it’s expedited brilliance plucked out of thin air and one that will fade and not stand the test of time.
Perhaps our individual definitions of what makes a film great or 10/10 is different to yours. I reserve 10’s for those films that excite me beyond belief and leave me with a desire to see it again, repeatedly, as soon as possible. The last film to do this for me was Gravity 3D (which, even after seeing MM:FR in 3D yesterday, remains the only film where I consider 3D essential to the experience), and before that we’re talking Kill Bill and Sin City. Every film has issues, no matter how flawless they might seem, but minor gripes do not necessarily hold back a film from being 10 material (I mean, a 10 has to be achievable, yes?), and in the case of MM:FR the fast pacing, the action choreography, the sheer unforgettable iconography of the characters and vehicles and overall production design totally compensate for any minor issues I have. I actually like that the story is simple enough to give purpose to the film while maintaining that ‘one-long-chase’ feel, and I like how the limited dialogue (along with visual cues) manages to provide soooooo much information about this world. Other films feature excessive dialogue without coming close to the level of world-building on display here. Naturally I’m not suggesting that you share my views, but just highlighting that an opinion that is higher than yours doesn’t mean they’re mislabeling it.
I heard about this this morning. Miller is demanding it, doesn’t mean WB is 100% doing it. I’d like to think that becasue it’s George Miller, they’ll allow it, but I’m not getting my hopes up until it’s set in stone.
With the praise and dollars they are rolling in thanks to Miller, I am sure he has a lot of sway with Warner’s right now. I would be curious to see this B&W score-only version.
Just because it’s visually striking or different doesn’t indicate it’s art. Your mention of Kill Bill I would agree with but to welcome Robert Rodriguez into the pantheon of masterful filmmakers is outright silly. I agree with everything else you said except the part I quoted about Gravity. Cuaron’s Gravity is a Mona Lisa of modern filmmaking, as visually compelling and inscrutable as modern films can aspire to be. But 3D wasn’t in any way essential to Gravity, whether as a movie, or as you put it, the movie-going experience. Some found it highly enhanced the entertainment factor, but that isn’t enough to qualify the 3D as "essential" to even just the movie-going experience of going to see Gravity, which is basically measured by how quickly one consumes the popcorn and complementary soda. The 2D and 3D render of Gravity are the exact same movie. Nothing is missed in the 2D version compared to the 3D which adds very little substance because firstly, it was not shot in 3D (which was noticeable) and secondly, because 3D technology in film is still unbelievably riddled with flaws, its general results – whether shot-as or then-rendered – profoundly underwhelming considering the millions in whatever currencies that have gone into developing stereoscopic photography to enhance depth. The state of most 3D right now ("most" defined as all but one) still infallibly compromises the quality of the shot at the expense of the film’s actual artistry, Gravity 3D being no different.
The only film to date which has objectively ever "needed" 3D technology was last year’s "Adieu au Langage" by Godard and only because of his and Aragno’s innovative work on it, which failed to be met with the recognition it deserved. On a brief aside, the National Society of Film Critic’s Award for Best Cinematography to Mr. Turner is risible and only shows how profoundly blind and ignorant these so-called critics are to the artistry of filmmaking when in reality they’re nothing more than self-righteous reviewers. I would argue that the 2D edited cut of Godard’s movie is completely different from its 3D counterpart given the use of elaborate sequences that simply don’t translate in the same way with a conventional two-dimensional projection. It may not be apparent because it’s an art-essay film and the technology wasn’t used for stock explosions or whatever trope action sequences recycle ad nauseam, but it was a four-year production effort which I am sure will come to be regarded as one of the most significant milestones in filmmaking, experimental and non.
Mad Max: Fury Road (Tom Holkenborg aka Junkie XL) [CD Version] (2015)
Artist: Tom Holkenborg aka Junkie XL
Title Of Album: Mad Max: Fury Road
Year Of Release: 2015
Label (Catalog#): WaterTower Music [WTM39642]
Quality: FLAC (tracks +.cue,log,digital booklet)
Bitrate: Lossless
Time: 1:11:08
Full Size: 448 mb
01. Survive (1:30)
02. Escape (2:14)
03. Immortan’s Citadel (8:41)
04. Blood Bag (2:30)
05. Spikey Cars (3:12)
06. Storm Is Coming (5:37)
07. We Are Not Things (1:37)
08. Water (3:15)
09. The Rig (4:14)
10. Brothers In Arms (4:22)
11. The Bog (6:58)
12. Redemption (1:45)
13. Many Mothers (5:16)
14. Claw Trucks (5:32)
15. Chapter Doof (7:05)
16. My Name Is Max (4:43)
17. Let Them Up (2:37)
https://mega.co.nz/#!hYNXSJZT!zstixOMiXRYWsqfAGRD1KRsL92m8Ubi6UhkSiAC kZkk
Eight Awesome Bits of Mad Max Fury Road Trivia – /Film (http://www.slashfilm.com/fury-road-trivia/)
I read it again here http://www.slashfilm.com/fury-road-trivia/3/,
and he’s talking an awful lot about the silent version of the film. Maybe by isolated score he meant isolated film sound without music, only dialogue and effects. Hope I’m wrong but that’s how I interpreted it.
How did it not meet expectations? I only felt like it dragged on around just before when the Vuvalini are introduced with the big revelation, but only because it was kinda very predictable. Otherwise the movie was near perfect considering it’s marketed with other "summer action flicks" and thus would be prone to lose some rep by association. Btw, it definitely wasn’t an R-rated movie: in the UK (where I saw it) it was given a 15 certificate xD
On a side note, fuck.
Fuck. Fuck. Fuck. Fuck fuck fuck fuckfuckfuck. This shit (the soundtrack) is starting to grow on me which is awful news. I’ve listened to it, selectively and have come to the conclusion that it’s as wasted an opportunity as they come. It’s droll and senselessly repetitive but has some standout could’ve-been-career-defining tracks that I love. The numerous fucks are because I love them so much, it pains me incredibly to hear them butchered by JXL’s occasional utter disregard for harmony but more often by horrendous mixing. "Brothers in Arms", easily the standout track and probably the only track worth having if I had to pick one ("Coda" and "Immortan’s Citadel" would then follow) has an interesting, engaging structure with a sudden eruption of beauty if only the the sound didn’t saturate and just melt into what might as well be indistinguishable static noise. I reiterate, fuck.
Uhh…I stated why it didn’t meet my expectations?
I’m hard to please. I expect a lot. I just saw AoU earlier this afternoon. And I was a little let down. It was good, not great. Now I’m seeing Tomorowland tomorrow and I’m trying to expect it to be total crap so I can at least enjoy it if it’s half decent.
Regarding Fury Road’s rating: it’s R here in the U.S., but it’s a very light R. Very little could be cut from the film and then given a PG-13.
and he’s talking an awful lot about the silent version of the film. Maybe by isolated score he meant isolated film sound without music, only dialogue and effects. Hope I’m wrong but that’s how I interpreted it.
Eh it’s fairly clear a "silent" version would feature the score. Anything less would leave the movie so plain it would approach moral nihilism. The question is: would it feature recorded material different to what the film was finally edited with? In silent film, music is as imposing a character as any and JXL’s score simply isn’t interesting enough to carry that (or any) film devoid of sound. It would be truly interesting if they had recorded something more melodic, something that would be more in line with the true animus of silent compositions but otherwise I can’t see it as being a worthy alternate viewing of MM:FR.
———- Post added at 04:35 PM ———- Previous post was at 04:33 PM ———-
I’m seeing Tomorowland tomorrow and I’m trying to expect it to be total crap so I can at least enjoy it if it’s half decent.
This should help: Tomorrowland’s RT score < 50%.
Edit: This is actually upsetting because I like most of Bird’s stuff.
Edit2: neutering that ambiguous sentence structure with a "Phrasing BOOM" before anyone can say it… so Phrasing Boom.
http://www.youtube.com/watch?v=VkNeXS0Lmxc
And I can’t resist telling some points:
B.May and M.Jarre had more talent throwing a fart that Junkie XL putting music to Mad Max.
However, it seems that music can fit in with the movie, but it’s very simplistic, which is very typical of a DJ, who has the brain of a mosquito ….
The evolution of a DJ is Zimmer, lol.
Positive reviews of this score by so much people makes me worry.
The world will end in the hands of men mosquito-brained.
That reminds me of "Idiocracy" …. what a fantastic movie.
In the world of "Idiocracy" Junkie XL would be considered a better composer than Goldsmith/Jarre/Barry/Williams/Bernstein/Herrmann/…
Morever, it seems that Junkie XL, Zimmer and co-workers are searching for the legendary "brown note".
Someday they will discover it, and we will defecating in our pants in the theatres.
Beware!
You must see South Park, the 17th and final episode of season 3: "World wide recorder concert".
Don’t take me so serious.
Why so serious? …. lol
By the way, …
don’t be angry with me, I just wanna have fun.
In my opinion, its the people in this world who fail to understand that individuals like or dislike different things for different reasons who will lead us to the future depicted in Idiocracy.
MoV has high quality pressings? Tell that to whoever decided to release INTS on vinyl lol. The US WaterTower pressing is far superior.
And I can’t resist telling some points:
B.May and M.Jarre had more talent throwing a fart that Junkie XL putting music to Mad Max.
However, it seems that music can fit in with the movie, but it’s very simplistic, which is very typical of a DJ, who has the brain of a mosquito ….
The evolution of a DJ is Zimmer, lol.
Positive reviews of this score by so much people makes me worry.
The world will end in the hands of men mosquito-brained.
That reminds me of "Idiocracy" …. what a fantastic movie.
In the world of "Idiocracy" Junkie XL would be considered a better composer than Goldsmith/Jarre/Barry/Williams/Bernstein/Herrmann/…
Morever, it seems that Junkie XL, Zimmer and co-workers are searching for the legendary "brown note".
Someday they will discover it, and we will defecating in our pants in the theatres.
Beware!
You must see South Park, the 17th and final episode of season 3: "World wide recorder concert".
Don’t take me so serious.
Why so serious? …. lol
By the way, …
don’t be angry with me, I just wanna have fun.
Trust me, you are in absolutely no danger of being taken seriously. You want your "critique" to be taken with more than a grain of salt, present evidence of why Junkie XL’s music is inferior to that of Jarre or May. What you’ve written is merely a rant comprised of insults, the musical equivalent of the old guy yelling at the kids to get off his lawn.
And rants are like assholes, everyone has one and none are special.
For Europeans, looks like the OST Deluxe will be available lossless shortly there. It is not available just yet (weirdly), but I guess it’s a matter or hours or days.
Why do you occupy yourself with thoughts with how much smarter you are simply for dismissing music which — I’ll be damned — has an audience? There’s always been some twaddle like you seated alongside some of the great controversial musical pieces of any century. I’m not comparing Holkenborg’s score with something like Stravinksy’s Rites of Spring but one thing they have an common is a pompous snob who was easily forgotten about in the music’s wake and eventual longevity.
This score benefits from that circunstance.
I was feeling like Peter Griffin, and wanted to be politically incorrect.
Peace and fun.
———- Post added at 04:01 PM ———- Previous post was at 03:58 PM ———-
…. and thanks again to the uploader.
That explains everything.
However, in the immortal words of one Dean Wormer: "Fat, drunk and stupid is no way to go through life."
Awesome upload, too!!
However, it seems that music can fit in with the movie, but it’s very simplistic, which is very typical of a DJ, who has the brain of a mosquito ….
The evolution of a DJ is Zimmer, lol.
Positive reviews of this score by so much people makes me worry.
The world will end in the hands of men mosquito-brained.
That reminds me of "Idiocracy" …. what a fantastic movie.
In the world of "Idiocracy" Junkie XL would be considered a better composer than Goldsmith/Jarre/Barry/Williams/Bernstein/Herrmann/…
Morever, it seems that Junkie XL, Zimmer and co-workers are searching for the legendary "brown note".
Someday they will discover it, and we will defecating in our pants in the theatres.
Beware!
You must see South Park, the 17th and final episode of season 3: "World wide recorder concert".
Don’t take me so serious.
Why so serious? …. lol
By the way, …
don’t be angry with me, I just wanna have fun.
Trust me, you are in absolutely no danger of being taken seriously. You want your "critique" to be taken with more than a grain of salt, present evidence of why Junkie XL’s music is inferior to that of Jarre or May. What you’ve written is merely a rant comprised of insults, the musical equivalent of the old guy yelling at the kids to get off his lawn. And rants are like assholes, everyone has one and none are special.
I’m not comparing Holkenborg’s score with something like Stravinksy’s Rites of Spring but one thing they have an common is a pompous snob who was easily forgotten about in the music’s wake and eventual longevity.
I hate siding with the likes of nuts_Score or Killgrave. The first because his concluding association implying that JXL’s score will benefit from an "eventual longevity" similar to Stravinksy’s "The Rite of Spring" is so absurd to surely have not been properly considered before posting. The second because of the brief, and nonproportionally aggressive, exchange of ideas we had – coincidentally, I believe on this particular thread – especially when what he wrote, in reply to you, is a simply more subdued and sanctimonious manifestation, falling just short of any one shade of the "vehement three" ie. harangue, diatribe, tirade; not that this is any different though I openly acknowledge the intentionally scathing nature of my commentary when it is so.
That said, goddamn son! I seriously hope you can rely on the biologically-stunted excuse seeing how justifying your first comment (let alone the second!) is something no reasonably-minded person would ever attempt. Please, next time, before you ever offer your opinion, written or spoken, to anyone able to access it, through the internet or whatever other means you may choose, please take the time to reassess what you believe to be comedy. Whether what you believe you delved in falls under your own misunderstood classification of dry wit or satire – both egregiously lacking here, if you were wondering – take the time to subject your remarks to a make-shift LD50 test and in the miraculous (or damning?) event in which 50% of the target population would likely survive it, please consider a "reasonable necessity" follow-up. You have a special craft in succeeding non-sequitur with non-sequitur, perhaps rivaling Tommy Wiseau’s, but use it sensibly.
———- Post added at 03:24 PM ———- Previous post was at 02:26 PM ———-
Anybody know the trailer song(s)?
Awesome upload, too!!
The songs used were, in no particular order: Confidential Music’s "Shepherd", custom edits of Ninja Tracks’ "The Module" and "Exposure" are featured at some point, JXL’s own soundtrack is copiously in there (especially "Brothers in Arms", "Walhalla Awaits" and "Chapter Doof") Superhuman’s "Street Spirit" (originally by Radiohead), enhanced excerpts from Verdi’s "Dies Irae" taken from Messa da Requiem and Pietro Mascagni’s "Regina Coeli, Laetare" and "Inneggiamo" taken from Cavalleria Rusticana and I’m quite confident there is a fragment of Zimmer’s "Davy Jones" from Pirates of the Carribean somewhere in there. Last but not least, obviously, "Sandstorm" by Darude.
Pretty sure the one you are looking for is either "Shepherd" or "Street Spirit".
Yep! Thanks!
I was particularly looking at the music where it says "Exhilerating Action". Not sure, I’ll have to give all your suggestions a listen. Thanks again!
———- Post added at 03:35 PM ———- Previous post was at 03:34 PM ———-
Last but not least, obviously, "Sandstorm" by Darude.
I was waiting for that xD
———- Post added at 03:40 PM ———- Previous post was at 03:35 PM ———-
Wait… I realise I may be talking about a shortened trailer/advertisment. I don’t know anymore.
I crossed the line.
Post #217 was one of those moments…
But the idea of zimmer & co-workers discovering the "brown noise" was so hilarious, that i felt the need of sharing it here. Maybe it’s the wrong place.
Among the vast potpourri array of Zimmer’s notable pre Gladiator era efforts, include his groundbreaking work with Ridley Scott on Black Rain and Thelma & Louise; Tony Scott on Days Of Thunder and ESPECIALLY Crimson Tide; Ron Howard’s Backdraft; and his unorthodox but surprisingly resonant approach to character dramas such as Rain Main and Driving Miss Daisy. And lest we forget — that little Academy award winner — The Lion King!
Zimmer made his name by marrying the Morricone aesthetic of slow-burn-orchestral-minimalism-into-crescendo-of-operatic-bombast with the New-Age/Progressive-Rock/Pop-Synth/World-Music scores pioneered by Tangerine Dream, Vangelis, John Carpenter, Goblin, Giorgio Moroder, and Harold Faltermeyer — and in the process popularized an identifiable style of his own that forever changed the artform of film music and has influenced nearly everyone and everything since its inception (NO pun intended).
Film music has not been "ruined" by Zimmer, he just adapted it to a modern sensibility grown out of collaborative pop-rock mentality. And if something can be destroyed by simply changing its method, then perhaps it was high time for apocalypse anyway. Zimmer simply occurred inside the metamorphosis, and baffled some by the fluttering wings that came forth. That’s not transgression — that’s transcendence!
In his career however, unlike so many others — in fact ANY other (outside of possibly Goldsmith) — rather than rest upon his established brand, Zimmer has constantly stretched, innovated, evolved, expanded, and diversified beyond his box — equal progressiveness in form, substance, and quality — while the many clones he has mentored and influenced have been hard pressed to keep up (with the exception of rare gem John Powell). Every 5 years or so, just when everyone thinks they can define his style, Zimmer flips it up and proves he’s versatile!
And I think Tom Holkenborg’s work here on Mad Max: Fury Road is quite strong, and quite surely could have never existed without Zimmer.
Wow this is absolute nonsense….. nobody knew who Zimmer was outside the few Media Ventures fanboys… among film buffs Zimmer was ridiculed for his Media Ventures film music factory… it only became vogue since his Dark Knight Trilogy….. Unfortunately… Hollywood was not on Zimmer�s Dick until the Dark Knight made a Billion Dollars…. the general public never saw A Thin Red Line…..it was not and never will be a masterpiece…… you are just clouded by your Zimmer and Remote Control Fanboyism……Remember the Media Ventures Power Anthem that appeared in ever score written or produced by Zimmer…. nope probably not….. Zimmer will never be classed among the greats…. he�s a horrible composer who hides his inabilities to score movies with 20 clones ….. I do agree that Zimmer changed Film Music…. not for the best imo…. gone are themes and motifs…. now it�s meandering soundscapes and loud banging drums….. in fact Zimmers music is so copy and paste that he doesn�t write for scenes…. he writes suites and are then chopped up and pasted every where … you have know idea what you are talking about …. lets not talk about Zimmers musical vocabulary and his obsession with DMaj …. 😉
ulary
Among the vast potpourri array of Zimmer’s notable pre Gladiator era efforts, include his groundbreaking work with Ridley Scott on Black Rain and Thelma & Louise; Tony Scott on Days Of Thunder and ESPECIALLY Crimson Tide; Ron Howard’s Backdraft; and his unorthodox but surprisingly resonant approach to character dramas such as Rain Main and Driving Miss Daisy. And lest we forget — that little Academy award winner — The Lion King!
Zimmer made his name by marrying the Morricone aesthetic of slow-burn-orchestral-minimalism-into-crescendo-of-operatic-bombast with the New-Age/Progressive-Rock/Pop-Synth/World-Music scores pioneered by Tangerine Dream, Vangelis, John Carpenter, Goblin, Giorgio Moroder, and Harold Faltermeyer — and in the process popularized an identifiable style of his own that forever changed the artform of film music and has influenced nearly everyone and everything since its inception (NO pun intended).
Film music has not been "ruined" by Zimmer, he just adapted it to a modern sensibility grown out of collaborative pop-rock mentality. And if something can be destroyed by simply changing its method, then perhaps it was high time for apocalypse anyway. Zimmer simply occurred inside the metamorphosis, and baffled some by the fluttering wings that came forth. That’s not transgression — that’s transcendence!
In his career however, unlike so many others — in fact ANY other (outside of possibly Goldsmith) — rather than rest upon his established brand, Zimmer has constantly stretched, innovated, evolved, expanded, and diversified beyond his box — equal progressiveness in form, substance, and quality — while the many clones he has mentored and influenced have been hard pressed to keep up (with the exception of rare gem John Powell). Every 5 years or so, just when everyone thinks they can define his style, Zimmer flips it up and proves he’s versatile!
And I think Tom Holkenborg’s work here on Mad Max: Fury Road is quite strong, and quite surely could have never existed without Zimmer.
Oh God, how tragic. Poor H�nschen. One thing he can really good … marketing. But writing music? NO.
He only uses the copy and paste button, mixed with pseudo ethno blablabla. Groundbreaking? Really! Copying other is at best a busywork.
And NO, "Fury Road" is no good, it’s just loud and boring. Never existed without Zimmer? So what.
Otherwise a very nice promotional text. But not more.
He only uses the copy and paste button, mixed with pseudo ethno blablabla. Groundbreaking? Really! Copying other is at best a busywork.
And NO, "Fury Road" is no good, it’s just loud and boring. Never existed without Zimmer? So what.
Otherwise a very nice promotional text. But not more.
Zimmer has earned his stripes in my eyes, that’s for sure. His glory days are long gone, IMO, but he shall always be in my heart for his earlier scores (those melodical action scores that were around long before Gladiator). But that is just my opinion… an idea that you just seem incapable of comprehending. Zimmer has been in the business for long enough to prove that his talents are desired in the industry, and has a strong enough fanbase to prove that his work is loved by many. His score for Black Rain was very groundbreaking in its time, with many complaining about his use of electronica in what "should have been" a Japanese sounding score… yet his work for Black Rain remains amongst my favourite film music of all time. You might not like his music, and that’s ok, but when you come here telling us what’s what, then you just make yourself look like a fool.
I like the score for Mad Max Fury Road, too. I have detailed why in previous posts on this thread, but ultimately I like it for the memories of the film it brings, the main theme (or the Nux theme, as it tends to attach to scenes involving Nux: Storm Is Coming, The Chase, Walhalla Awaits)… but mostly I like it for the softer sequences, of which there are many (not that you would know it from all the bitching from others, that seem to only hear the loud action tracks). The memories of classic Morricone haunt the beautiful Many Mothers track… and that alone makes me prefer this score to anything I can recall from, say, Marco Beltrami or Brian Tyler, for example.
But again, this is all just my opinion. I don’t come here to tell others how they are wrong or how I am right. I don’t believe that there are good or bad movies or good or bad scores… there are only movies I like, movies I dislike, scores I like, scores I dislike. And if asked, I am always open to discussing the reasons why.
Give it your best shot… how about you try to explain what it is about Zimmer you don’t like, without resorting to cheap shots like "he just copies and pastes" or at least provide quantifiable examples?
Yeah, you must be right — The Lion King wasn’t anything to the masses… And an ellipses is only three dots sir… but I wouldn’t expect a Philistine whom makes lazy grotesque phallic analogies in amongst broken grammar and bafflingly abstruse punctuation, to understand the work of a poet like Terrence Malick…
And I do recall venturing, one glorious Friday evening after school back in 1998, to a local populous multiplex of my modest sized California town, and seeing The Thin Red Line in a crowded theater… as it did receive a wide release… and got nominated in the following year’s Academy Awards for Best Picture, Director, Screenplay, Cinematography, Editing, Sound, and — that’s right, cousin — Score! … And I further recollect seeking out and easily finding and aquiring that score cd, as well as its companion Malaysian soundtrack cd, at a popular chain music retail venue.
… you have know idea what you are talking about ….
Guess you’d have to "no" something about art. And "no" what a malaprop is. 😉
———- Post added at 09:58 PM ———- Previous post was at 09:01 PM ———-
Oh God, how tragic. Poor H�nschen. One thing he can really good … marketing. But writing music? NO.
He only uses the copy and paste button, mixed with pseudo ethno blablabla. Groundbreaking? Really! Copying other is at best a busywork.
And NO, "Fury Road" is no good, it’s just loud and boring. Never existed without Zimmer? So what.
Otherwise a very nice promotional text. But not more.
So I should surmise then that you could easily craft superior work, correct benuit?
Please do engulf our senses and enlighten our souls with your gifts — I’d love to hear your productive contributions rather than read your reductive criticisms.
http://www.slashfilm.com/fury-road-trivia/
It would be nice, just to get those last few bits of music that neither OST carries
And I do recall venturing, one glorious Friday evening after school back in 1998, to a local populous multiplex of my modest sized California town, and seeing The Thin Red Line in a crowded theater… as it did receive a wide release… and got nominated in the following year’s Academy Awards for Best Picture, Director, Screenplay, Cinematography, Editing, Sound, and — that’s right, cousin — Score! … And I further recollect seeking out and easily finding and aquiring that score cd, as well as its companion Malaysian soundtrack cd, at a popular chain music retail venue.
Guess you’d have to "no" something about art. And "no" what a malaprop is. 😉
———- Post added at 09:58 PM ———- Previous post was at 09:01 PM ———-
So I should surmise then that you could easily craft superior work, correct benuit?
Please do engulf our senses and enlighten our souls with your gifts — I’d love to hear your productive contributions rather than read your reductive criticisms.
Well since you made this personal I shall respond….. you are so Stupid that you raise Stupidity to another level…. you could not deduce one thing I posted….. The Lion King…. what an earth are you talking about…. where in my post did I mention The Lion King…. Hello….McFly … 😉 3 dots right… I�ll get onto that later.
You ask anyone about The Lion King they will not tell you that Hans Zimmer score was the greatest of all time… nope not a chance,People remember The Lion King for being a great movie but they don�t remember that score, the songs yes… Songs written By Elton John
1. "Circle of Life" Carmen Twillie and Lebo M. 3:59
2. "I Just Can’t Wait to Be King" Jason Weaver, Rowan Atkinson, and Laura Williams 2:50
3. "Be Prepared" Jeremy Irons, Whoopi Goldberg, Cheech Marin, and Jim Cummings 3:40
4. "Hakuna Matata" Nathan Lane, Ernie Sabella, Jason Weaver, and Joseph Williams 3:33
5. "Can You Feel the Love Tonight" Joseph Williams, Sally Dworsky, Nathan Lane, Ernie Sabella, and Kristle Edwards
10. "Circle of Life" Elton John 4:51
11. "I Just Can’t Wait to Be King" Elton John 3:37
12. "Can You Feel the Love Tonight" (End Title) Elton John 4:01
Yip none of those songs were written by Zimmer… none Zilch….
Now onto Merrick…. Where in my post did I say Merrick is not an artist… I could give 2 fucks if you jerk off to the movie or score but Fact is fact… nobody saw the movie… the score did jack shit to film music in general apart from some of it being used in trailers… so you believe that one day you went to the cinema after school and saw people watching the movie that it was a massive hit… here�s news for you fella… Merrick�s movies are not massive hits… I loved the Thin Red Line but Zimmers score added nothing to the film… I�ll go as far as say none of the scores in Merricks movies add to the film, that is my own personal view….
So you try to be a smartass by correcting my Know with no… don�t blame me blame Apple
now Lastly……. Ellipses is spelt Ellipsis and it means omitting words to avoid repetition. I should know I have multiple degrees in both English and Music.
Oh and you try to poke fun at my Grammar… nothing wrong with my grammar Kid especially as Ingles no es mi primera idioma …Douchbag 😉
There�s so much more I could write but I�d feel as though I�m wasting my time with another deluded Zimmer Fanboy.
Oh and your credibility was shot the minute you thought this score was fantastic…. deaf fool
Rice & Elton wrote basic structures of the songs, and the lyrics… All the arrangements are by Hans and Mancina. Hell, the opening of Circle of Life is all Hans & Lebo M…
The responsibility of Hans & Mark on those songs is as big as John/Rice’s.
Your argument is invalid.
The responsibility of Hans & Mark on those songs is as big as John/Rice’s.
Your argument is invalid.
Nope….Rice & Elton wrote the songs, and the lyrics ….
Here you go …..
"Circle of Life" is a song from Disney’s 1994 animated film The Lion King. Composed by Elton John, with lyrics by Tim Rice,[2] the song was performed by Carmen Twillie (female vocals) and Lebo M. (opening Zulu vocals) as the film’s opening song.Elton John sang a pop version of the song with the London Community Gospel Choir, which was included in the film’s soundtrack and made into a music video. "Circle of Life" was nominated for the Academy Award for Best Song in 1994, along with two other songs from The Lion King: "Hakuna Matata" and "Can You Feel the Love Tonight" which won the award.
Zimmer and Manchina only produced it….they had nothing to do with the writing…. you lie…. revisionist BS … The truth hurts … here ya go
"Circle of Life"
Single by Elton John
from the album The Lion King: Original Motion Picture Soundtrack
Released August 9, 1994
Format CD, vinyl record (7"), audio cassette
Recorded 1993
Santa Monica, California
April 1994
BOP Recording Studios
Mmabatho, South Africa[1]
Length 4:51
Label Walt Disney
Writer(s) Elton John (music)
Tim Rice (lyrics)
Producer(s) Hans Zimmer
Mark Mancina
Jay Rifkin
Chris Thomas
BOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOM , Owned
You ask anyone about The Lion King they will not tell you that Hans Zimmer score was the greatest of all time… nope not a chance,People remember The Lion King for being a great movie but they don�t remember that score, the songs yes… Songs written By Elton John
1. "Circle of Life" Carmen Twillie and Lebo M. 3:59
2. "I Just Can’t Wait to Be King" Jason Weaver, Rowan Atkinson, and Laura Williams 2:50
3. "Be Prepared" Jeremy Irons, Whoopi Goldberg, Cheech Marin, and Jim Cummings 3:40
4. "Hakuna Matata" Nathan Lane, Ernie Sabella, Jason Weaver, and Joseph Williams 3:33
5. "Can You Feel the Love Tonight" Joseph Williams, Sally Dworsky, Nathan Lane, Ernie Sabella, and Kristle Edwards
10. "Circle of Life" Elton John 4:51
11. "I Just Can’t Wait to Be King" Elton John 3:37
12. "Can You Feel the Love Tonight" (End Title) Elton John 4:01
Yip none of those songs were written by Zimmer… none Zilch….
Now onto Merrick…. Where in my post did I say Merrick is not an artist… I could give 2 fucks if you jerk off to the movie or score but Fact is fact… nobody saw the movie… the score did jack shit to film music in general apart from some of it being used in trailers… so you believe that one day you went to the cinema after school and saw people watching the movie that it was a massive hit… here�s news for you fella… Merrick�s movies are not massive hits… I loved the Thin Red Line but Zimmers score added nothing to the film… I�ll go as far as say none of the scores in Merricks movies add to the film, that is my own personal view….
So you try to be a smartass by correcting my Know with no… don�t blame me blame Apple
now Lastly……. Ellipses is spelt Ellipsis and it means omitting words to avoid repetition. I should know I have multiple degrees in both English and Music.
Oh and you try to poke fun at my Grammar… nothing wrong with my grammar Kid especially as Ingles no es mi primera idioma …Douchbag 😉
There�s so much more I could write but I�d feel as though I�m wasting my time with another deluded Zimmer Fanboy.
Oh and your credibility was shot the minute you thought this score was fantastic…. deaf fool
How quaint, a hypocrite who decries "douchebags" while himself reveling as the epitome. I wonder, have you even once taken breath through your nose?
Oh excuse me, "Ellipses" is the plural of "Ellipsis" — yet your decadent molestation of its proper use was surely plural.
The general public still doesn’t know who Zimmer is — just as they are also ignorant of titans like Jerry Goldsmith, John Barry or Ennio Morricone — it’s fairly niche to be aware of film composers at all. John Williams is maybe the only somewhat familiar name in popular zeitgeist.
My point is that Thin Red Line is extremely well regarded and not at all obscure.
In fact Zimmer did compose music and orchestrations on those Lion Kings songs, and his score did win the Academy Award for 1994. And I vividly recall people bemoaning Zimmer’s influence just as you are, back in the mid-90’s — you’re nothing new, just less.
I don’t know who "Merrick" is, but I do know who Malick is — and don’t you presume to blaspheme by even attempting to write the name of a true artist through the tactless tips of your Neanderthal nubs anyway! If you’ve got multiple degrees in English and Music as you claim, it only proves my melancholy correct in weeping at the decay of civilization and the farce of higher learning.
Since you insist on puffing your chest out, I’ll share that I’ve long held a particular talent and vocation for deflating bladders full of hot air — very much removed from the confines of mere words. In life I’m aspiring to be the compassionate pacifist, yet somewhere deep in my own primordial plasma a dark desire for you to provoke the immanent solution face-to-face does secretly pine. Graciously, outside of you confirming the validity of my temporal dismay, I couldn’t care less about you stirring crazy like a profane rabid child, and will forget you ever sniveled presently.
dot dot dot https://www.youtube.com/watch?v=8tOsQv-rrEE
You ask anyone about The Lion King they will not tell you that Hans Zimmer score was the greatest of all time… nope not a chance,People remember The Lion King for being a great movie but they don�t remember that score, the songs yes… Songs written By Elton John
1. "Circle of Life" Carmen Twillie and Lebo M. 3:59
2. "I Just Can’t Wait to Be King" Jason Weaver, Rowan Atkinson, and Laura Williams 2:50
3. "Be Prepared" Jeremy Irons, Whoopi Goldberg, Cheech Marin, and Jim Cummings 3:40
4. "Hakuna Matata" Nathan Lane, Ernie Sabella, Jason Weaver, and Joseph Williams 3:33
5. "Can You Feel the Love Tonight" Joseph Williams, Sally Dworsky, Nathan Lane, Ernie Sabella, and Kristle Edwards
10. "Circle of Life" Elton John 4:51
11. "I Just Can’t Wait to Be King" Elton John 3:37
12. "Can You Feel the Love Tonight" (End Title) Elton John 4:01
Yip none of those songs were written by Zimmer… none Zilch….
Now onto Merrick…. Where in my post did I say Merrick is not an artist… I could give 2 fucks if you jerk off to the movie or score but Fact is fact… nobody saw the movie… the score did jack shit to film music in general apart from some of it being used in trailers… so you believe that one day you went to the cinema after school and saw people watching the movie that it was a massive hit… here�s news for you fella… Merrick�s movies are not massive hits… I loved the Thin Red Line but Zimmers score added nothing to the film… I�ll go as far as say none of the scores in Merricks movies add to the film, that is my own personal view….
So you try to be a smartass by correcting my Know with no… don�t blame me blame Apple
now Lastly……. Ellipses is spelt Ellipsis and it means omitting words to avoid repetition. I should know I have multiple degrees in both English and Music.
Oh and you try to poke fun at my Grammar… nothing wrong with my grammar Kid especially as Ingles no es mi primera idioma …Douchbag 😉
There�s so much more I could write but I�d feel as though I�m wasting my time with another deluded Zimmer Fanboy.
Oh and your credibility was shot the minute you thought this score was fantastic…. deaf fool
Wow… you just made yourself look like a total idiot.
Two points…
1. If you want to appear superior, get your facts straight (such as the proper name of the artist you are trying to degrade)
2. Stop thinking that your opinion speaks for everyone. I have no objection to you disliking Zimmer’s work, but I do get annoyed when imbeciles throw out phrases like "people don’t remember the score" since it is quite clear that people DO remember the score, and appreciate it. I remember and appreciate the score, octagonproplex remembers and appreciates the score, many other visitors to this site (along with many other filmmusic fans in general) remember and like the score, and I am pretty sure the Academy Awards remembered and appreciated the score, blessing it with an Oscar win (for the record, it was not my favourite score of the year, nor of Zimmer’s career… but still a notable and memorable entry for me). And his work for The Thin Red Line is also highly appreciated amongst the industry and filmmusic fans in general, again being recognised with an Oscar nomination, and the sheer level of interest in obtaining the recording sessions should positively indicate appreciation of it.
Again, I don’t really care if you dislike his music, as your opinion is your own and most likely warranted in your eyes… but don’t speak for everyone just to progress an argument because you don’t speak for everyone, and you should really just work on formulating more coherent arguments to support your opinion.
P.S. How is Apple to blame for you not proof-reading your post?
A nice thought, but sometimes you just have to let male pattern testosterone poisoning run its course.
– "Elegy For Rosa" Composed by Eleni Karaindrou
– "Refugee’s Theme Symphonic Variation No. 1" Composed by Eleni Karaindrou
– "Messa Da Requiem – Dies Irae" Composed by Giuseppe Verdi
– "Teardrop" composed bv Massive Attack
– "Little Secrets" Performed by Professor Green featuring Mr. Probz
– "Symphony No. 3: Passacaglia – Allegro Moderato" Written and Composed by Krzysztof Penderecki
this is 136 mg . but when you extract it became 220 mg .
please some body give some answer . please …
this is 136 mg . but when you extract it became 220 mg .
please some body give some answer . please …
If you write in complete sentences, subject, verb, object and explain what it is you want our help with, then perhaps we can solve your problem. This is not Twitter, you can use real words and finish your thoughts here.
i download the album mad max fury . the size was 136 mg . when i extract it , it became 220 mg .
why the size Increase like this ?
how i can high compress like this ?
and thank you for answering to me .
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