Steven Spielberg’s long-awaited return to extraterrestrial science fiction, Disclosure Day, opens in theaters nationwide on June 12, 2026, distributed by Universal Pictures. The Amblin Entertainment production stars Emily Blunt, Josh O’Connor, Colin Firth, Eve Hewson, and Colman Domingo in a story about a global cover-up of extraterrestrial life — and what happens when the truth is finally forced into the open. But as has been the case with so many of Spielberg’s landmark films, a large part of the emotional and narrative weight rests on the shoulders of the music.
For Disclosure Day, Spielberg turned once again to his friend and five-decade creative partner John Williams. The result is their 30th cinematic collaboration — a milestone score that Williams himself conducted during recording sessions in Los Angeles. The official soundtrack album, released by Back Lot Music on June 12, 2026, features 16 original cues totaling 64 minutes and 40 seconds of music. A deluxe vinyl and CD edition is being released through Waxwork Records in partnership with Back Lot Music, with liner notes written by Spielberg himself.
Disclosure Day Soundtrack Details
| Detail | Information |
|---|---|
| Film Title | Disclosure Day |
| Director | Steven Spielberg |
| Screenplay | David Koepp |
| Story By | Steven Spielberg |
| Production Company | Amblin Entertainment |
| Distributor | Universal Pictures |
| Film Release Date | June 12, 2026 (Theatrical & IMAX) |
| Rating | PG-13 |
| Composer | John Williams |
| Soundtrack Label | Back Lot Music (digital); Waxwork Records (CD & vinyl) |
| Soundtrack Release Date | June 12, 2026 (digital); July 2026 (CD & vinyl) |
| Total Tracks | 16 |
| Total Runtime | 64:40 |
Disclosure Day Soundtrack Overview
The Disclosure Day Original Motion Picture Soundtrack is a 16-track, single-composer orchestral score released digitally by Back Lot Music on June 12, 2026. The album is available for pre-save on Spotify, Apple Music, and Amazon Music ahead of its release date. For collectors, Waxwork Records, in partnership with Back Lot Music, is producing a deluxe double LP set pressed on “Blue Iris” colored vinyl, housed in heavyweight gatefold jackets with matte UV coating, printed inner sleeves, and exclusive liner notes authored by Spielberg. A CD edition is also available through Waxwork Records. Both physical formats are listed as preorders scheduled to ship in July 2026.
According to producer Kristie Macosko Krieger, who described the score as “John Williams at the top of his game, exciting and poignant,” the music moves fluidly between restraint and full orchestral power. Spielberg himself described it as “probably the most restrained score he has ever written for one of our collaborations — at least until it is not,” adding that Williams “holds back in a way that is subtle and beautiful and enriches the experience.” Recording sessions reportedly began in late October 2025 in Los Angeles and continued through January 2026, with Williams conducting a substantial portion of the sessions himself.
The album’s tonality appears to reflect the film’s dual nature — part intimate character thriller, part large-scale sci-fi event — with cues that range from tightly wound suspense writing to sweeping emotional passages. The score has drawn early comparisons to Williams’ earlier Spielberg collaborations in the extraterrestrial genre, particularly Close Encounters of the Third Kind (1977) and E.T. the Extra-Terrestrial (1982). According to Williams’ biographer Tim Greiving, Disclosure Day is “a substantial, considerable, lengthy original score for which John wrote every note himself.”
Who Composed the Disclosure Day Soundtrack?
The Disclosure Day score was composed by John Williams — the legendary American composer whose name has been synonymous with cinematic music for more than five decades.
John Towner Williams was born on February 8, 1932, in Queens, New York. The son of jazz drummer Johnny Williams, he was immersed in music from an early age, beginning piano studies at age six. His family relocated to Los Angeles in 1948, where he studied composition at UCLA and privately under Italian composer Mario Castelnuovo-Tedesco. After serving in the U.S. Air Force — where he conducted and arranged music for military bands — Williams returned to New York and studied piano at the prestigious Juilliard School before working as a jazz pianist in clubs and recording studios.
He returned to Los Angeles in the mid-1950s and began a career as a Hollywood studio pianist, working on films including Some Like It Hot (1959) and To Kill a Mockingbird (1962). His transition to full-time composing took off through television and B-film scoring in the 1960s, before his first Oscar win for Fiddler on the Roof in 1972 announced him as a major talent. The collaboration with Steven Spielberg began with The Sugarland Express (1974), and their creative partnership has since produced some of the most celebrated film music in history.
Williams holds 54 Academy Award nominations — the most of any living person — and has won five Oscars for Fiddler on the Roof (1972), Jaws (1976), Star Wars (1978), E.T. the Extra-Terrestrial (1983), and Schindler’s List (1994). He has also received 26 Grammy Awards, 4 Golden Globes, and 7 BAFTAs. He served as conductor of the Boston Pops Orchestra from 1980 to 1993. Now 94 years old, Williams conducted a significant portion of the Disclosure Day sessions himself — a widely noted achievement given both his age and the scale of the score.
Disclosure Day marks his 30th film score for Steven Spielberg and is among the most anticipated scores of his career.
John Williams Composer Filmography (Selected Works with Steven Spielberg)
| Year | Film | Award/Note |
|---|---|---|
| 1974 | The Sugarland Express | First Spielberg collaboration |
| 1975 | Jaws | Academy Award Winner |
| 1977 | Close Encounters of the Third Kind | Oscar Nominated |
| 1981 | Raiders of the Lost Ark | Oscar Nominated |
| 1982 | E.T. the Extra-Terrestrial | Academy Award Winner |
| 1985 | The Color Purple | Oscar Nominated |
| 1987 | Empire of the Sun | Oscar Nominated |
| 1989 | Indiana Jones and the Last Crusade | — |
| 1993 | Schindler’s List | Academy Award Winner |
| 1997 | Amistad | Oscar Nominated |
| 1998 | Saving Private Ryan | Oscar Nominated |
| 2001 | A.I. Artificial Intelligence | — |
| 2002 | Minority Report | — |
| 2004 | The Terminal | — |
| 2005 | Munich | Oscar Nominated |
| 2005 | War of the Worlds | — |
| 2011 | The Adventures of Tintin | — |
| 2011 | War Horse | Oscar Nominated |
| 2012 | Lincoln | Oscar Nominated |
| 2016 | The BFG | — |
| 2017 | The Post | Oscar Nominated |
| 2022 | The Fabelmans | Oscar Nominated |
| 2026 | Disclosure Day | 30th collaboration |
Disclosure Day Official Tracklist
(Source: Film Music Reporter, June 3, 2026 / FMDB)
| # | Track Title | Duration |
|---|---|---|
| 1 | listen… | 4:08 |
| 2 | memory… | 4:07 |
| 3 | dive… | 4:37 |
| 4 | chase… | 2:14 |
| 5 | believe… | 3:35 |
| 6 | in vivo… | 2:49 |
| 7 | negotiation… | 3:25 |
| 8 | empathy… | 2:24 |
| 9 | celestial… | 6:50 |
| 10 | unseen… | 3:09 |
| 11 | kcxe… | 5:56 |
| 12 | signs… | 2:37 |
| 13 | home… | 3:37 |
| 14 | caught… | 5:56 |
| 15 | disclosure… | 4:22 |
| 16 | reprise… | 4:54 |
Total Runtime: 64:40
All 16 track titles follow a distinctive lowercase formatting style with trailing ellipses, which may reflect the film’s themes of incomplete truths and slow revelation. Track titles and durations are verified from the official Film Music Reporter listing and confirmed by FMDB data (UPC: 660251222172).
Score Highlights
“listen…” (4:08) — The opening cue and the first track released ahead of the album’s launch date. Its early availability on streaming platforms gave audiences their first taste of Williams’ approach to the material. The title’s directive quality — listen — sets up the score’s philosophy of careful, deliberate musical attention.
“celestial…” (6:50) — At nearly seven minutes, this is the longest cue on the album and almost certainly the score’s emotional center of gravity. The title suggests Williams is working in the expansive, cosmic register he has previously brought to Close Encounters and E.T., where wonder and awe blend with something unsettling. Given Spielberg’s description of the score “holding back” until key moments, this cue likely represents one of those release points.
“kcxe…” (5:56) and “caught…” (5:56) — Both run at identical lengths, which may be significant. “kcxe…” is a notable title — four consonants with no obvious English word, possibly suggesting a non-human frequency, code, or transmission. It mirrors the film’s themes of alien communication and concealment. At nearly six minutes, it is likely a central dramatic or revelatory cue.
“disclosure…” (4:22) — Positioned second from last, this cue carries the weight of the film’s title event itself — the moment the truth is made public. Whether Williams treats it as catharsis, dread, or something in between will be one of the album’s defining questions.
“reprise…” (4:54) — The closing cue follows the pattern Williams has used throughout his Spielberg collaborations: an emotional reprise that recontextualizes the score’s main themes. Spielberg noted that the score accompanies the film “from slightly behind it, pushing it forward,” and the reprise format suggests Williams circles back to give the audience a final emotional resolution — or ambiguity.
“empathy…” (2:24) and “home…” (3:37) — Both titles suggest the quieter, more humanistic end of the score. Williams has always balanced spectacle with intimacy in the Spielberg films, and these shorter cues likely anchor the film’s personal, emotional throughline alongside the larger sci-fi event.
Licensed Songs / Needle Drops
At the time of publication, no officially confirmed needle drop or licensed song placements have been announced or verified for Disclosure Day. The film appears to be a score-driven project. This section will be updated once the film is in wide release and confirmed song placements can be verified from credited sources.
Where to Listen to the Disclosure Day Soundtrack?
The Disclosure Day Original Motion Picture Soundtrack by John Williams is set for digital release on June 12, 2026, through Back Lot Music, and will be available to stream and download on Spotify, Apple Music, and Amazon Music from that date. The first track, “listen…”, is already available ahead of the full album drop. For physical formats, Waxwork Records is releasing a deluxe double LP on “Blue Iris” colored vinyl and a CD edition, with both shipping from July 2026 — available to preorder directly through the Waxwork Records website.
FAQs
Who composed the Disclosure Day soundtrack?
The score for Disclosure Day was composed by John Williams, the five-time Academy Award-winning composer. It marks his 30th cinematic collaboration with director Steven Spielberg.
How many tracks are on the Disclosure Day soundtrack album?
The official album contains 16 tracks with a total runtime of 64 minutes and 40 seconds.
When is the Disclosure Day soundtrack released?
The digital album is released on June 12, 2026, through Back Lot Music — the same date as the film’s theatrical opening. Physical editions (vinyl and CD) from Waxwork Records are scheduled to ship in July 2026.
Where can I stream the Disclosure Day soundtrack?
The soundtrack will be available on Spotify, Apple Music, and Amazon Music from June 12, 2026. The opening track, “listen…”, is already available for streaming ahead of the full release.
What label released the Disclosure Day soundtrack?
The digital album is released by Back Lot Music. The physical editions — a deluxe double LP and CD — are released by Waxwork Records in partnership with Back Lot Music.
Is the Disclosure Day soundtrack John Williams’ final score?
Williams, now 94, has not made any public statement confirming Disclosure Day as his final work. However, given his age, the score has been widely acknowledged in the film music community as a potentially historic final chapter in his collaboration with Spielberg. Spielberg himself called their recording sessions “bittersweet.” No official retirement announcement has been made.
What is Disclosure Day about?
Disclosure Day, written by David Koepp from a story by Spielberg, follows a cybersecurity expert and a meteorologist who go on the run after exposing a government cover-up proving that extraterrestrial intelligence has visited Earth and been concealed from the world. The film stars Emily Blunt and Josh O’Connor in the lead roles, with Colin Firth, Eve Hewson, and Colman Domingo rounding out the principal cast. It opens June 12, 2026.