Thor: Ragnarok Soundtrack (by Mark Mothersbaugh)

Thor: Ragnarok Soundtrack

Genre: Score
Date: 2017
Country: USA
Audio codec: MP3
Quality: 320 kbs
Playtime: 1:13:04

1. Ragnarok Suite (8:53)
2. Running Short on Options (2:47)
3. Thor: Ragnarok (1:10)
4. Weird Things Happen (1:47)
5. Twilight of the Gods (6:15)
6. Hela vs. Asgard (4:31)
7. Where am I? (1:39)
8. Grandmaster’s Chambers (1:19)
9. The Vault (3:47)
10. No One Escapes (3:01)
11. Arena Fight (3:33)
12. Where’s the Sword? (4:34)
13. Go (1:43)
14. What Heroes Do (1:38)
15. Flashback (3:00)
16. Parade (2:20)
17. The Revolution Has Begun (1:47)
18. Sakaar Chase (2:12)
19. Devil’s Anus (4:53)
20. Asgard Is a People (4:21)
21. Where To? (2:23)
22. Planet Sakaar (2:15)
23. Grandmaster Jam Session (3:17)

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22 Comments on “Thor: Ragnarok Soundtrack (by Mark Mothersbaugh)

  1. Thx!

    Very interesting: is 2017 the renaissance year of ’80 synth-pop?! E.g. Blade runner 2049. Not problem, but where are the classical themes?

  2. Thanks for this preview but I’ll pass this purchase: It’s another forgettable marvel score. At last, DC is trying, working with Danny Elfman and bringing back some great thematic material, not synthesized serum/avenger synth crap sounds.
    Increasingly I agree with Bruce Broughton. In this interview he talks about TV scoring but everything he says can be applied to much of the current film scoring:

    “To my mind, music in TV has on the whole become musically simpler, less emotionally involving and, just as in movies, rather tediously overused. Much of this has to do with the infuence of the digital age. Television shows now have temp-tracks; composers have to submit mock-ups of their cues, which means that producers have become more involved in the composers’ creative process and that composers therefore have to spend a lot of time rewriting and tweaking what they’ve written, even though there’s little time (or money) for the process; the budgets for scores have become less, forcing the composers to create their scores in a home studio as well as to become their own music departments”.

  3. Superhero movies have ceased to be a fertile field for epic and dramatic scores. Traditional approaches that created great impact and memorability in the audience refer to Williams, Horner, McNeely, Broughton and Elfman. Want a modern footprint? How about bringing back names like Don Davis or Elliot Goldenthal to the business? No, let’s insist on crappy patterns widespread by remote control: poor minimalism, totally cliches harmonic schemes using chords in fundamental position, poor orchestration and crappy synth sounds…

    It really hurts to hear any Godenthal and Don Davis scores devoted superhero/action/fiction movies compared to these more current approaches. Film music is really going downhill…

  4. Thank you very much!

    It’s Mothersbaugh’s first job that I listen to and I really liked it.

    Because at the end he includes some parts of Doyle’s first score film
    this makes it sound excellent.

  5. If you listen to War For The Planet Of The Apes composed by Michael Giacchino. That is for me a great example that film music isn’t going downhil.

  6. I do understand and agree with a lot of what Mynock says, but just as iamtommie puts forward Giacchino, I would also say what about Zimmer? He did the score for the entire dark night trilogy and that’s a marvelous collection.
    TV, absolutely, is nothing else but a complement for spotify in what refers to soundtracks or scores.
    Now, after just finished watching this film, I can’t say that a great soundtrack will be fit for purpose. Am getting this for my 9year old who loved the music, probably more than the film.

  7. Awesome!! Thanks for sharing!! I am curious to see (and hear) the new Thor movie, I like the mid ’80s retro-futurist theme — Very refreshing visuals w/ Hulk as a sidekick, opposite the 1st two boring instalments w/ Natalie Portman and whats-her-name..!! =)

  8. Hi dear Iamtommie.

    You mentioned the name that refers to one of the best composers in the business today. But Giacchino is not the rule but the exception (you just have to watch/listen how many composers clone the style preached by remote control)!!! And yes, Giacchino’s score works very nice, but it’s absolutely functional music: It’s not memorable. It’s light years away from the compositions that Don Davis created for Matrix or Goldenthal for Alien 3 and Batman.

    I’m not saying it’s easy to compose in today’s Hollywood, with all the interferences and pressures mentioned by Bruce Broughton. Exactly due to this, it’s definitely not a good moment in history for film composers: there’s a surreal contrast between all the facilities offered by today’s technologies (good notation softwares, samplers, DAWs, video editors) and low quality of recent scores.

  9. I think that People develop attachment to musical genres and styles, since they form schematic and cognitive patterns. The human brain loves to detect and untangle these patterns as well as perceiving blendings, hybridizations and other kind of combinations. However, if the brain hates excessive complexity (here I speak, for example of the new complexity in contemporary music), it also hates redundant degrees of easiness: In this recent scores, we still lack that “extra mile” that composers with caliber of Bernstein, Goldsmith, Williams, Morricone, Goldenthal, Davis and others practiced and/or were free to offer to us and to film medium. The works of the above cited composers always challenged listeners towards an interplay between established genres and their adaptation to the context of film music, but it does not happen today (note the same patterns practiced by Zimmer and his clones, that have become the current modus operandi in today’s Hollywood, without the same quality, labor and dramaticity practiced by the great composers mentioned.

    What I find most serious is the fact that the musical creation practiced in today’s Hollywood has lost this ability to create the memorability so associated with movie music. That being said, I do not mean that Zimmer and his clones are extremely bad composers, but their recent works do not have the strength, expressiveness, technicality and memorability that the old ones had. It’s a fact.

  10. Mynock…you’re high

    It’s a great soundtrack. One of the top Marvel ones alongside Doctor Strange

  11. Thank you 🙂 very excited to hear it after reading everyone’s comments

  12. And… Where’s Inmigrant Song?…. Thanx for sharing 😉

  13. I’m not certain I want this soundtrack judging by the comments above, but the my audiophile side is curious enough to give it a chance. A factor that preys on a purest, motion picture score are “temp tracks” (music the director introduces to the composer, to invoke a “feel” for what he or she is seeking in a scene or overall. The result is generally a soundtrack lacking in emotional substance, or worse, a facsimile of the temps. This idea is the bane of many a composer’s existence because it could mean the demise of originality in the “original” motion picture soundtrack concept, the very thing that makes a wonderful soundtrack stand out.

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