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@Cercei<br>Hybrid can definitely answer that best. Richter’s score is used (alongside Balfe’s material) as well as some source pieces. If I remember correctly it’s a mish-mash of the two.I do know that piece, it’s very pretty. I’ll check out his other works, thanks for the recommendation. In terms of minimalism I really am into Brian Eno at the moment. His “Music For Airports” and “The Lovely Bones” are excellent if you like more introspective music.btw, you're saying Lorne recomposed and reworked the entire score. as i haven't seen the movie yet, did the producers end up with not using richters score for it at all and just used the score from Lorne?thanks for your information. but i actually don't understand why they have done that. i've heard now Lornes cues and Richters cues. all those cues from Lorne, they sound very similiar to that what Richter composed, but somehow with less melodies. And you really have to work hard to not use fewer melodies then Richter, as he's a minimalist at its best ^^ with that being said, i can't hear any groundbreaking differences from Lornes part, so what was their idea on hiring it and getting the same style of music, but in a more "light" version? :/i really admire Max Richters work, he isn't that new in this scene. his style is that repeating minimalism. maybe you've heard once the cue "on the nature of daylight" which was used a lot by many other movies. his last score which knocked me out was "Hostiles". such an emotional and intense score, you need to hear that, and probably see the movie as well (with Christian Bale). <br><br>
Really surprised at this album, I’ve never really heard anything from Max Richter but I really like what he ended up writing for this score. It surprisingly flows well for a stand alone listen. It’s funny that the producers wanted a different approach, I think Richter nailed it.<br><br>Balfe’s contribution is excellent as well, I particularly like that repeating chord progression (which is starting to become one of his trademarks considering how many times he has used it). It’s disappointing that they didn’t include more of his contribution though, since he apparently rewrote the entire score.Lorne said in his Twitter, the first album for His Dark Materials come 3rd November, no date, for the moment, for the second album.Was the producersi haven't understood the fact, that Lorne was involved in this. Can someone explain it for me? Was the director not satisfied with Richters music? Was the deadline too near? Or what was the reason why they have brought Lorne to this project?"The Wanderer", "Event Horizon", "You Have To Let Me Go" and "Tuesday (Voiceless)" = WOW WOW WOW!!!
Zanelli is no James Newton Howard, but he did a fantastic job with writing a large scale fantasy score. I’ll even say that, while I think the first Maleficent is stronger overall, I personally like the action writing better here. Also 2 little things I’ve noticed;<br><br>1. The new theme here sounds fairly similar to the Father/Son tune from KFP3<br>2. 2:20-3:30 sounds like it may have been temped from the finale of Fantastic Beasts. (Or maybe I’m just crazy lol)Great work of Zanelli, if is not as good like JNH's Maleficent, is a tremendous work, with a terrific writing and orchestrations, even the most tender parts are terrific.It’s definitely Balfe. I’ve seen the film for the second time two weeks ago so my memory is kind of hazy but luckily I decided to record the end credits for reference and I think it plays in Balfe’s section / variation of one of his themes played on a solo string instrument. <br><br>I think we got most of Richter cues as it was mainly his release. I feel that Lorne has moved on from this project - he didn’t even mention the release so an extended release of his material seems unlikely to happen :( <br><br>For those interested the credits suite plays as follows: <br><br><br>“A Trip To The Moon” (synth part)<br>“I Put All That Away”<br>Variation on the theme in “Underground Lake” at 0:14<br>Variation on the theme in “Trip To Neptune” 0-1:00<br>“To The Stars”Season 2 premieres in 2 weeks, if he was scoring he would be working on it at the moment. But yes no confirmation regarding his return or a new composer. No news regarding new composer might be a hint whether Djawadi is returning or not.I only listened to the first couple of cues so it is too early to form an opinion comparing it to JNH but I disagree the first half drags. Maybe because I love tender themes.
I suspect that the release was just what they had originally planned, with a couple of bonus tracks thrown in to appease Fox. They likely didn't put too much thought in what they added, since people who have spoken with Lorne said he wasn't aware of the release and was surprised Prayer wasn't on it. I'm just glad anything got released at all after everything that has gone before.<br><br>Regarding that theme you mentioned, is it one that sounded like the personal motif Ethan has in M:I Fallout? Because while I did initially assume that was Balfe too, it seems it was actually Richter. Haven't gotten to hear Lorne's parts yet, so who knows he if he also did a similar thing.It’s not included and I’m very confused. I think there’s a good amount of unused tracks or the way the score was used was so terrible that only few tracks were memorable to me. <br><br>There’s a theme that plays during two tragic moments - I thought it was “Prayer” but it isn’t. I think it’s by Lorne as it’s closer to the direction he took. <br><br>I wish they gave us more Balfe :(I know this is probably the wrong place for it but I'd love if Hnas would one day release a CD of just his demo sketches and suites. I find hearing the original intentions/ideas even when rough really fascinating.11.22.19Yeah lol one way or another... :P
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Harry Gregson-WilliamsStephanie Economou
ComposerScore Recordist
Call Of Duty - Advanced Warfare (VG)
Label: Activision (Digital Download Only)
Length: 76'05
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 (3458 votes)
  1. Advanced Soldier Overture (3:26)
    Harry Gregson-Williams
  2. Draconian Dream (3:19)
    Audiomachine
  3. Power Changes Everything (1:19)
    Harry Gregson-Williams
  4. Atlas (1:07)
    Harry Gregson-Williams
  5. Mitchell's Arm (0:49)
    Harry Gregson-Williams
  6. LZ Epsilon (3:28)
    Audiomachine
  7. Swarm Down (2:14)
    Audiomachine
  8. Induction (2:06)
    Audiomachine
  9. Prototype (2:24)
    Audiomachine
  10. Chain Reaction (2:24)
    Audiomachine
  11. See You On The Other Side (0:39)
    Harry Gregson-Williams
  12. Eulogy For A Friend (1:16)
    Harry Gregson-Williams
  13. Orientation (2:05)
    Audiomachine
  14. Zulu-Tango (2:13)
    Audiomachine
  15. Firing Range (2:26)
    Audiomachine
  16. Grenade Training (2:33)
    Audiomachine
  17. Not Our Problem (1:12)
    Harry Gregson-Williams
  18. Traffic Jam (1:03)
    Harry Gregson-Williams
  19. A Glass Would Be A Start (1:17)
    Harry Gregson-Williams
  20. We Are Atlas (1:10)
    Harry Gregson-Williams
  21. Aftermath (1:14)
    Harry Gregson-Williams
  22. Battle Cry (3:07)
    Audiomachine
  23. Exit Ride (1:09)
    Harry Gregson-Williams
  24. Manhunt (0:45)
    Harry Gregson-Williams
  25. Death Of A Savior (0:40)
    Harry Gregson-Williams
  26. He Knows (0:39)
    Harry Gregson-Williams
  27. Betrayal (1:19)
    Harry Gregson-Williams
  28. New Baghdad (2:24)
    Audiomachine
  29. Old Town (3:16)
    Audiomachine
  30. Xscape (2:13)
    Audiomachine
  31. Black Box (1:08)
    Audiomachine
  32. Evasion (1:20)
    Harry Gregson-Williams
  33. Mech March (1:03)
    Harry Gregson-Williams
  34. Your Wars Don't Work (1:45)
    Harry Gregson-Williams
  35. Preemptive Strike (0:41)
    Harry Gregson-Williams
  36. Collapse (1:31)
    Audiomachine
  37. Sentinel En Route (1:22)
    Harry Gregson-Williams
  38. Carrier (0:36)
    Harry Gregson-Williams
  39. Arclight (0:41)
    Harry Gregson-Williams
  40. No Soft Options (1:23)
    Harry Gregson-Williams
  41. Captured (2:18)
    Audiomachine
  42. Test Chamber (2:19)
    Audiomachine
  43. Wheat From The Chaff (1:26)
    Harry Gregson-Williams
  44. Just One (1:29)
    Harry Gregson-Williams
  45. Incinerator (1:11)
    Audiomachine
  46. Advanced Warfare (0:36)
    Harry Gregson-Williams
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Hybrid Soldier reply Replies: 4 || 2014-11-03 21:51:35
So here it is, at last ! :)


Mike2014-11-04 01:29:00
Looks like HGW did more here than in COD4... ;)


Anonymous2014-11-04 01:52:19
about half an hour or so by the looks of it...


Zimson 2014-11-04 09:50:41
Advanced Warfare? Really?? That's so creative. :P


rockhound2016-01-19 19:13:31
the track We Are Atlas is an amzing track. great theme, very nice build up and wonderful combination of orchestra and choir. also the other tracks by harry are fantastic. really good job.

Drunkenmunkey reply Replies: 0 || 2014-11-04 22:54:05
Audiomachine did an awesome job with this one!!! Draconian Dream's percussion is EPIC!

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Call Of Duty - Advanced Warfare (VG) soundtrack - Harry Gregson-Williams 2014