Minions, however is the first film in the franchise, without the involvement of Williams and Pereira taking over the sole credit as the composer.
[4] The score was fully orchestrated and dramatic to give a feel of "classic action film".
As the film was mostly set during the 1960s, Pereira recorded the music using vintage microphones which were used by The Beach Boys and Frank Sinatra, which he felt as "an opportunity to pay homage to the musicians and technicians of that time" and also inspired composers such as Henry Mancini, Lalo Schifrin and John Barry.
Instead of compensating for their lack of language I decided to back off, give them space, and let their phonetic sounds be very clear.
In order to create the British jazz sound resembling the music of the United Kingdom in the 1960s, Pereira invited a jazz ensemble consisted of woodwinds, clarinets, piccolos alongside drums and brass, in the same room, instead of recording each instrumentalists in separate sections.
Filmtracks.com wrote "don't expect to sit through a soundtrack like Minions without having already recognized some affinity for the film, because it is quite challenging to tolerate without any sense of context.
Those listening to the score "cold" may find the action cues ("Minion Mission" in particular) to be of standalone interest, as the orchestra is nicely layered with the solo woodwind and vocal layers in these parts, but the rest may yield psychological unrest for the uninitiated.