Sounds of Apokolips: Tom Holkenborg on his New Justice League Score

If you’ve seen Zack Snyder’s Justice League, you know everything about it is big. Deep dives into the characters’ histories, longer and more intense action sequences, a greatly expanded narrative—it’s the very definition of a superhero epic. A giant, high-energy movie like Snyder’s new cut of his 2017 film needs an equally massive and imaginative score—one that would establish themes that could be built on for subsequent solo films. Even more challenging, that score would need be recorded quickly and under unprecedented circumstances and would require about twice the amount of music as a regular film. Finally, the whole thing would happen under the figurative eye of millions of rabid fans who have been clamoring for this movie to be released for four years.

Enter Tom Holkenborg.

Zack Snyder’s Justice League isn’t Holkenborg’s first go at scoring a DC blockbuster. He contributed music to Snyder’s previous film, Batman v Superman: Dawn of Justice, under his electronic music moniker Junkie XL with Hans Zimmer. However, Zack Snyder’s Justice League is the first time Holkenborg’s gone solo on a DC project and he certainly didn’t start small. With a runtime of over four hours and a cast that includes six of DC’s most iconic heroes as well as dozens of well-known villains and supporting characters, scoring the Snyder Cut was a massive undertaking—something that was made all the more impressive by the fact that it happened entirely during the pandemic.

With the full soundtrack now available for purchase or streaming, the time seemed right for a chat with Holkenborg about how this rousing new score came together.

Check out the News section on for the full interview!

Listen to the FULL soundtrack now!

Do you have a favorite track from the soundtrack? Or did you just LOVE all of it? Let us know in the comments below!


I’m still only two hours in to this nearly eight hour masterpiece. An incredible gift.

I have to confess that I enjoyed the Danny Elfman soundtrack and all of its gratutious fan service on top of Whedon’s Frankenstein desecration of Zack Snyder’s vision. But now I’m feeling dirty for having enjoyed it.

The Zimmer/Junkie XL/Holkenbourg compositions are the one true soundtrack for this amazing film. And the Hallelujah cover by Allison Crowe for the end credits is just so PERFECT.

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I don’t think it’s Danny Elfman’s fault that he was hired to take over for Junkie XL. He did what they asked and he did it well - Junkie’s score over the Josstice League would be laughable on all fronts. Something that terrible scored with something this epic??? But yes, I think everyone can clearly hear which score is the more powerful and moving. But the tone they were asked to score for is also vastly different.
Junkie’s tracks will stay in the brain for a long time.