Composed by
Christopher Lennertz


Published by


1) Main Titles
2) Taiko Brigade
3) PT Attack
4) Deep in Guadal Canal
5) Stalking the Caves
6) We're Hit!
7) Engine Trouble
8) Requiem for the California
9) Saving Pearl Harbor
10) Singapore Docks
11) Passing the Nevada
12) Burma
13) Elephant Battle
14) March on the Temple
15) A Prisoner's Eulogy
16) Nazi Disguise / Shima's Speech
17) Natives Are Restless
18) Carrier Deck
19) Tanaka's Death / The Hanger
20) Tank March
21) Philippines / Zero Attack
22) Courtyard Strike
23) Yamashita's Gold
24) Incoming! / Aftermath
25) Jungle Swarm
26) The Got Donnie
27) Shell Shock
28) The Sewers
29) Shima Express
30) Take Off / Finale
31) Hymn to Brothers Lost


- Game website
- Composer website


Available on the iTunes online shop


Review by
Oliver Ittensohn

Medal of Honor: Rising Sun

Medal of Honor: Rising Sun is the latest entry in the Medal of Honor (MoH) series. It is again set during the Second World War but instead of focusing on the battles in Europe, it takes the player as far as to the Pacific. With the original composer Michael Giacchino leaving together with the produces of the original Medal of Honor titles to work on the game Call of Duty, the job to do the score fell to Christopher Lennertz.

Similar to Giacchino, Lennertz composed a militaristic and dramatic action score that continues the legacy of the Medal of Honor series by incorporating some of the original themes into it. The opening “Main Titles” cue is a good example of this for it features new themes along with the motifs from previous Medal of Honor games. Because of the location the game takes place in, the score is heavy on Ethnic elements as well.

With MoH: Rising Sun being primarily an action game the music is very action-oriented and seldom features quiet or sombre pieces. It is probably the most exhausting album of the MoH series with difficult action patterns to follow. The often fast-paced action rhythms and brass motives are hard to track and to harmonize so paying close attention to the music while listening to it is a must.

There is a main theme that gets quoted here and there but it’s not very prominent, except for the “Main Titles”. “Taiko Brigade” introduces the brassy action writing that you’ll hear over the course of the album. The obvious influences of movie composer John Williams’ scores become most evident in “PT Attack” that features string movements almost directly adopted from Williams. This has always been a trademark of the MoH series and is here found again. “Deep in the Guadal Canal ” is one of the ambient pieces and impressively shows Lennertz’s abilities to create interesting, subdued ambient pieces. Sadly, you won’t hear much of it in the score which is clearly dominated by action cues such as “Passing the Nevada ” or “Courtyard Strike”.

The score does have its quieter, more thematic moments as for example in “Requiem for the California ” that features soft string writing and choir. Of special interest might also be “Hymn to Brothers Lost” that serves as an End Credits suite.

The best moments of the score are the ones featuring the ethnic elements though. Tracks like “ Burma ” or “Jungle Swarm” offer an exciting blend of traditional orchestral instruments and ethnic flutes and percussion.

The orchestration of all the cues is top-notch and the performance leaves little to be desired, although a bigger orchestra would’ve been welcome at some points.

Overall, the score is an impressive work by Lennertz that shows his excellent composing skills. The fascination of the score does not lie in theme development but rather in interesting and complex battle music. It is definitely not an easy stand-alone listen and the many quotations of Williams’ work in the score might irritate film score addicts. But apart from that it’s a great score and should get a commercial release.