"Fifth Estate, The" Soundtrack Lyrics

"The Fifth Estate (Original Motion Picture Soundtrack)" Soundtrack Description

Overview

What does a leaks thriller sound like—code, crowds, or a conscience? Carter Burwell threads all three. His score for The Fifth Estate blends terse electronic motion with late-arriving orchestral writing, mirroring the film’s sprinting exposés and its human fallout. Lakeshore Records issued the album in October 2013 with Burwell cues plus a handful of licensed tracks curated to match WikiLeaks’ globe-trotting cadence. Trusted source: Film Music Reporter.

Early reels skewed electronic; the final cut folds in strings and woodwinds for the closing stretch. Remix artist Gabriel Mounsey re-shaped a portion of the cues; guitarist David Torn adds texture. The release sits alongside prominent placements by Tame Impala, Amon Tobin, Yppah, and Emika. Trusted source: Wikipedia (soundtrack).

Questions & Answers

Who composed the score?

Carter Burwell. The album is primarily his score, released by Lakeshore Records.

Is it all score, or are there songs?

Both. Burwell’s cues dominate; the album also features Tame Impala (“Elephant”), Amon Tobin (“Always”), Yppah (“Never Mess With Sunday”), and Emika (“Come Catch Me”).

What’s distinctive about the sound?

Non-stop electronic motion for investigative momentum, then a late pivot to traditional orchestration for the human aftermath.

Who helped shape the electronics?

Gabriel Mounsey remixed roughly a quarter of cues; David Torn contributed guitars.

Is the soundtrack the same as every song in the film?

No. Some tracks heard on screen (e.g., The Qemists’ “Stompbox (Spor Remix)”, Bonobo’s “Know You”) are not on the OST album.

Where can I stream it?

Major platforms carry it under The Fifth Estate (Original Motion Picture Soundtrack). Trusted source: Apple Music / Spotify.

Notes & Trivia

• Label: Lakeshore Records; digital streeted early October 2013; physical CD followed later that month.
• Album runtime ~61 minutes; film runtime ~128 minutes.
• Burwell and director Bill Condon had worked together before (Gods and Monsters, Kinsey, two Breaking Dawn films).
• Title sequence compresses centuries of media—Burwell’s opener is titled “A History of Media.”
• Album A&R credited to Eric Craig (Lakeshore).

Genres & Themes

Electro-thriller pulse → velocity & scale: Modular arps and drum-programming make leaks feel like chases, travel, and uploads in one continuum.

Orchestral afterimage → consequence: Late-film strings/woodwinds step in when relationships fracture and the platform’s future collapses.

Contemporary electronica (source songs) → place & subculture: Berlin/London club textures (Amon Tobin, Emika, Yppah) ground the newsroom-in-motion aesthetic.

Tracks & Scenes

“A History of Media” — Carter Burwell
Where it plays: title montage charting communication history; non-diegetic.
Why it matters: states the film’s thesis—information as protagonist.

“The Submission Platform” — Carter Burwell
Where it plays: WikiLeaks’ dropbox build and onboarding passages; non-diegetic.
Why it matters: sequenced synths mimic secure-system handshakes; process turned into rhythm.

“Collateral Murder” — Carter Burwell
Where it plays: Apache gunship leak sequence; non-diegetic, intercut with newsroom reactions.
Why it matters: the cue’s mechanical grid underlines the moral shock without editorial lyrics.

“The Assassination of Oscar Kingara” — Carter Burwell
Where it plays: Kenya-focused leak recap; non-diegetic.
Why it matters: tight motif + drums compress a complex case into a clear rising arc.

“Always” — Amon Tobin
Where it plays: club/transition energy around European waypoints; source-adjacent.
Why it matters: granular design and low-end throb place the story in a modern electronic milieu.

“Never Mess With Sunday” — Yppah
Where it plays: travel/city connective tissue; non-diegetic needle-drop.
Why it matters: wistful lift between confrontations; a breather without halting momentum.

“Elephant” — Tame Impala
Where it plays: high-energy montage beat; non-diegetic.
Why it matters: swaggering riff as a pressure-release valve amid dense reporting sequences.

“Come Catch Me” — Emika
Where it plays: late-film passage; non-diegetic needle-drop.
Why it matters: cool, minimal vocal frames the personal fallout with restraint.

“A Fifth Estate” — Carter Burwell
Where it plays: summative late cue; non-diegetic.
Why it matters: reframes the narrative from hero/villain binaries to an ecosystem of media power.

Heard in film but not on the OST album (selection): The Qemists — “Stompbox (Spor Remix)”; Emika — “Double Edge”; Two Fingers — “Crunch Rhythm”; Bonobo — “Know You”.

Music–Story Links

Burwell’s electronics turn typing, transit, and triage into one continuous motion line—so when orchestral writing finally arrives, it registers as consequence, not ornament. Source tracks give place and temperature (Berlin clubs, London offices), while specific cues (“Collateral Murder,” “Oscar Kingara”) compartmentalize high-profile publications into discrete musical chapters.

How It Was Made

In May 2013, Burwell joined the project; he initially scored it with electronics (plus David Torn on guitar). Director Bill Condon then asked for traditional orchestral emotion in the final act, prompting a hybrid approach. Gabriel Mounsey remixed about a quarter of cues to sharpen the club-leaning edge. Lakeshore issued the album digitally on Oct 8, 2013; the CD followed later that month. Trusted sources: Carter Burwell’s project page; Wikipedia (soundtrack).

Reception & Quotes

“A thumping techno score.” Christy Lemire, RogerEbert.com

“Insistent… equally pounding.” Empire & Variety summaries

“Bombastic.” The Hollywood Reporter

Critics were divided on the film; most agreed the music’s propulsion matches the information-overload structure. Availability remains stable via digital storefronts and streamers. Trusted source: Apple Music.

Additional Info

• Album scope: Burwell score + four notable licensed cuts (Amon Tobin, Yppah, Tame Impala, Emika).
• Not on OST but in film: The Qemists “Stompbox (Spor Remix)”, Emika “Double Edge”, Two Fingers “Crunch Rhythm”, Bonobo “Know You”.
• Title sequence: long-gestation montage; Burwell’s opener is aligned with it.
• Personnel (album credits): concertmaster Sharon Yamada; contractor Sandra Park; A&R Eric Craig.
• Runtime notes: album ≈61:23; film ≈128:00.
• Label/date: Lakeshore Records, October 2013.

Technical Info

• Title: The Fifth Estate (Original Motion Picture Soundtrack)
• Year: 2013
• Type: Film score with select licensed tracks
• Composer: Carter Burwell
• Key contributors: Gabriel Mounsey (remixing); David Torn (guitars)
• Label: Lakeshore Records
• Selected notable placements: “A History of Media,” “Collateral Murder,” “The Assassination of Oscar Kingara,” “Elephant,” “Always,” “Never Mess With Sunday”
• Release context: TIFF premiere (Sept 2013); U.S. theatrical Oct 2013
• Availability: Digital and CD, streaming on major platforms

Canonical Entities & Relations

Sources: Film Music Reporter; Wikipedia (film & soundtrack); Carter Burwell official site; Apple Music; Spotify; Discogs; Variety; The Hollywood Reporter.

November, 09th 2025