"We took months and five or six different computers, about seven or eight keyboards, and we emulated an orchestra," RZA explains. "That to me is a special catch to this film: It sounds like we went and hired a big 80-piece orchestra, which we'd done in movies in the past. But we actually did this score electronically. We talked about this with the producers, (and said) 'This may change the game a little bit.' Because without a doubt the electronics reached the level of orchestra."
Words from the man himself, speaking enthusiastically about the film's soundtrack. Now I'm dying to hear it. And it looks like we will get that opportunity because, as the profile notes, a soundtrack deal is in the works, which will include the score of course, but also "some of these score cues revisited with some of today's popular artists."
The writer got a chance to hear some samples of the score and says in reaction, "it's difficult to argue. On one cue, which could almost be mistaken for a Howard Shore theme, strings start out softly and swell to a dramatic crescendo, punctuated by horns and Asian instruments. Haunting female vocals and choirs backed by cinematic swells populate much of the rest, as well as complex character themes that Ennio Morricone might have written.. Most would never guess it was created by two guys twisting knobs and pushing buttons."
You can read the full piece HERE where you'll find RZA talking about how every one minute of music sometimes took two days to create, and how the computers they used crashed often, and how some songs combine classical orchestration with hip-hop and Stax-style soul, as well as mash-ups of music that include Wu-Tang tracks.