"Kraven The Hunter" Soundtrack Lyrics

"Kraven the Hunter (Original Motion Picture Soundtrack)" – Album Guide to Tracks and Key Scenes

Overview

What does a hunter’s conscience sound like? Here, a three-composer engine—Benjamin Wallfisch with Evgueni & Sacha Galperine—builds a serrated score around low strings, ritual drums, and frostbitten choral textures. The commercial release, Kraven the Hunter (Original Motion Picture Soundtrack) (Sony Classical), dropped December 13, 2024 alongside the film; it plays like a 69-minute survival mantra with recurring “Motherland” and family-oath motifs (per label/storefront listings).

On screen, the score does the heavy lifting—animal sense, blood-memory, quiet standoffs—while a handful of licensed cues sketch culture and irony: Soviet-flavored grandeur, crooner charm under crime-lord civility, classic rock resignation, even a Russian rock anthem. According to roundup coverage and credits pages, the film’s song needles include Harry Styles, Tony Bennett, Black Sabbath, Basil Poledouris’ “Hymn to Red October,” and Kino.

Questions & Answers

Who composed the score?

Benjamin Wallfisch with Evgueni & Sacha Galperine. The official album is credited to all three.

When did the soundtrack release and on what label?

December 13, 2024; Sony Classical (digital first, with standard DSP distribution).

Is there a separate “songs” album?

No. Only the score received a standalone release; licensed songs are film-only placements.

Which non-score songs are confirmed in the movie?

“Sign of the Times” (Harry Styles), “They Can’t Take That Away from Me” (Tony Bennett), “Changes” (Black Sabbath), “Hymn to Red October” (Basil Poledouris), “Gruppa Krovi” (Kino).

Any notable diegetic uses?

Yes—several cues surface on radios/rooms as character or location color; one old-world choral piece is used prominently in the opening minutes.

Trailer ID for images here?

rze8QYwWGMs (Sony red-band trailer).

Notes & Trivia

• Album specs: 21 cues; ~69 minutes; Sony Classical digital issue with Columbia Pictures copyright line.
• Wallfisch was attached mid-2023; the Galperine brothers were confirmed days before release to co-compose select themes and cues.
• The film famously drops Poledouris’ “Hymn to Red October” needle up front—a rare use of another film’s choral theme in a modern superhero opener.
• Credits list multiple language/choral components; the “Motherland” idea recurs as melody and texture across the album.

Genres & Themes

Percussive modern score → Predator focus. Close-miked drums, bowed metals, and contrabass patterns mimic pulse and breath.

Frozen choir & lament strings → Clan & oath. The “Motherland” material binds family duty to violence without sentimentality.

Needle-drops as irony → Civilization’s mask. Crooner jazz in a mobster room; a 1970s rock elegy over the cost of hunting; a Russian anthem for identity and place.

Tracks & Scenes

“Motherland (Kraven’s Theme)” — Evgueni & Sacha Galperine
Where it plays: Early orientation passages and flashback threads; strings trace a five-note vow figure (non-diegetic).
Why it matters: The arc’s anchor—Kraven’s identity motif that later collides with Wallfisch’s action writing.

“Prison Break” — Benjamin Wallfisch
Where it plays: Predatory escape cut with handheld chaos; toms and distorted low brass push the frame (non-diegetic).
Why it matters: First full statement of the score’s muscle—dry, percussive, unsentimental.

“They Can’t Take That Away from Me” — Tony Bennett
Where it plays: Nikolai’s business sit-down; the room hums with old-money menace (diegetic/source).
Why it matters: Crooner calm as threat posture—civilization as a weapon.

“Sign of the Times” — Harry Styles
Where it plays: A Chameleon-tinted character moment that reframes the scene with pop melancholy (source/performance excerpt).
Why it matters: Vulnerability slipped into a film otherwise built on sinew.

“Changes” — Black Sabbath
Where it plays: Reflection beat after violence; grainy guitars over slow motion (non-diegetic).
Why it matters: A resigned chorus underlines the bill that always comes due.

“Hymn to Red October (Main Title)” — Basil Poledouris
Where it plays: Opening minutes; male chorus and brass over frozen imagery (non-diegetic).
Why it matters: Monumental choral needle that signals history, nation, and the weight of leaving.

“Gruppa Krovi (Группа крови)” — Kino
Where it plays: Russian-set interlude; radio/speaker flavor (diegetic).
Why it matters: Soviet-era rock as identity stamp, not nostalgia.

“Reborn / Nikolaï” — score suite
Where it plays: Father/son collisions and a pivotal transformation; low string ostinatos, bass drum, choral shadow (non-diegetic).
Why it matters: The score’s thematic fulcrum—oath meets blood.

Music–Story Links

Whenever power is public—boardrooms, speeches, provocations—the film leans on source cues that sound civilized. When instinct takes over—stalk, strike, reckon—the score strips to pulse, bow, and breath. The contrast keeps Kraven’s duality legible without dialogue.

How It Was Made

Composer attachment surfaced mid-2023; near release, the Galperine brothers joined to co-author themes/cues. Sony Classical issued the album day-and-date with the film. Music clearance supplied a tight set of high-contrast needles (crooner, classic rock, Russian rock, and Poledouris’ choral theme) to puncture or polish key scenes.

Reception & Quotes

The film’s reviews were rough, yet the music often earned separate nods for clarity of purpose—lean, percussive score; pointed needle-drops.

“A cold, muscular score that keeps the movie honest.” release-week roundups

“That audacious Poledouris needle sets the tone—myth first, then mayhem.” feature commentary

Additional Info

• Album: 21 tracks; ~69:00; Sony Classical digital (region listings vary).
• Prominent licensed songs: “Hymn to Red October,” “Sign of the Times,” “They Can’t Take That Away from Me,” “Changes,” “Gruppa Krovi.”
• Trailer Video ID used here: rze8QYwWGMs.
• Release context: US theatrical December 13, 2024; digital/physical rollout Q1 2025.

Technical Info

• Title: Kraven the Hunter (Original Motion Picture Soundtrack)
• Year / Type: 2024 / Film score
• Composers: Benjamin Wallfisch; Evgueni Galperine; Sacha Galperine
• Label: Sony Classical (digital)
• Selected notable placements: Tony Bennett “They Can’t Take That Away from Me”; Harry Styles “Sign of the Times”; Black Sabbath “Changes”; Basil Poledouris “Hymn to Red October”; Kino “Gruppa Krovi”.

Canonical Entities & Relations

Sources: Sony Classical/retail listings for album & date; film page with full music credits; soundtrack rundowns noting the licensed songs and their scenes; trailer posting for images.

November, 12th 2025