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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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Lorne BalfeMax ArujAndrew ChristieGary Dworetsky
ComposerAdditional MusicAdditional MusicAdditional Music
Assassin's Creed III - The Tyranny Of King Washington (VG)
Label: UbiSoft Music (Digital Download Only)
Length: 98'27
HZimmer.com rating:        Not yet rated
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 (4305 votes)
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  1. Assassin's Creed III Main Theme (Wall Of Sound Remix) (3:08)
  2. Ratonhnhaké Ton (2:30)
  3. The Tyrant (3:20)
  4. Frozen (2:56)
  5. Solitude (1:38)
  6. Frontier At Arms (3:19)
  7. Winter's Grasp (3:10)
  8. You Must Succeed (2:16)
  9. Seekers (1:29)
  10. Tracking The Prey (2:54)
  11. Against All Odds (2:35)
  12. He Is Our Beacon (2:01)
  13. The Betrayal (3:35)
  14. Swift And Silent (2:31)
  15. Rooftop Chase (2:28)
  16. Dark Alleys (2:07)
  17. The Key (2:15)
  18. Escape Artist (1:50)
  19. Closed City (2:19)
  20. Helpless (2:26)
  21. The Ruse (2:48)
  22. Nightmares (2:21)
  23. The Redemption (2:55)
  24. Fallen Warriors (2:35)
  25. Wolf In Sheep's Clothing (1:11)
  26. Taking Up Arms (1:39)
  27. The True Rulers (1:21)
  28. Risking Everything (2:12)
  29. Alone Against All (2:53)
  30. Unwavering Resolve (1:41)
  31. Laying Up The Trap (1:00)
  32. The Will To Endure (2:19)
  33. King Washington (3:37)
  34. Ghost Trail (2:31)
  35. Duel At Dawn (2:17)
  36. Man With The Wolf Hood (2:23)
  37. The Betrayal (Alternate Version) (3:35)
  38. The Redemption (Alternate Version) (2:54)
  39. King Washington (Alternate Version) (3:37)
  40. King Washington (Revisited Version) (1:49)
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MacArthur reply Replies: 18 || 2013-08-22 22:42:49
Anyone know why the title is against George Washington


MacArthur2013-08-22 22:47:19
Cause for one i know he wasn't a King and 2 he wasn't a tyrant


Macejko2013-08-22 23:31:26
Whereas you are the king of stupid questions.


Edmund Meinerts2013-08-23 02:59:28
I believe a facepalm is in order.


MacArthur2013-08-23 03:28:22
You have a problem with the question


MacArthur2013-08-23 05:18:49
I just sounds like a lot of propaganda


MacArthur2013-08-23 05:19:09
It*


Edmund Meinerts2013-08-24 00:10:44
I have a problem with you being a fool. The game's premise is alternate history: what if George Washington had been a tyrant rather than the founding father he really was? Obviously nobody actually thinks that this is what he was really like.


Areozz2013-08-24 04:27:34
I think this is just a case of "MacArthur has never played this game and thus has no idea what it is really about." Nothing else to do here.


MacArthur2013-08-24 07:21:24
You're right i haven't played it but you never know who might take the premise of the game literally that's my concern.


MacArthur2013-08-24 07:23:54
cause some people who would wish to destroy this country would love people to believe that.


MacArthur2013-08-24 07:24:25
Inform me what is it about the story I mean


MacArthur2013-08-24 07:27:57
Cause if it turns out that washington is a hero figure at the end it would be fantastic news for me


Edmund Meinerts2013-08-24 15:36:42
You really think a fantasy/alternate-history game would pose a threat to the US by people taking it literally? Jesus. The Red Scare ended in the 1950s, you do know that, right?


Areozz2013-08-24 16:30:09
MacArthur, I hope you know that you can type more than one paragraph before submitting your comments.

See? See how easy it is? All I had to do is press 'Enter' twice. You ought to get all your thoughts completed and organized instead of posting one sentence at a time several minutes apart.

Plus: seriously?


MacArthur2013-08-24 18:54:39
Actually the Red scare ended in the 80's with Reagan.

So in essence, yes I do know when it ended. I also asked what the game story line was about.


Macejko2013-08-24 20:05:37
Are you aware of a magic tool known as Google?


AngryGuy2013-08-24 22:34:15
Leave it Macjeko, MacArthur sounds like a 9 years old retard, flooding all around, who hasn't understood this site is not Twitter.

At some point he'll get tired of flooding here, and he'll return where he belongs : far from here.


MacArthur2013-08-24 22:58:45
I know google but I read books you can't trust everything on google. Go read a book.

Prott reply Replies: 0 || 2013-08-22 16:53:01
Great interview (with short snippets from the score and recording session) with Lorne and Hans about their involvement in Beyond: Two Souls
http: //www.youtube. com/watch?v=t2yAsaaWo9A

Can't wait to play the game, it sounds like something really interesting and inovative (both gameplay and videogame music vise)! :)

Assassino reply Replies: 0 || 2013-07-09 01:32:41
Brian Tyler will compose the score for AC4.

Hybrid Soldier reply Replies: 6 || 2013-04-09 19:49:46
Lorne is not scoring Assassin's Creed IV - Black Flag... He's too many projects going on, no time for it.


Jimmer2013-04-09 23:00:23
Do you know who is? Another Remote Control grunt or someone else?


Hybrid Soldier2013-04-09 23:20:36
Ask UbiSoft...


Assassino2013-04-10 06:25:34
That makes me sad... His work on AC3 was amazing. He is a master in his thing :(


Mike2013-04-12 03:55:02
Wonder if it'll be Jesper Kyd...


zeroman2013-04-12 05:33:27
I've also been wondering myself if Jesper Kyd is coming back to the franchise on this one. So far I still haven't any info anywhere at all who will be doing Black Flag.


Anonymous2013-05-22 09:37:16
Shame. I was looking forward to a At Worlds End take on Assassins Creed pirate theme by RCP.

Kyd will probably use a lot of ambient again instead of epicness.

zeroman reply Replies: 3 || 2013-05-17 17:06:24
On facebook the composers they had listed were Jesper Kyd and Lorne Balfe. So I guess Kyd and Balfe will be working together again.


zeroman2013-05-17 17:17:25
Correction: I mean't to say Kyd & Balfe will be working on Black Flag according to facebook.


Edmund Meinerts2013-05-17 18:34:52
That's good news! Balfe's stuff is solid enough but Jesper Kyd is a more unique voice.


Everan2013-05-17 18:48:26
My fave was Revelations, loved how they worked! Looking forward for a pirate theme :D

OKKU reply Replies: 0 || 2013-05-12 17:51:16

WONDERFULL! Greatjob.Thanks Lorne.....Dear All, You must listen this tracks :

-2-Ratonhnhaké Ton (2:30)
-10-Tracking The Prey (2:54)
-36-Man With The Wolf Hood (2:23)

zeroman reply Replies: 1 || 2013-03-23 05:33:11
I wonder who will be the composer for Assassins Creed 4 Black Flag. So far I haven't seen any info released on who the composer might be. I'm assuming Lorne might not be the composer for Assassins Creed 4 considering all the projects he's got going on this year....Then again I could be wrong.

Hybrid do you know if Lorne will be doing the score for Black Flag?


fabien2013-03-24 19:36:40
a fantastic score.
I would say also a dancing score sometimes. So funcky !
Love it!

Also reply Replies: 6 || 2013-03-22 06:18:35
I'd say Angels and Demons was another decent example of the level of awesome when they come together to collaborate. Almost all of the composers Edmund listed were working their asses off on A & D too.


Edmund Meinerts2013-03-22 11:08:13
Yeah, definitely another good example. :)

Of course, on the flipside you have On Stranger Tides which is a prime example of how NOT to do it...


Jimmer2013-03-22 12:22:06
Tell me again why we're arguing with this ".e.eiknl." guy who obviously knows nothing about music since he's calling Lorne the worst composer from RC? Clearly this guy is a douche and should not even be given the time of day. The end.


Macejko2013-03-22 12:22:28
Personally, I'm not quite fond of an idea of multiple composers making one score. A film/television/game soundtrack, in my opinion, should be a focused work of one single guy. And although I have nothing against Lorne Balfe personally (he is not my favourite, but he can make some decent work sometimes), I really, really hate the idea of him always having multiple projects to do (just for 2013 he has 11 (!!!) scores coming up or already released), and other RCP composers are barely struggling with two or three each year. Every other score coming from RCP these days is from Balfe. There is absolutely no justice in that.


Mike2013-03-22 19:16:32
I'm with Macejko, to some degree. If "additional" composer means a few cues here and there, I'd be alright with it. But with a lot of Hans Zimmer scores they end up doing way more than just "additional" work. Hans writes the themes and these other guys go to work to make cues. If they want to do that, they could at least say on album covers, "Music by Hans Zimmer & Remote Control Productions". But to say just "Music by Hans Zimmer" seems a little dishonest.


.e.eieknl. 2013-03-22 22:53:38
Yeah!!! The Worst!!! Composer of RC and of the World!!!!


Areozz2013-03-23 04:42:00
^^Whoops! Looks like a fiercely opinionated 13-year-old found internet access again. There's no point in arguing with this .e.eieknl because he/she/it is entitled to his his/her/its own opinion and this is an open site.

.e.eieknl. reply Replies: 8 || 2013-03-21 20:38:36
Wow! 4 Additional Composer.... Lorne Balfe the Worst Composer from Remote Control!


Mike2013-03-21 20:42:46
No way...Didn't On Stranger Tides have more than that?


Mike2013-03-21 20:51:57
Oops...Here I go, derailing the discussion to another work again.

Sorry. lol.


Hybrid Soldier2013-03-21 21:19:13
Thinking in number is just plain stupid, actually.


Mike2013-03-21 21:32:14
Agreed. The number of additional composers doesn't really matter as long as they don't end up writing the whole score for the principal composer. If they're new, it gives them experience for later.


Edmund Meinerts2013-03-21 22:27:04
At World's End had something like half a dozen additional composers and look how that turned out. Each composer got to shine, too: Zanelli with the new big Calypso piece, Orvarsson with Cutler Beckett's death, Jackman with Up is Down and the wedding action cue, Balfe with some of the Beckett-related stuff like Just Good Business, Gire and Sponsler with the first part of the maelstrom battle (man, it's nice to finally hear that cue SFX-free) and of course Zimmer himself coordinating the whole thing with all those amazing themes, new and old.

To me At World's End is the ultimate example of the RC collaborative system at its very best. So much talent, so much amazing music. So don't knock a score just because of the additional composers!

Boom, topic derailed AGAIN. ;)


.e.eieknl. 2013-03-22 00:17:27
THE WORST COMPOSER FROM REMOTE CONROL!


Mike2013-03-22 00:18:00
lol, Edmund


Barbarosa2222013-03-22 22:06:38
The worst? Are you deaf and blind? You just can´t see the huge amount of talent as Lorne definitely has! He is the main follower of Zimmer, he is like him in his youth... Tell me, where you can find so massive piece of emotions like in Balfe´s work? Huh? Do you know, how many movies and games he is actualy working? Many, and therefore 4 additional composers.

David reply Replies: 3 || 2013-03-21 12:43:34
Wow! Is it out? Or when it will be released?


Hybrid Soldier2013-03-21 12:49:11
It has "unofficially" leaked but will hit digital stores next month. I'm waiting for the release date... :)


Hybrid Soldier2013-03-21 19:15:11
It should be released on april the 23rd !


Mike2013-03-21 20:33:29
Is it just me, or are Lorne Balfe albums generally pretty long?

[This would be a good thing] :)

Macejko reply Replies: 0 || 2013-03-21 13:50:29
It's good to see that Insanity Wolf is getting popular :)

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Assassin's Creed III - The Tyranny Of King Washington (VG) soundtrack - Lorne Balfe 2013