music composed, orchestrated and produced by Michael Giacchino
score performed by The Northwest Sinfonia
additional orchestration and conducted by Tim Simonec
session engineer: Steve Smith
assistant session engineer: Steve Culp
contractor / concert master: Simon James
digital mixing: Slamm Andrews
copyist: Gregg Nestor
score prep: Billy Martin
mastering: Edgewater Park Music
concept art: Matt Hall, Catherine Yuh, Miles Teves
design: Andreas Adamec
executive album producer: Brad Pressman
Powerful, moving, and dramatic! Michael composes with the panache of a John Williams score and a fresh style
all his own! It's too bad they don't give Oscar's for video game soundtracks!
The game has one of the most impressive soundtracks I've heard all year... Michael Giacchino has created
an epic, enchanting score that evokes the excitement and danger of a bygone age.
The Lost World features a soundtrack that remains true to the John Williams-esque orchestration found in most
of Spielberg's films...
"An amazing soundtrack that's almost TOO good for a video game!" "It's too bad they don't give Oscar's for
video game soundtracks!"
One of the greatest aspects of this game is the music. John Williams didn't do the score, but you'd never know it if
you heard it. It's an all original soundtrack, and the composer, Michael Giacchino, imitates John Williams' style
almost perfectly. In fact, I think the soundtrack to this game is better than the actual Lost World movie score....
I love it... it's as good if not better than any movie soundtrack you could buy.
Computer Game Review
"The game was better than the movie"
Michael Giacchino helms this first-ever orchestral score for a console video game. What had to have been even
more nerve-racking for this project was that he would be treading over territory that John Williams himself had
previously scored for. Indeed, how could one hope to compete with the scores for Jurassic Park and The Lost
World: Jurassic Park? Well, instead of trying to copy the feel and mood of those two scores, Giacchino took the
franchise and shaped it into his own style, which I believe was the perfect approach for this project.
The differences between Williams mood and Giacchino's mood is evident from the very first track. Evidently
heralding the heroine, Sarah Harding, the piece is a triumphant fanfare that keeps building until the end. It is an
excellent track, and actually is a tad disappointing since that great fanfare reappears only once thereafter in
track fifteen. It is also a little misleading as it is generally light in tone and off track from the rest of the score. Still,
the music generally stays lighter that Williams' score to The Lost World. There are numerous other themes in
addition to Sarah Harding's and Giacchino really knows how to twist his themes in a variety of entertaining ways.
Rarely is a theme played the same way twice. The "jungle instrument" are present, and used very effectively.
While I'm not absolutely sure, some of the darker, atmospheric tracks sound totally synth. There is some synth
utilized in the normal orchestral tracks, but a couple of cues sound totally synth. Whether this is true or not, they
do not really detract as they are well arranged in tone with the rest of the score.
This is an excellent score for a console video game, and I really hope Dreamworks continues to use true
orchestral scores for their video games. Giacchino has delivered an exciting work that, while in his own style, is
still Williams-esque nevertheless. ****1/2
Soundtrack Review Central