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So first impressions:<br><br>JP knocked this one out of the park! The whole score has this excellent swashbuckling vibe, which is surprisingly aggressive during the action sequences (entirely due to his trademark percussion).<br><br>The writing style is really interesting, it’s basically John Powell doing his usual style but with some Williams flourishes, especially during the softer cues. The Star Wars themes do return, but not as heavily as Rogue One. And of course the JW cue is great, although surprisingly structured more as an action cue as opposed to a concert suite.<br><br>And for some reason the Han theme sounds vaguely similar to Poe’s theme from Force Awakens.Let’s just say “Reminiscience Therapy”.... hold onto your seats! ;-)This score is awesome!! Powell did a great job at making a score that's differet than all the other SW scores, but still you know it's a SW score. He reprised Williams' theme brilliantly and I can't stop to listen to it!!!what about the music when batman makes it back to the cave and lex opens the case of kryptonite. cant find it in theseYeah I can't agree that Inception or Interstellar are superior pieces of scoring. Certainly not in structure, thematic development, etc. <br><br>What defined those scores is the vision behind them more so than the execution. In so many ways, that is opposite of The World's End. Interstellar is a brilliant score that managed to provide each scene with a simplistic tone, but one that captured the atmosphere behind the scenes perfectly, such as the unique use of the organ. Same with Inception with the guitars. <br><br>With a World's End, the vision is nothing special. It is a rock and roll twist to classic music. But the execution brings enormous power and gravitas to the movie.<br><br>I would sum it up by saying that in Interstellar and Inception, the creation of the music drives the movie's ideas while in At World's End, the movie drives the creation of the music.
Nazg&#251;l for Azog I will never forgive. It's not a Servant of Sauron theme, it's a Ringwraith theme, and Azog's not a Ringwraith, he's a goddam Orc, and that theme doesn't belong there, full stop. It was just put there because it sounds "epic" and would "pump up the action scene". Gondor Restored at the end is just as stupid. And the Dreaming of Bag End theme for Bilbo is indeed lovely, and would have been lovelier still if it actually appeared in the movie. Instead it just gets replaced by copy/pasted Hobbit music from LOTR instead because Peter Jackson desperately wants his audience to remember how good those movies were in lieu of the Hobbit ones being any good on their own. Needless to say it goes missing entirely from the second and third score...along with the Misty Mountains melody (the strongest theme of the first one). I still really like those scores overall but they got absolutely butchered in terms of their thematic usage in the films. Then again those movies were an absolute clusterfuck so I shouldn't be surprised.<br><br>WRT Harry Potter, the 3 note theme does work okay for Voldemort, except that there's already a longer, separate Voldemort theme in Philosopher's, one that I like even more, and which only gets used once in Chamber (when Riddle rearranges the letters). I can understand liking Chamber better than Philosopher when you compare the albums, but in terms of the complete scores there's no contest at all, Philosopher wins by a country mile because of Chamber's rehash issues (and there are some good cues missing from the album, such as the Troll and Forbidden Forest scenes).@Edmund<br>The thing with the Nolan scores (at least Interstellar/Inception) is that they are repetitive, in as much as being built heavily around the suites that I’m guessing they use to edit and temp the film. <br>And while the themes are simple I do think they are structured in a unique enough way which builds emotional resonance through the gradual increase in chords/volume/speed/etc. Even Dunkirk is a relatively simple score theme wise, but is so technically complex.<br><br>And personally I’ve never been in love with Inception. I admire it on a technical level, but outside of “Time” I find it to be a fairly cold score. Obviously what it was meant to do so not a complaint, more of a personal preference thing.You know, I actually like Chamber of Secrets much more than Philosopher's Stone. It has the best moments from that score with improved themes. (I actually like the 3 note motif for Voldemort better than it being used for the stone, it already sounded like the Sith theme from Star Wars so might as well go all the way with it.) It felt more tight, better paced, and had an overall more energetic feel to it.<br><br>The Hobbit, I'm not entirely sure where you're getting heartbreaking from. If you mean the state of its release I absolutely agree, if you're talking about its reprisals the only one I had any issue with was the Return of the King/Gondor Restored theme which had nothing to do with Thorin and Bilbo's relationship. <br><br>The Nazghul theme being used for Azog I thought was fine as he was a servant of Sauron in the movies, History of the Ring and Gollum's themes were used effectively, and the new thematic material for the first film, I thought was wonderful. The themes A Baggins of Bag-End and The Lonely Mountain song being used as a Fellowship type of theme are the greatest highlights for me.See, I don't find Inception or Interstellar (or Thin Red Line) all that "complex". Especially not compared to At World's End (how many themes are in that score, like 15? 20? Pretty much all of which show up in rapid succession during the Maelstrom battle?). The Nolan scores are more about building up around very simple conceptual ideas.<br><br>Unless you're talking about emotional complexity, which is a very different thing and not really possible to objectively judge...You know, I don't think I've ever really gotten the full story surrounding that score. I've heard conflicting reports. My personal belief is that Ross did little to no substantial composition and that all the new stuff (themes, suites, new cues and also significantly fresh arrangements of old material) is pure Williams, but that film is full of reused music from the first film (it's actually quite frustrating, not as bad as On Stranger Tides or as heartbreaking as The Hobbit, but a bit of a rehashy mess and it makes the key error of using the Philosopher's Stone motif as a Voldemort theme). That's where I think Ross comes in and was responsible for taking those cues verbatim from the first film and tweaking/rearranging them just enough to match the timings of the scenes without actually adding any of his "own" notes. His role is likely somewhere between additional music, arrangement and music editing (but as Hybrid likes to point out, oftentimes those sorts of roles are really blurred and overlapping anyways).<br><br>A guy at jwfan did an analysis that helps understand the nature of that score, but be warned, it goes *really* deep:<br><br>www.jwfan.com/forums/index.php?/topic/27619-finished-chamber -of-secrets-thematic-and-originality-analysis/
I'm trying to be objective* (sorry haha)@Anonymous Zimmer's best? Well... I'm trying to be subjective:<br>IMO The Thin Red Line remains the pinnacle of Hans' career from an artistic point of view. It's a turning point, though we've been used to this kind of writing since (so many scores have copied TTRL).<br><br>Inception and (especially) Interstellar are superior pieces of scoring as well. Their level of complexity is unmatched in Zimmer's discography.<br>Gladiator is another impressive score, as it combines some of the best action music, best drama and deepest emotions Hans has ever composed for a movie.<br><br>Seems like I'm quite objective here, as none of my favorites scores are on this list ! ;)Interesting you mention William Ross' role in Chamber of Secrets because I've never fully understood what his exact involvement was. Was he just an additional music composer? Or did he actually compose most of the score with John Williams only writing the suites? Just curious if you know.I mean, the thematic situation *is* a bit messy. You've got new themes by Powell, one new Williams theme adapted by Powell, and then existing Star Wars themes adapted by Powell. I agree the credits are a bit long-winded but I can't think of a more concise way to convey all that information.<br><br>What does bother me (and maybe this is my inner fanboy talking) is that it seems to downplay Powell's role a bit, listing him second and with the use of the word "adapted" which makes him feel a bit second fiddle. Remember how William Ross "adapted" Williams' music for Chamber of Secrets, by which was meant largely copying and pasting bits from Sorcerer's Stone? I have no doubt that Powell has done a far, far more substantial job here (and they do say "composed and adapted", to be fair). Then again, it's a Star Wars score, and of course they're going to put Williams' name front and center as much as possible no matter what.<br><br>This is all such nitpicking of the highest order :pHans for Star Wars ?<br><br><br>Never.<br><br><br>Ron probably asked him first and Hans probably was like "JOHN POWELL !!"
What would have happened if Ron Howard would have been the first choice to direct Solo? He would have chosen James Horner (if he wasn't dead) or try to convince Hans Zimmer to do the music. The only collaboration between Howard and maestro Williams was in the movie Far And Away.Poster in SpainA Star Wars score that sounds like a Powell score? I'm in.<br><br>From what I've heard of many people, the score is really great and apart from the Williams theme, I heard Powell also had a lot of great themes.<br><br>I cannot wait for it!Your source?Just saw the film, really fun and faced paced movie. The score is great, it has a solid main theme by John Williams (not as great as Rey theme though) but still memorable and john powell adapts this main theme in various variations throughout the film. Star Wars fan might be dissapointed by the score because this overall sounds like a typical Powell score which doesn’t really sound like a typical Star Wars movie. Still fans of Powell will love this new score.
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Composer - Musician : Synthesizer
Hans ZimmerLorne BalfeAtli ÖrvarssonGeoff Zanelli
ComposerAdditional MusicAdditional MusicAdditional Music
Angels & Demons (Expanded Score)
Label: Unofficial Release
Length: 141'32
HZimmer.com rating:        4/5
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (5836 votes)
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  1. Logos (1:12)
    Hans Zimmer, Lorne Balfe
  2. Smashing The Ring (3:06)
    Hans Zimmer, Atli Örvarsson, Mel Wesson
  3. CERN (6:41)
    Hans Zimmer, Lorne Balfe, Mel Wesson
  4. Illuminati (1:04)
    Hans Zimmer, Lorne Balfe
  5. Hunt Them Down & Kill Them (2:23)
    Hans Zimmer, Lorne Balfe
  6. Sistine Chapel (1:13)
    Hans Zimmer, Lorne Balfe
  7. A Certain Zealotry (1:50)
    Hans Zimmer, Mel Wesson
  8. God Particle (5:33)
    Hans Zimmer, Lorne Balfe, Mel Wesson
  9. Access Granted (2:02)
    Hans Zimmer, Lorne Balfe
  10. Follow The Path (2:53)
    Hans Zimmer, Atli Örvarsson
  11. Seal The Doors (1:37)
    Hans Zimmer, Atli Örvarsson
  12. Mr. Grey Taunts The Cardinals (1:44)
    Hans Zimmer, Mel Wesson
  13. No Time (4:09)
    Hans Zimmer, Lorne Balfe
  14. Cock Block (1:20)
    Hans Zimmer, Lorne Balfe
  15. Pantheon (3:08)
    Hans Zimmer, Geoff Zanelli
  16. Wrong (1:22)
    Hans Zimmer, Lorne Balfe
  17. Earth (3:19)
    Hans Zimmer, Mel Wesson
  18. Black Smoke A (2:04)
    Hans Zimmer, Lorne Balfe
  19. Air (7:55)
    Hans Zimmer, Lorne Balfe, Atli Örvarsson, Mel Wesson
  20. Black Smoke B (5:38)
    Hans Zimmer, Geoff Zanelli
  21. Hypoxia (5:11)
    Hans Zimmer, Atli Örvarsson, Mel Wesson
  22. Black Tongue A (2:35)
    Hans Zimmer, Lorne Balfe
  23. Fire (3:44)
    Hans Zimmer
  24. Strauss Eligible (1:37)
    Hans Zimmer, Geoff Zanelli
  25. Langdon Rescued (2:02)
    Hans Zimmer, Geoff Zanelli
  26. Cross Rome (2:01)
    Hans Zimmer, Lorne Balfe
  27. Water (5:35)
    Hans Zimmer, Atli Örvarsson
  28. Castle Opus (0:34)
    Hans Zimmer, Lorne Balfe
  29. Castle Sant Angelo (8:27)
    Hans Zimmer, Lorne Balfe, Mel Wesson
  30. Save Camerlengo (4:23)
    Hans Zimmer, Lorne Balfe
  31. Necropolis (1:34)
    Hans Zimmer, Lorne Balfe
  32. God Save Us (8:50)
    Hans Zimmer
  33. Election By Adoration (1:57)
    Hans Zimmer, Lorne Balfe
  34. Bad Camerlengo (2:17)
    Hans Zimmer, Lorne Balfe
  35. Immolation (3:40)
    Hans Zimmer, Lorne Balfe
  36. Science & Religon (2:14)
    Hans Zimmer, Nick Glennie-Smith
  37. Lux Aeterna (0:57)
    Atli Örvarsson
  38. Main Title (2:19)
    Hans Zimmer, Lorne Balfe
  39. 160 BPM (6:43)
    Hans Zimmer
  40. Camerlengo Suite (11:39)
    Hans Zimmer
  41. Follow The Path (Alternate) (1:29)
    Hans Zimmer, Atli Örvarsson
  42. Castle Opus (Alternate) (0:35)
    Hans Zimmer, Lorne Balfe
  43. Trailer Music (1:09)
    Hans Zimmer, Lorne Balfe
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Strauss reply Replies: 0 || 2018-05-11 09:13:06
Some cue titles not listed on this version:

* Seal the Door/Extra Omeletes [the film dialogue is actually "extra omnes" so the cue title is an in-joke]
* Sinner [possible the second part of "25. Langdon Rescued"]
* E Mia La Piazza [perhaps another in-joke but not sure of it's placement]

Mandarin reply Replies: 0 || 2017-09-27 19:45:37
They should have added "Black Smoke Suite" from the ost here

Arian reply Replies: 0 || 2017-01-30 06:54:49
Where Can I download this? :(

Daniel reply Replies: 3 || 2015-06-06 15:50:59
Did anyone notice, in 160 BMP at 4:27 is in Sherlock Holmes 2 train scene?


Anonymous2015-06-06 19:46:31
mmm...
same drum samples? definitely.
same melody? nope.


NM2015-06-06 20:52:34
Different rhythm surely? lol


bro2015-06-06 23:30:40
It's the same kind of percussion and the same kind of hits, that's it

RealFfingMusic reply Replies: 2 || 2014-09-17 06:30:44
Hybrid's missing "End_Credits" (5:51). But it's the easiest to obtain, and is just a rearranged 160 BPM Suite.


Hybrid Soldier2014-09-17 08:40:41
It's not rearranged, it's just edited by some music editor... In other words, it's redundant with the suite...


bro2014-09-17 16:04:32
Hybrid can you ask Hans if he's going to score Inferno?

Zealotry reply Replies: 1 || 2014-09-15 22:48:50
I can't see a download or purchase link...
Where can I get this score version?


RealFfingMusic2014-09-17 06:24:27
There's a secret organisation that tells you where to find these things - complete scores, recordings sessions, etc. Not many people know about it, so don't tell anyone. It's called . . . Google.

Shh!

bro reply Replies: 3 || 2014-08-28 03:53:31
Hybrid -- here we go again! New sequel was announced today!

deadline(dot)com/2014/08/sony-pictures-locks-tom-hanks-ron-h oward-for-april-inferno-start-825270/


Hans being a good friend of Ron Howard, should be the one on this project, and this actually brought a smile to my face!


isildur2014-08-28 18:06:28
I really hope Hans scores this too. Ron and Hans combo always gave absolutely awesome scores.


Lambegue2014-08-28 18:06:35
I love the scores for "Da Vinci Code" and "Angels and Demons", so I'm very happy to learn this too ! (the movies, on the contrary, are very average...)


bro2014-08-28 21:10:19
I honestly don't think ron howard would have announced this without hans saying its okay so it should be pretty much confirmed

Jimmy reply Replies: 4 || 2013-07-09 04:46:01
5:24-7:41 in the Cameriengo suite is BEAUTIFUL!!!!!!! Wow!


Mike2013-07-09 07:01:31
Indeed it is. God Save Us, which uses the same theme, is also a beautiful cue. And it was done by Zimmer alone, which makes it even better!


Blu2013-07-09 09:29:16
The way the two above-mentioned cues are edited together to form the OST track counterpart is even more impressive!


Mike2013-07-09 21:33:20
And indeed, you can tell this is a beautiful piece, because the Filmtracks guy referred to it as such and gave the score 4 stars.


score_trader2013-09-03 04:01:34
Posted some new stuff from this, you know where.

Jimmer reply Replies: 1 || 2013-05-25 13:11:13
Hybrid, can you tell me which tracks feature Joshua Bell as solo violin?


Edmund Meinerts2013-05-25 15:28:33
Oh, come on. Just listen to the score, and if you hear a solo violin, that's Joshua Bell. If you really need pointers, start with the cue "503", which is also the end titles. It's basically a remix of "Chevaliers de Sangreal" at a slightly faster pace and with Bell over the top.

Poe reply Replies: 4 || 2012-10-06 21:11:20
Where would Black Tongue A go in this score? It has been some time since I saw the movie.


Bioscope2012-10-07 06:30:44
I think it is when the body of the dead Pope is examined in his casket and his black tongue suggests foul play regarding chronic medicine or something...


Poe2012-10-08 01:08:35
I know where its from, I just wondered where it would go in this tracklist :)


Poe2012-10-10 06:46:32
Does anyone know, please?


Joe2013-02-11 22:49:27
This is in proper film order. Track 22, unless you mean Black Tongue B, which is right after, but is absent here.

Mikel SiW (a fan from Spain) reply Replies: 0 || 2012-10-06 16:33:48
a miracle of edition... WOW !!!

Felix reply Replies: 0 || 2012-10-06 00:28:38
And now i would Luke ti have the complete score Form The Da Vinci Code

Kusi reply Replies: 0 || 2012-10-05 21:58:39
I waited years for this :) This score really deserves an expansion. Now I'm
waiting for the very last cue on this: black tongue b :D

Hybrid Soldier reply Replies: 9 || 2012-10-04 12:50:12
Before you all ask... :P

Haven't had time to put a cover though, but you have all the credits... ;)


T-Mann0362012-10-04 14:26:46
I have absolutely no question at all. Thank you for sharing this, Soldier man! *salute*


mr visitor2012-10-04 15:28:22
Cool, thanks!


5284912012-10-04 16:42:22
Wait a minute!!! they are not going to release this? Just asking...


Mr. Fate2012-10-04 16:46:48
No, they are not going to release this, but that doesn't mean you can't find it somewhere on the Internet already. What convenient timing, Hybrid--and with all the credits for each cue!


Hybrid Soldier2012-10-04 16:54:10
Well, I simply saw it online so... time was up !

BTW I put expanded, not complete cause a cue's missing, Black Tongue B (HZ/LB)...


David2012-10-04 18:27:24
You gotta love how every time something is leaked, they make a page for it here.

I wonder if I go and post the tracklist for The Dark Knight Rises, they'll make it?


Mr. Fate2012-10-04 18:58:09
No, David, I am afraid that is not how it works. You can make up as many bullshit track lists as you want, but that is not going to cause the music to materialize.

Even posting legitimate track list does not simply mean the score will be leaked. The lists for the Transformers sequels were posted several weeks before that music turned up. Some scores that have had track lists posted around still have yet to see the light of day.


David2012-10-04 19:09:52
And what makes you think what I'm about to post is actually fake? I'll bet the rest of my fellow elitists can confirm its legitimacy

And Transformers 2 was posted back in April. I remember specifically because it was the week after my Grandmother died

So...let's see what happens when I post it. Give me time to type it up as I don't have it saved anywhere. I can say there are 54 tracks


Agent Smith2012-10-04 19:43:26
my goodness, you have problems. why can't we just enjoy this beauty?! I'm smiling all the day today, as I'm hearing so many new cues from the movie, which are so beautiful and making me enjoy the score now so much.

why argueing all the time, enjoy it man...

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Angels & Demons (Expanded Score) soundtrack - Hans Zimmer 2009