"Battle: Los Angeles" Soundtrack Lyrics

"Battle: Los Angeles" Soundtrack Description

FAQ

• Is there an official soundtrack album?
  Yes — Battle: Los Angeles – Original Motion Picture Soundtrack, composed by Brian Tyler and released in March 2011.
• Who composed the score?
  Brian Tyler. He also played guitars, percussion, bass, piano, and electric cello on the recording.
• What song is used in the trailer?
  Jóhann Jóhannsson’s “The Sun’s Gone Dim and the Sky’s Turned Black.” It isn’t on the official score album.
• Is any popular music used in the film?
  Yes. 2Pac’s “California Love” is heard early on, but it’s not included on the OST.
• What track scores the final “back to the fight” beat?
  “We Are Still Here,” a rousing coda cue that underlines the Marines’ decision to rejoin the mission.

Notes & Trivia

• Label: Varèse Sarabande. The album landed with 22 cues and a ~78-minute runtime.
• Recorded with the Hollywood Studio Symphony; Tyler folds in electric guitars and sizable percussion for a boots-on-concrete feel.
• Music supervisor: Kier Lehman. Needle-drops are sparse by design.
• The trailer’s stark choral song by Jóhann Jóhannsson became closely associated with the film despite not appearing on the album.
• Track names telegraph action beats — “The Freeway,” “Evac,” “The Drone” — making the album easy to map to set-pieces.
• Tyler’s end-title surge, “We Are Still Here,” turned into the album’s fan-favorite chest-thumper.

Overview

Genres & Themes

• Orchestral + choir → martial resolve; elegy for losses that stack up scene by scene.
• Heavy percussion & snare tattoos → unit cohesion; forward motion under fire.
• Electric guitars/cello → contemporary edge; concrete-and-rebar stakes (no sci-fi gloss).
• Synthetic textures → alien presence without a singable “villain” theme — more dread than identity.

Key Tracks & Scenes

• “Battle Los Angeles Main Titles” — Brian Tyler
  Where it plays: Opening titles and early situational build-up as news and command chatter frame the threat (non-diegetic).
  Why it matters: Plants the main motif with stern brass and low strings — the album’s mission statement.
• “The Freeway” — Brian Tyler
  Where it plays: Early convoy sequence as Marines hit gridlock and contact (non-diegetic).
  Why it matters: Percussive drive + clipped brass hits mirror urban maneuvering under fire.
• “Marines Don’t Quit” — Brian Tyler
  Where it plays: A mid-film rallying point as the squad regroups around civilians (non-diegetic).
  Why it matters: The score’s ethos in three words — rhythmic steel, no grandstanding.
• “Redemption” — Brian Tyler
  Where it plays: Extended dramatic throughline as Nantz shoulders past failures and takes lead (non-diegetic).
  Why it matters: The album’s emotional spine; brooding harmony that finally lifts.
• “We Are Still Here” — Brian Tyler
  Where it plays: Final coda when the Marines choose to rearm and reengage (non-diegetic).
  Why it matters: Catharsis without triumphal fanfare — a last push, not a victory lap.
• “California Love” — 2Pac feat. Dr. Dre & Roger Troutman
  Where it plays: Early diegetic needle-drop during an off-duty moment; not on the OST.
  Why it matters: A flash of normal L.A. life before the sky falls in.
• “The Sun’s Gone Dim and the Sky’s Turned Black” — Jóhann Jóhannsson
  Where it plays: Marketing/trailer cue; not used in film scenes.
  Why it matters: Its stark choral sound shaped audience expectations for a grittier invasion tale.

Music–Story Links (characters & plot beats as connected to songs)

• Main Titles → Mission focus: the stern motif frames the film as a rescue op first, alien war second — priorities are human.
• “Marines Don’t Quit” → Unit cohesion: steady snare patterns tighten camera shake into purpose after chaos threatens to splinter the squad.
• “Redemption” → Command earned: strings carry Nantz’s weight until coppery brass cuts through — doubt yielding to duty.
• “We Are Still Here” → Choice over relief: the coda refuses a finale swell; it’s momentum for the next fight, which fits the characters’ calculus.

How It Was Made (supervision, score, behind-the-scenes)

• Composer: Brian Tyler, reteaming with director Jonathan Liebesman.
• Players & palette: Hollywood Studio Symphony with added percussion; Tyler himself on guitars, percussion, bass, piano, and electric cello.
• Music supervision: Kier Lehman; needle-drops kept minimal to preserve boots-on-ground realism.
• Editorial & additional help: includes an additional-music arranger credit for Matthew Margeson; robust music editorial and engineering team typical of large-scale action scoring.
• Album: Released by Varèse Sarabande; cues are titled to mirror operational beats (evac, freeway, drone contact), which makes the record play like a mission log.

Reception & Quotes

“About as subtle as a Jerry Bruckheimer action sequence.” — James Christopher Monger, AllMusic

“There seems to be some overwrought heroism evident in the hymn-like themes.” — Christian Clemmensen, Filmtracks

“Big, loud… two themes that are easy to like.” — James Southall, Movie Wave

Technical Info

• Title: Battle: Los Angeles – Original Motion Picture Soundtrack
• Year / Type: 2011 / Movie
• Composer & Producer: Brian Tyler
• Orchestra / Players: Hollywood Studio Symphony; Tyler on guitars, percussion, bass, piano, electric cello
• Music Supervision: Kier Lehman
• Label / Release: Varèse Sarabande; released March 8, 2011
• Album Format: 22 cues; approx. 78 minutes
• Selected notable placements: “The Freeway” — convoy ambush; “Marines Don’t Quit” — squad rally; “Redemption” — leadership turn; “We Are Still Here” — end coda
• Trailer / Non-album notes: Jóhann Jóhannsson’s “The Sun’s Gone Dim…” in trailers; 2Pac’s “California Love” appears in-film but not on the OST
• Availability: Digital and CD widely available

September, 29th 2025