MP3 320

http://uploaded.net/file/y72jg0r7

FLAC

http://uploaded.net/file/xuqlbj8i

23 Tracks

Thank you!

Thanks

Thank you.

Yeah ! Thanks so much :)

Here are some covers I made a while ago:
<a data-flickr-embed="true" href="https://www.flickr.com/photos/162181720@N04/46687958112/in/album-72157703885095835/" title="Captain Marvel by Pinar Toprak">
<a data-flickr-embed="true" href="https://www.flickr.com/photos/162181720@N04/46687958432/in/album-72157703885095835/" title="Captain Marvel by Pinar Toprak">
<a data-flickr-embed="true" href="https://www.flickr.com/photos/162181720@N04/46714258042/in/album-72157703885095835/" title="Captain Marvel by Pinar Toprak">

thanx!

Thank you

Thanks dude

Thanks!

Thanks!

Noice! Now i only need the "Various Artists" counterpart :D

Gracias

WOW! Rep already added — and my thanks!

thanks

thank you

Thank you and rep added

Thank you!!

Does anyone knows if this will be a digital only release or if there will be a CD or vinyl?

Thanks a lot!

Thank you

Listening to this score now, and it is absolutely amazing. Mx. Toprak came out of nowhere and threw down her musical gauntlet to announce to the world "Hey - I'm here".

Goddamn this score is stunning!

Thank you so much!

Cheers,

-S

Many thanks!

Thank you!

Listening to this score now, and it is absolutely amazing. Mx. Toprak came out of nowhere and threw down her musical gauntlet to announce to the world "Hey - I'm here".

Goddamn this score is stunning!

Thank you so much!

Cheers,

-S

What are you listening to and can you please share it with me? So far it's generic af, sounds like Brian Tyler (shock). The brass in Entering Enemy Territory sounds like it was pulled straight out of Star Wars.

thanks

Thanks a lot!!! Great post!!

The score is quite decent and nice, well nowadays generic would be if it sounded like it came out straight from the Zimmer factory.
They seem to be going out on a girl power with this one getting a female as its composer.

The score is quite decent and nice, well nowadays generic would be if it sounded like it came out straight from the Zimmer factory.
They seem to be going out on a girl power with this one getting a female as its composer.
Well she is straight out of the Zimmer factory.

Well she is straight out of the Zimmer factory.

Gosh, is that so..bummer, anyway i did say its decent and nice. For me it has its moments. Some parts of the opening theme also has the Thor Ragnarok vibe from Mothersbaugh which is 80'ish... neither good nor bad.

Gracias por compartir

Well she is straight out of the Zimmer factory.

How much time did she actually spend working at RCP? Some of her music is decidedly un-RCP like.

thanks

How much time did she actually spend working at RCP? Some of her music is decidedly un-RCP like.

"Having studied and practiced music from a very young age, Pinar earned a degree in film scoring and a master’s degree in composition at age 22 before working alongside legendary composers including Hans Zimmer and William Ross. Pinar then went on to make a name for herself scoring dozens of projects across many mediums including the massively popular video game FORTNITE, Syfy TV series KRYPTON, thriller THE RIVER MURDERS, period drama THE LIGHTKEEPERS and additional music on box office hit JUSTICE LEAGUE. Her additional credits include the films BEHIND ENEMY LINES II: AXIS OF EVIL, THE CHALLENGER, BREAKING POINT, LIGHT OF OLYMPIA, SAY IT IN RUSSIAN, THE ANGEL, and THE WIND GODS, video game NINETY-NINE NIGHTS, and TV series FALLING WATER.."

from her site.

Thank you! Happy early birthday to me!!!

I also made a cover, not too long ago actually!:

()

"Having studied and practiced music from a very young age, Pinar earned a degree in film scoring and a master’s degree in composition at age 22 before working alongside legendary composers including Hans Zimmer and William Ross. Pinar then went on to make a name for herself scoring dozens of projects across many mediums including the massively popular video game FORTNITE, Syfy TV series KRYPTON, thriller THE RIVER MURDERS, period drama THE LIGHTKEEPERS and additional music on box office hit JUSTICE LEAGUE. Her additional credits include the films BEHIND ENEMY LINES II: AXIS OF EVIL, THE CHALLENGER, BREAKING POINT, LIGHT OF OLYMPIA, SAY IT IN RUSSIAN, THE ANGEL, and THE WIND GODS, video game NINETY-NINE NIGHTS, and TV series FALLING WATER.."

from her site.

I saw that. Pretty vague. Did she do additional music or orchestration on some RCP scores? Can't find anything about that sort of thing. She doesn't even appear on Hans-zimmer com, which strikes me as very unusual.

Meh... some nice orchestrations here and there, but mostly this is just a generic borefest. "More Problems" is slightly promising, but overall has little in the way of notable motifs or harmonies. I'm sure it supports the movie (seeing it tomorrow), but I doubt I would ever listen to it separately again.

Thank you.

strangely enough this "meh" score is starting to grow on me. i'm beginning to actually like some of its tracks upon 2nd go at listening! ;)

What are you listening to and can you please share it with me? So far it's generic af, sounds like Brian Tyler (shock). The brass in Entering Enemy Territory sounds like it was pulled straight out of Star Wars.

The score absolutely takes a few notes from John Williams, Michael Giacchino, John Powell, as well as SubVision, Visual Music, Daft Punk, Steve Roach, Matthew McCauley, David Fang, Sarah Schachner, Murray Gold, Michael Kamen, Alexander Brandon, James Horner, Basehead, and definitely Michael Stearns.

Look, I always like to remind everyone of the famous Latin phrase "de gustibus non est disputandum", as what works for or speaks to one person won't necessarily be true for others. And that's okay.

That said, speaking for my particularly tastes: I love how the score hits the ground running in the opening track ('Captain Marvel') with a forceful, major-scale march, and reminds me a bit of James Horner's work on The Rocketeer, and then segues in 'Waking Up' to an echoing feminine sound reminiscent of Lisa Gerrard's work on Gladiator, before making this quirky shift to a tone that sounds like something that makes me think of outer space, starting at 00:33. It brings to mind Michael Stearns' 'Planetary Unfolding', Sarah Schachner's 'Anthem' (particularly the first two tracks of that score - Legion of Dawn/Valour), and David Fang's work on Andromeda (see for example: 'Core, Logic, and Avatar').

It's terrific hearing little bits of sound-editing that bring to mind Basehead's work on the Unreal score ('Mothership Law and Core/Skaarj Generator/The Dardening (Erosion)') as well as a hint of Accadia's 'Into the Dawn'.

Track 04, Why Do You Fight? again, utilises counter-point by fusing a very mild base-beat with strings atop it, and then launches into 'Let's Bring Him Home', that manages to bring to mind Mark Mothersbaugh's work on Thor: Ragnarok (which is always OK, as I enjoyed that score) and a hint of Daft Punk's Tron: Legacy.

The little Don Davis flourishes circa his work on The Matrix ('More Problems') brought a distinct smile to my face, as did the use of what I *think* are timpani drums in the background on occasion? I can never say to a timpani.

That Pinar manages to bring a slight Rachel Portman influence in "This Isn't Goodbye" with the use of piano and strings was a nice touch as well before heading off into a rousing denouement/climax that reminded me a bit of 80's era Alan Silvestri, with the use of strings overlaid atop a flute, with the use of some trills and a hint of a staccato to propel the piece, bringing immediately to mind the 'End Credits (Raiders March)' from Indiana Jones and the Last Crusade (particularly at about the 2:07 and onwards point in the 13-track edition score of the Last Crusade).

There's such a diverse sonic range to this score, so many interesting and diverse audio flourishes and touches, to many different styles and approaches integrated, including the utilisation of what I suspect are (but I cannot say for certain) synth effects and sounds, taking thus a cue from Vangelis as well.

It's just this wonderful tapestry of different styles and approaches, all woven together. Every track offers something different. I can hear bits of Kamen's X-Men, Vangelis' The Bounty, bits of The Rocketeer, Willow, Tron: Legacy, Star Wars, Planetary Unfolding, and so much more. Each track is just so damn interesting.

It might not work for you - which as I said before, is totally normal and okay! - but it certainly speaks to me!

Cheers,

-S

Thanks :)

---------- Post added at 12:51 PM ---------- Previous post was at 12:45 PM ----------


The score absolutely takes a few notes from John Williams, Michael Giacchino, John Powell, as well as SubVision, Visual Music, Daft Punk, Steve Roach, Matthew McCauley, David Fang, Sarah Schachner, Murray Gold, Michael Kamen, Alexander Brandon, James Horner, Basehead, and definitely Michael Stearns.

Look, I always like to remind everyone of the famous Latin phrase "de gustibus non est disputandum", as what works for or speaks to one person won't necessarily be true for others. And that's okay.

That said, speaking for my particularly tastes: I love how the score hits the ground running in the opening track ('Captain Marvel') with a forceful, major-scale march, and reminds me a bit of James Horner's work on The Rocketeer, and then segues in 'Waking Up' to an echoing feminine sound reminiscent of Lisa Gerrard's work on Gladiator, before making this quirky shift to a tone that sounds like something that makes me think of outer space, starting at 00:33. It brings to mind Michael Stearns' 'Planetary Unfolding', Sarah Schachner's 'Anthem' (particularly the first two tracks of that score - Legion of Dawn/Valour), and David Fang's work on Andromeda (see for example: 'Core, Logic, and Avatar').

It's terrific hearing little bits of sound-editing that bring to mind Basehead's work on the Unreal score ('Mothership Law and Core/Skaarj Generator/The Dardening (Erosion)') as well as a hint of Accadia's 'Into the Dawn'.

Track 04, Why Do You Fight? again, utilises counter-point by fusing a very mild base-beat with strings atop it, and then launches into 'Let's Bring Him Home', that manages to bring to mind Mark Mothersbaugh's work on Thor: Ragnarok (which is always OK, as I enjoyed that score) and a hint of Daft Punk's Tron: Legacy.

The little Don Davis flourishes circa his work on The Matrix ('More Problems') brought a distinct smile to my face, as did the use of what I *think* are timpani drums in the background on occasion? I can never say to a timpani.

That Pinar manages to bring a slight Rachel Portman influence in "This Isn't Goodbye" with the use of piano and strings was a nice touch as well before heading off into a rousing denouement/climax that reminded me a bit of 80's era Alan Silvestri, with the use of strings overlaid atop a flute, with the use of some trills and a hint of a staccato to propel the piece, bringing immediately to mind the 'End Credits (Raiders March)' from Indiana Jones and the Last Crusade (particularly at about the 2:07 and onwards point in the 13-track edition score of the Last Crusade).

There's such a diverse sonic range to this score, so many interesting and diverse audio flourishes and touches, to many different styles and approaches integrated, including the utilisation of what I suspect are (but I cannot say for certain) synth effects and sounds, taking thus a cue from Vangelis as well.

It's just this wonderful tapestry of different styles and approaches, all woven together. Every track offers something different. I can hear bits of Kamen's X-Men, Vangelis' The Bounty, bits of The Rocketeer, Willow, Tron: Legacy, Star Wars, Planetary Unfolding, and so much more. Each track is just so damn interesting.

It might not work for you - which as I said before, is totally normal and okay! - but it certainly speaks to me!

Cheers,

-S

No ofense, and i haven�t listened to the score yet, but I don�t know if this is some kind of joke or is serious. So is this a giant temp track or what?

Thanks :)

---------- Post added at 12:51 PM ---------- Previous post was at 12:45 PM ----------



No ofense, and i haven�t listened to the score yet, but I don�t know if this is some kind of joke or is serious. So is this a giant temp track or what?

No joke intended. It is, as I said, a score that does uses different styles for differing scenes. Perhaps this release had tracks out of chronological order and is oddly edited? I can't say.

But I enjoyed it and its varied flourishes and styles. It's certainly not a temp track, as all the music is newly created for this score, rather than placeholder music, as temp scores often are (as I understand it).

Cheers,

-S

Thank you!

Is a 40+ WHITE guy allowed to want and/or like this.....? [cue brie]

&

Do Marvin Marvellous & the Marvellettes do any OST tracks in this movie Captaino Marvellousness ? Jus' askin'

Thank you for the link!

Thank you

Is a 40+ WHITE guy allowed to want and/or like this.....? [cue brie]



Of course you are. It features a beautiful woman on screen giving people sass in a NIN t-shirt (personally OK'd by Trent Reznor himself!), lots of explosions, and Clark Gregg and Samuel L. Jackson *and* an adorable cat!

It's got something for everyone!

A new cover:
<a data-flickr-embed="true" href="https://www.flickr.com/photos/162181720@N04/46405913075/in/dateposted-public/" title="Captain Marvel by Pinar Toprak">

Thank you.

Of course you are. It features a beautiful woman on screen giving people sass in a NIN t-shirt (personally OK'd by Trent Reznor himself!), lots of explosions, and Clark Gregg and Samuel L. Jackson *and* an adorable cat!

It's got something for everyone!

So has EBOLA.....But I'll give it a whirl.

So has EBOLA.....But I'll give it a whirl.

It's a Marvel comic book movie. Go. Have fun. Be entertained!

A new cover:
<a data-flickr-embed="true" href="https://www.flickr.com/photos/162181720@N04/46405913075/in/dateposted-public/" title="Captain Marvel by Pinar Toprak">

Wonderful work hahah! - I don’t think I did a very good job. :laugh:

So has EBOLA.....But I'll give it a whirl.

Also, the movie has a ginger kitty cat! HOW CAN YOU SO NO TO A KITTY? :)

https://io9.gizmodo.com/marvel-finally-learned-what-gmg-has-known-all-along-gi-1833133446

---------- Post added at 02:32 AM ---------- Previous post was at 02:25 AM ----------

An interview with composer Pinar Toprak at Game Informer.

https://www.gameinformer.com/interview/2019/03/08/the-composer-for-captain-marvel-talks-about-her-favorite-games

This particular quote made me smile:

"I love video games. I've always been a huge video game fan. I actually even got this custom-built arcade machine that's finally arrived after waiting for it for six/seven months. It's got pretty much every game and every console. All the classic arcade games and a lot of the other console games, as well."

(A teenage friend of mine had a similar set-up - a custom-built arcade machine with 336 games on it. It was *incredible*.)

Thanks!

How much time did she actually spend working at RCP? Some of her music is decidedly un-RCP like.
Well she has absolutely no credits to any HZ / other RCP related films so I'm not sure she could have stayed there long, but it was enough to warrant HZ making a whole post about her saying how she had "put in the hours" for him when she had worked there, so I guess it was a long enough time for him to follow her work afterwards.

---------- Post added at 08:44 PM ---------- Previous post was at 08:29 PM ----------


The score absolutely takes a few notes from John Williams, Michael Giacchino, John Powell, as well as SubVision, Visual Music, Daft Punk, Steve Roach, Matthew McCauley, David Fang, Sarah Schachner, Murray Gold, Michael Kamen, Alexander Brandon, James Horner, Basehead, and definitely Michael Stearns.

Look, I always like to remind everyone of the famous Latin phrase "de gustibus non est disputandum", as what works for or speaks to one person won't necessarily be true for others. And that's okay.

That said, speaking for my particularly tastes: I love how the score hits the ground running in the opening track ('Captain Marvel') with a forceful, major-scale march, and reminds me a bit of James Horner's work on The Rocketeer, and then segues in 'Waking Up' to an echoing feminine sound reminiscent of Lisa Gerrard's work on Gladiator, before making this quirky shift to a tone that sounds like something that makes me think of outer space, starting at 00:33. It brings to mind Michael Stearns' 'Planetary Unfolding', Sarah Schachner's 'Anthem' (particularly the first two tracks of that score - Legion of Dawn/Valour), and David Fang's work on Andromeda (see for example: 'Core, Logic, and Avatar').

It's terrific hearing little bits of sound-editing that bring to mind Basehead's work on the Unreal score ('Mothership Law and Core/Skaarj Generator/The Dardening (Erosion)') as well as a hint of Accadia's 'Into the Dawn'.

Track 04, Why Do You Fight? again, utilises counter-point by fusing a very mild base-beat with strings atop it, and then launches into 'Let's Bring Him Home', that manages to bring to mind Mark Mothersbaugh's work on Thor: Ragnarok (which is always OK, as I enjoyed that score) and a hint of Daft Punk's Tron: Legacy.

The little Don Davis flourishes circa his work on The Matrix ('More Problems') brought a distinct smile to my face, as did the use of what I *think* are timpani drums in the background on occasion? I can never say to a timpani.

That Pinar manages to bring a slight Rachel Portman influence in "This Isn't Goodbye" with the use of piano and strings was a nice touch as well before heading off into a rousing denouement/climax that reminded me a bit of 80's era Alan Silvestri, with the use of strings overlaid atop a flute, with the use of some trills and a hint of a staccato to propel the piece, bringing immediately to mind the 'End Credits (Raiders March)' from Indiana Jones and the Last Crusade (particularly at about the 2:07 and onwards point in the 13-track edition score of the Last Crusade).

There's such a diverse sonic range to this score, so many interesting and diverse audio flourishes and touches, to many different styles and approaches integrated, including the utilisation of what I suspect are (but I cannot say for certain) synth effects and sounds, taking thus a cue from Vangelis as well.

It's just this wonderful tapestry of different styles and approaches, all woven together. Every track offers something different. I can hear bits of Kamen's X-Men, Vangelis' The Bounty, bits of The Rocketeer, Willow, Tron: Legacy, Star Wars, Planetary Unfolding, and so much more. Each track is just so damn interesting.

It might not work for you - which as I said before, is totally normal and okay! - but it certainly speaks to me!

Cheers,

-S
To me on my first listen before even having seen the film, I had felt she had gotten a heavy influence from Blake Neely's Supergirl Main Theme, you can hear the exact string rhythm (albeit faster) in the Captain Marvel theme, which I believe is in the second half of the End Credits. The other score I felt like it "wanted" to be was Lockington's Percy 2. There were a few particular moments that had sounded a whole lot like Lockington's theme he wrote for Percy 2. And I agree with the Williamses / Giacchino references, some of the brass riffs / orchestrations sounded exactly like some of the Star Wars action cues of the most recent episodes. In terms of Giacchino, I think she had went the Incredibles route, as some of the cues sounded vaguely familiar from that particular score.

Some of the other Giacchino scores that it reminds me of would be Fallen Kingdom, Jurassic World, and obviously Incredibles 2 as well. Those are all pretty brass-heavy scores, and the orchestration here seems more or less the same. We know how much the Disney execs LOVE Giacchino, so it makes sense they are pretty used to having that sound in almost all of their films. It's pretty much the whole reason he got the Rogue One job.

Honestly to me, the Lisa Gerrard reference doesn't really stick with me much, as I don't think she was trying to evoke an ethnic sort of vocal-work here. When I heard Waking Up I immediately thought of this track from Percy 2: https://www.youtube.com/watch?v=QVOLZQn1qEk

Another female that sounds a lot like this type of vocal style would be Tori Letzler in Thor 2: The Dark World, which would make a lot of sense considering how that's actually a recurring theme in the MCU, more than you can say for most of them.


Why Do You Fight? is in the very beginning of the film when she is fighting Yon-Rogg (Jude Law's character) right? Honestly, for some of the more "synth-heavy" cues I heard more Aquaman than I did Thor: Ragnarok. I would be curious to know if there were actually any additional composers on Captain Marvel, as it would be interesting to see if Andrew Kawczynski had worked on this film as well. :P

I'm still going to give some time for the score to grow on me overall, nothing specifically had stood out to me in the film besides a few of the brass runs / synth arpeggiations were pretty neat and unique to my ears. I don't know if it was the fact that the score didn't seem to be mixed too loudly for the scenes that had music, but hopefully after a few more listens of the OST I will come to a proper conclusion as to what I think of the score. For me personally, during the post credits scene, the music that I heard playing during that scene was instantly recognizable to me. Not going to spoil anything obviously, but it was the most memorable piece out of the entire film, but that's also because that's one of my favorite scores of recent years, and I have listened to it a ton. I would ramble on more, but I see no point until I begin more familiar with the score.

Thank you for sharing your insight and thoughts, Shevchyk!

PS: I'd be quite interested to know what everyone thinks of the "sound"? heard @ about 1:52 in the cue Breaking Free on the OST. I can't really make out what kind of Instrument would actually make that sound, but to me at first it had sounded like a woman screaming something. It almost sounds like straight-up dialogue. Would be curious to know if anyone else had heard that. Also, half-way through this cue reminded me of the "sound" of very high strings that you hear in almost all of Doyle's scores, but most notably the Goblet of Fire. He definitely does something very specific to the strings in his scores that make them sound the way they do, and that is definitely somewhat emulated halfway through this track.

Maybe it's just me, but does anyone hear sparking similarities to Dumbledore's theme in Crimes of Grindelwald to the track "Learning the Truth" at 2:17...maybe it's just me but that's where I felt that cello line really wanted to go!

Also, I honestly can't remember the last score I heard utilize the electric guitar in a classical film score...was it really just Attack of the Clones? (Track 8, Hot Pursuit.)

Well she has absolutely no credits to any HZ / other RCP related films so I'm not sure she could have stayed there long, but it was enough to warrant HZ making a whole post about her saying how she had "put in the hours" for him when she had worked there, so I guess it was a long enough time for him to follow her work afterwards.

---------- Post added at 08:44 PM ---------- Previous post was at 08:29 PM ----------


To me on my first listen before even having seen the film, I had felt she had gotten a heavy influence from Blake Neely's Supergirl Main Theme, you can hear the exact string rhythm (albeit faster) in the Captain Marvel theme, which I believe is in the second half of the End Credits. The other score I felt like it "wanted" to be was Lockington's Percy 2. There were a few particular moments that had sounded a whole lot like Lockington's theme he wrote for Percy 2. And I agree with the Williamses / Giacchino references, some of the brass riffs / orchestrations sounded exactly like some of the Star Wars action cues of the most recent episodes. In terms of Giacchino, I think she had went the Incredibles route, as some of the cues sounded vaguely familiar from that particular score.

Honestly to me, the Lisa Gerrard reference doesn't really stick with me much, as I don't think she was trying to evoke an ethnic sort of vocal-work here. When I heard Waking Up I immediately thought of this track from Percy 2: https://www.youtube.com/watch?v=QVOLZQn1qEk

Another female that sounds a lot like this type of vocal style would be Tori Letzler in Thor 2: The Dark World, which would make a lot of sense considering how that's actually a recurring theme in the MCU, more than you can say for most of them.

Why Do You Fight? is in the very beginning of the film when she is fighting Yon-Rogg (Jude Law's character) right? Honestly, for some of the more "synth-heavy" cues I heard more Aquaman than I did Thor: Ragnarok. I would be curious to know if there were actually any additional composers on Captain Marvel, as it would be interesting to see if Andrew Kawczynski had worked on this film as well. :P

I'm still going to give some time for the score to grow on me overall, nothing specifically had stood out to me in the film besides a few of the brass runs / synth arpeggiations were pretty neat and unique to my ears. I don't know if it was the fact that the score didn't seem to be mixed too loudly for the scenes that had music, but hopefully after a few more listens of the OST I will come to a proper conclusion as to what I think of the score. For me personally, during the post credits scene, the music that I heard playing during that scene was instantly recognizable to me. Not going to spoil anything obviously, but it was the most memorable piece out of the entire film, but that's also because that's one of my favorite scores of recent years, and I have listened to it a ton. I would ramble on more, but I see no point until I begin more familiar with the score.

Thank you for sharing your insight and thoughts, Shevchyk!


Something I found out just today, Lockdown: she actually also worked on the Justice League soundtrack with Danny Elfman!

Yes! I actually have her credited on a number of cues on the complete score.

Many thanks!

While watching the film, yeah, the music is generic AF and absolutely nothing stood out apart from a few short Ragnarok-esque electronic bits, and like that score I really wished they would have leaned completely into that style for the whole thing. If there even was a theme for her it is not apparent at all. That said I do want to listen to the music on its own to see if anything grows on me, so thanks.

thanks

Thank you!

Cool- many thanks!

Thank you!

Thanks for sharing!

Thanks for sharing

Thank you!

Thanks

I see the butthurt manchildren negging everything about this film has infected even this site.

Give it up guys. Nobody cares that you didn't like it.

Thanks!

Thanks !

Thanks so much!

thanks

Finally saw the film and it�s true there seem to be many influences in the music. As music per s� it, I think the theme lacks a greater development, as it just the beginng of a fanfarre, and on the first listen of the CD all has fallen a bit flat for me. I�ll give it another try, though, but first impressions are that this is generic and well orchestrated, nothing to call home about.

Thank you!

Is it just me, or there's a James Newton Howard influence on the softer/more emotional cues on the score? Learning the Truth and High Score are very JNH-like, and are very similar to the softer parts of King Kong, Lady in the Water, Snow White and the Huntsman, The Hunger Games and Water for Elephants. High Score actually seems to have been temped with They're Back from Mockingjay - Part 1, there's a small section on these two tracks that are quite similar. In any case, it seems that Marvel is loving to temp their movies with JNH - Dad from GotG 2 is basically a shorter version of Flow Like Water.

Also, some of the action music in More Problems is quite similar to Silvestri's Infinity War.

Thanks

thanks

MP3 320

http://uploaded.net/file/y72jg0r7

FLAC

http://uploaded.net/file/xuqlbj8i

23 Tracks

MP3 link page "Not found"!!!

Thanks!

PS: I'd be quite interested to know what everyone thinks of the "sound"? heard @ about 1:52 in the cue Breaking Free on the OST. I can't really make out what kind of Instrument would actually make that sound, but to me at first it had sounded like a woman screaming something. It almost sounds like straight-up dialogue. Would be curious to know if anyone else had heard that.

Maybe like violin strings being stroked lightly with the bow while the tones goes downward?
Or maybe like an alarm system? Or futuristic doors that's being closed?

edit: Oh no wait! It does sound alot like the "Door Close" sound from the game "Doom"!
Sound clip: https://www.youtube.com/watch?v=7BVygrVoxC8

Thank you

Much appreciated.

Thank You!

Thanks very much.

Thanks very much for Flac. Nice.

Thank you.

Thanks.

Here's a mirror of the FLAC upload on MEGA https://mega.nz/#!VF5UmSrC!ggS0azHThnXaFKQhwb8oYgNb-29JZfYSVvFKQWOBC7c

Thanks!