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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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Tom Holkenborg (Junkie XL)David FlemingChristian VorlanderHans Zimmer
ComposerAdditional MusicAdditional MusicExecutive Score Producer
Divergent
Label: Interscope Records
Length: 89'31
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 (8373 votes)
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  1. Tris (Feat. Ellie Goulding) (7:48)
    Junkie XL
  2. The Test (3:17)
    Junkie XL, Christian Vorlander
  3. Choosing Dauntless (Feat. Ellie Goulding) (3:44)
    Junkie XL, Christian Vorlander
  4. Capture The Flag (Feat. Ellie Goulding) (3:06)
    Junkie XL, Christian Vorlander
  5. This Isn't Real (1:38)
    Junkie XL, Christian Vorlander
  6. Ferris Wheel (3:31)
    Junkie XL, Christian Vorlander
  7. Erudite Plan (3:20)
    Junkie XL, Christian Vorlander
  8. Fear (3:36)
    Junkie XL
  9. I Am Divergent (1:38)
    Junkie XL
  10. A Friend (2:47)
    Junkie XL
  11. Conspiracy (5:26)
    Junkie XL, Christian Vorlander
  12. Watertank (1:50)
    Junkie XL, Christian Vorlander
  13. Faction Before Blood (6:48)
    Junkie XL
  14. Human Nature (3:12)
    Junkie XL
  15. Final Test (1:37)
    Junkie XL, Christian Vorlander
  16. The March (5:17)
    Junkie XL
  17. Dauntless Attack (5:55)
    Junkie XL
  18. Sacrifice (Feat. Ellie Goulding) (4:20)
    Junkie XL
  19. You're Not Gonna Like This (14:00) (Digital Bonus Track)
    Junkie XL
  20. Fight The Dauntless (4:13)
    Junkie XL
  21. Everywhere And Nowhere (2:28)
    Junkie XL
Create Topic

Hal reply Replies: 5 || 2015-10-10 15:36:23
Hybrid, do you think there's any chance that Tom will return to do the last 2 movies in this trilogy? The second score was horrendous and I think it would work if Tom came back and brought his old themes with him.


Hybrid Soldier2015-10-10 16:18:42
No, I don't think so. His score was terribly butchered in the first and not so much was used in the final cut. Not sure he wants to return to that.

And he has much more interesting to do.


David2015-10-10 17:24:38
True dat. Like Deadpool!!


Hal2015-10-10 18:16:18
Yea but Diverent was such a damn good score. Would be great to see development of themes and of course new ones!


Ds2015-10-10 21:28:07
That butchering was really a shame. I remember watching the movie after having listened to the score a few times, I could not believe my ears. Fortunately Tom released a nice album with many great cues, so that we can forget the film and keep only tj music :-p


...2015-10-12 18:36:59
Yes it was a shame, but the album was awesome and considering the fact that Tom is a big guy now (not literally) they probably wouldn't butcher the sequel score if he were to do it.


... reply Replies: 3 || 2015-09-23 06:57:31
Hybrid, do you know the chronological order of this? and maybe how it can be mixed with the expanded score that surfaced some time ago.

A lot of cues were replaced I think...


Hybrid Soldier2015-09-23 09:37:57
I need to make a proper thing for this one...


...2015-09-23 09:55:21
That's be great! I think it's Tom's best score to date!


Hal2015-09-23 22:22:57
This was one of the best scores of last year.

mpolonest123 reply Replies: 4 || 2015-03-18 16:29:21
Wow. Listening to Joseph Trapanese's score for Insurgent and talk about dropping the ball. None of Junkie's themes are used and most of the music is just atmospheric crap.
The new theme is halfway decent though, but kind of generic.


...2015-03-21 23:13:41
I totally agree! Listened to the OST and was like, where's the music? It's such a dull score and it lacks emotions, good action material and a good theme, such as Tom created for the first movie.

I wonder if it was due to scheduling issues that Tom didn't end up doing it or if it was the new director. Anyway I hope he will score the last 2 movies because anyone must have noticed that Joseph's work didn't work at all.


Hybrid Soldier2015-03-21 23:33:18
The first film was a "difficult" experience apparently for everyone, I never expected Junkie to come back...

And... Yeah, that second opus lacked pretty much everything while the first score had like 3 or 4 main themes...


RebelRising2015-03-22 02:18:59
Which is especially a shame because out of all the scores Tom has composed, this is the only one that I really like as a whole.

300 had, like, 3 tracks I would listen to more than once, whereas Divergent's soundtrack is a legitimately fun piece of work.

Hopefully Mad Max knocks it out of the park.


mpolonest123 2015-03-22 04:07:01
Considering how badly Tom's score was butchered in the first film, I really am not all that surprised he didn't want to return.

And as far as his scores go, Run All Night isn't half bad actually. The thematic part at least. ;)

XL JUNKIE FAN reply Replies: 3 || 2015-03-01 00:23:00
01 - 1M1 Opening (04:02)
02 - 1M3 Lining Up for the Test (01:43)
03 - 1M4 Simulation (08:03)
04 - 2M8A Jumping From The Train (02:14)
05 - 2M8B Jumping Into Net (03:35)
06 - 3M16 Training Begins (04:09)
07 - 3M17 Tris Sees Tori (01:48)
08 - 3M24 Grab The Rail (02:27)
09 - 3M25A The Wall (01:15)
10 - 3M26 Knife Throwing (02:33)
11 - 3M27 Jeanine at Dauntless (02:42)
12 - 4M28 - Tris vs Peter (01:39)
13 - 4M29 Runs for Train (01:49)
14 - 4M30 Weapon of Choice (01:59)
15 - 4M31 Climbing The Ferris Wheel (02:40)
16 - 4M32 Capture The Flag (02:46)
17 - 4M37 Mom Visits Tris (03:27)
18 - 4M38 Simulation/Crow Attack (01:49)
19 - 4M39 After Dreamscape (01:35)
20 - 5M42 Simulation/Trapped Water (02:10)
21 - 5M44 Faction Before Blood (02:54)
22 - 5M49 Tris Attacked/Four Saves Tris (01:28)
23 - 5M50 Kicking It At Four's Pad (01:25)
24 - 5M53 Erudite Overthrow Abnegation? (03:38)
25 - 5M56A Simulation of Four's Fears Pt.1 (02:48)
26 - 5M56B Simulation of Four's Fears Pt.2 (02:02)
27 - 6M63 Zombies (10:06)
28 - 6M64A Mom Saves Tris (03:31)
29 - 7M65A Breaking Into Dauntless/Final Battle (14:20)

Duration: 01:36:51


Russel2015-03-01 00:46:26
It is from a licensing site. I don't know if it would be a good idea to leak it, would it?


...2015-03-01 12:46:49
This version is missing tracks that can be found on the OST.


mpolonest1232015-03-01 15:11:56
I think this is technically the "film version" which butchered a lot of the OST material. I wonder if it is complete though?

... reply Replies: 1 || 2014-08-28 20:07:11
Apparently a different composer with score the sequel...I hoped he'd return and get his own trilogy


Felix 2014-09-06 20:32:28
Yes! I hope so he got this trilogy, it's would be very cool

Hybrid Soldier reply Replies: 2 || 2014-06-08 16:30:09
Little "who did what" here... :)


Edmund Meinerts2014-06-08 16:33:09
Thanks! But where's Dave Fleming?


Hybrid Soldier2014-06-08 18:50:41
Who knows... In what's not on the OST probably... lol

... reply Replies: 0 || 2014-05-08 20:17:31
Hybrid, I have a question.
What did Hans do on this score?
What does the exclusive music producer do?

Adrian reply Replies: 0 || 2014-04-02 08:00:16
This is beautiful music...

Ds reply Replies: 2 || 2014-03-29 01:06:26
I just saw the movie and have one word: HORRIBLE. The great music composed by Junkie XL has been completely butchered, the best tracks aren't featured at all, or have been replaced by songs or bland alternate versions. For example, the cool vocal parts of "Choosing Dauntless" or "Capture the Flag" are not even in the movie, and the great "Fight the Dauntless" plays only for 20 seconds.

Worst of all, the score plays extremely low and far in the background, which makes it inaudible from start to finish, even when there's no dialogue or action. The sense of rythm and excitement present in the album release is totally absent from the movie.

It is incredible how music with such a great potential and so much intensity, can be toned down and become next-to-nothing in a movie. I wonder who was in charge of cutting Junkie XL's tracks to picture. If he did it himself then I really don't understand.


Rcp2014-03-29 05:34:32
I think perhaps whoever was in charge of the music decided to replace some scenes with whatever pop music that ended up replacing it. Cause there are cues on the album not in the film, so it may have been a later thing after it was scored to change things up a bit - but hey, at least we got all the music unlike some other releases *cough*man of steel*cough*


RealFfingMusic2014-03-29 11:33:13
In that case, not gonna see the movie.

BTW, I still don't have a film version for MOS Flight. :(

Ds reply Replies: 0 || 2014-03-23 19:47:13
Some tracks are awesomely awesome. I love them so much that I'm going to see the movie when it opens!

Drunkenmunkey reply Replies: 1 || 2014-03-22 05:39:02
I like this score better than CAP 2. There I said it!


Edmund Meinerts2014-03-22 10:44:45
Is that such a surprise? I think most people do. Me too, by a long shot.

Micah reply Replies: 0 || 2014-03-18 17:44:18
After listening to the score over and over this weekend, I've come to the conclusion that Fighting Dauntless is one of my favorite musical pieces from the last few years. The mixture of the epic and personal is great.

Micah reply Replies: 1 || 2014-03-17 19:46:45
This is a pretty good score. Tris, Final Test and You're Not Gonna Like This are by far the best.

Tris' theme is beautiful. I hope XL Junkie returns to score the next movie. I hear a lot of potential building blocks for future scores.


Macejko2014-03-17 20:02:29
The second installment will by directed by Robert Schwentke who usually works with Christophe Beck, so Junkie's return is IMHO unlikely. Which is a damn shame, because the score is indeed very good.

Anonymous reply Replies: 3 || 2014-03-17 02:49:12
Ok, first, great score.

Has threads of other stuff all over the place.....Girl Rising, MOS, some stuff by HGW, the piano in Tris reminds me of JNH's The Happening.

OMG. Has anyone noticed the stark similarities of Track #16 The March to the Opening Cue from Vangelis' score to The Bounty? Wow.

Really enjoying it, nonetheless!


ei182014-03-17 03:52:47
Where did you hear the full score? Thanks!


Edmund Meinerts2014-03-17 10:03:07
Yeah, "The March" really took me by surprise. Wasn't expecting to hear something so retro-sounding and, as you say, Vangelis-like.


Héctor2014-03-17 18:22:51
Better performance than the others. Similar to the structure of Bleeding Fingers....And survivor. But is better than the other stuff. More Whisky for Junkie.

Edmund Meinerts reply Replies: 1 || 2014-03-15 01:18:57
I'll just echo what others are saying and say that this score is really not bad at all. Much better than I expected after the terrible 300 score.

It's the softer thematic parts that really shine, like the opening cue. The action music still relies too heavily on uninventive hammering MoS percussion for my taste, though (the 14-minute track just goes on and on and on and on and on...). But...okay. I'm gonna have to give Junkie XL the benefit of the doubt from now on.


Mortifer V.2014-03-17 03:56:30
well, the title of the 14min track warned you man ;P

ei18 reply Replies: 5 || 2014-03-14 22:39:27
Tris sounds super similar to another song and I can't figure it out for the life of me. Anyone feel the same way and wanna help me out?


MacArthur2014-03-14 23:17:19
Yeah...Lone Survivor.


Hybrid Soldier2014-03-14 23:37:53
And was written a long time before Lone Survivor... lol


Edmund Meinerts2014-03-15 00:15:29
It's the four chords of pop...there are literally a zillion songs and cues that use them. Most recent famous example is (Oscar winning?!) Let it Go from Frozen... :p


MacArthur2014-03-15 00:30:47
Really it was written before. cause Lone survivor Came out in some countries early last year.


ei182014-03-15 16:05:57
yea Lone Survivor is similar but its not what i was thinking of. It Elie Goulding's singing that sounds really similar to something else.

rob reply Replies: 0 || 2014-03-14 01:56:08
Where are you guys listening to the full score if it is not released yet? I've been wanted to listen to this one

Leo reply Replies: 8 || 2014-03-13 03:58:58
I can't stop listening to those cues Hybrid mentioned earlier, I even get the chills, dammit! :D


Leo2014-03-13 08:19:32
Especially "Capturing the Flag", holy shit.


0-cool2014-03-13 11:49:54
T thought it comes out the 18th


Bioscope2014-03-13 16:04:11
One word. Awesome....


MacArthur2014-03-13 16:52:15
It may help to have Hans as score producer.

And what's with Lone Survivor. in Tris.


RealFfingMusic2014-03-13 23:31:32
This might be Junkie's best till date. And I haven't even listened to the full score yet. :D


Edmund Meinerts2014-03-13 23:50:05
The best out of what, three scores? That's not such a super superlative... :p


Ds2014-03-13 23:54:04
I think it's a good score. The main theme is very catchy and it blends nicely different genres together, i love it very much. But for the moment I didn't notice anything particularly outstanding, apart from this main theme.

But i guess it'll grow on me in the next few days!

Tracks 1, 3, 4 are (for now) my favorites.


Hybrid Soldier2014-03-14 00:02:44
The Main Theme, let's talk about that : Listen to Balfe's Girl Rising track I put on the player... lol


There's some weird, I don't know, similarity... haha

Z1 reply Replies: 0 || 2014-03-13 21:35:24
Junkie Xl's Score every awesome, but this is the best from him, i love it!

Macejko reply Replies: 0 || 2014-03-13 07:30:18
Very, very good score and the cues Hybrid mentioned are truly the best (especially "Choosing Dauntless", I simply love that one). It's really imaginative in its use of percs and Goulding's vocals, and although the MoS influence is still felt here and there, the score certainly shows that Junkie is more than able to bring his own musical identity to the game.

Anonymous reply Replies: 0 || 2014-03-13 04:22:53
Excellent job!

Drunkenmunkey reply Replies: 0 || 2014-03-12 18:50:02
Listened to it twice. Loved it. Now I really don't know wtf went wrong with 300. It's probs because Zimmer (I think)didn't help much with it. The MOS percussion, Lone Survivor acoustics, and with Ellie Goulding's voice and Junkie XL's electronica blend surprisingly well. I can't wait to see the movie and I am sure it will fit great (guy's it is a perfect date movie!). Here's to hoping it fairs well critically! 3.5/5 for me. Screw 300 lol.

thejok3rrules reply Replies: 0 || 2014-03-12 05:25:56
It's already better than 300, but it's nothing great either... It's basic... It fits the film, perhaps.

Ds reply Replies: 0 || 2014-03-10 21:15:45
Still no samples? It's weird.

Btw, i had just zero expectations for that movie and score, but what Hybrid wrote two days ago made me completely impatient!!

Edmund Meinerts reply Replies: 11 || 2014-03-09 00:33:43
89 minutes?? I'm assuming this is a digital only release then, or how the heck do they plan on putting that on a CD?

Interesting that this already has a "HZimmer.com rating". Who exactly decides those? :p


theeaglesfan0052014-03-09 02:27:20
It does say "Label: Lionsgate Records (Digital Download Only)"


Aytekin2014-03-09 02:59:46
Cannot wait for this.. :)


Ds2014-03-09 03:08:13
Agree with Edmund, very interesting release!


Hybrid Soldier2014-03-09 08:21:38
Because I've already listened to it...

It's not exactly like 300... Yeah it has some "usual" Junkie MOS percs, but it's more like a mix between the lighter action parts of MOS with Craig Armstrong's In Time...

I have 5/6 tracks on constant repeat (Tris, Choosing Dauntless, Capture The Flag, Conspiracy, Final Test (it's gonna remind people of some MOS unreleased track... lol) & Fight The Dauntlesss).

Can't put anything on the player just yet though...


Ds2014-03-09 09:21:23
Okay, now i'm excited. I loved every bit of MoS. I loved 300 by Junkie XL. I loved In Time by Craig Armstrong. This seems like a perfect deal for me :-)


Hybrid Soldier2014-03-09 10:25:05
I love them too Ds it'll be right up your alley ! :)


MacArthur2014-03-09 17:15:07
Why, Does every one want Junkie XL. He is not that good.

I mean he's ok but why not The Maestro himself. or Jablonsky or....Or even...Balfe. :)


0-cool2014-03-09 18:49:42
he is better than most Zimmer collaborators.
Check out Darkspore, which is one of the best electronic/ambient score I've heard.
Then his symphony for an event in Utrecht. Can't imagine Jablonsky,Balfe,Djawadi etc pull that off


Edmund Meinerts2014-03-09 22:06:25
Yeah, why more people aren't hiring The Maestro is beyond me...I mean, we all know John Williams is probably the greatest film composer of all time.


trent easton navarro2014-03-09 22:17:21
I don't think that's The Maestro MacArthur meant. Would be impossible to hire him though, Jerry Goldsmith passed away almost ten years ago


MacArthur2014-03-10 05:57:46
O-cool had it correct.

Joshua reply Replies: 0 || 2014-03-09 23:26:13
Oh come on now, we clearly all know MacArthur was talking about Ennio Morricone ;)

Drunkenmunkey reply Replies: 0 || 2014-03-09 19:40:08
What day does this release? and is it going on iTunes?

Thanks Hybrid :D

MrZimmerFan reply Replies: 0 || 2014-03-08 23:12:12
Holy sh*t!, a 14 minutes track!! in a Junkie XL score?, that problaby is gonna to be awesome

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Divergent soundtrack - Tom Holkenborg (Junkie XL) 2014