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My one hope is that this doesn't mean Chris Nolan will be tying Zimmer's hands behind his back for future scores. If he wants to do that here, okay. I can get over one score. But I hope Nolan doesn't keep calling for this non-melodic approach.That was one of my favorites, wish it was on the OST.Yeah, was also looking for that track.Nolan's liner notes, which explains a lot on the score :<br><br>"British people are raised on the story of Dunkirk. The events of the evacuation are sacred ground, not to be ventured onto without great care. Daunting for a filmmaker. But the things that place Dunkirk so firmly at the heart of a nation's self-image are the very qualities that make it one of the greatest stories in human history. Irresistible to a filmmaker.<br><br>This film required a remarkable creative team, and Hans Zimmer, as well as having been a valued member in the past, knows how to assemble his own great team. From our first meeting, where I described to the percussionist, Satnam Ramgotra, the unusual rhythmic structure of the script and how it needed to be amplified by the music, through the finishing touches applied by Lorne Balfe during our last weeks of mixing, the importance of teamwork was paramount. The process nicely echoed the circumstances of the events we were trying to honour- a triumph of communal effort, not individual heroism.<br><br>When I called Hans one night with a one word suggestion- "Nimrod", I wasn't sure he'd accept experimenting with an existing theme for the climax of the film. To my surprise, he knew just who to call to achieve the deconstruction of Elgar's monumental theme, a theme as beloved to the English as Dunkirk itself, often played at ceremonial occasions and funerals. It's a theme which (I never admitted to Hans) I am incapable of hearing without feeling the surprising weight of my father's coffin on my shoulder. Hans brought in Benjamin Wallfisch, who, in collaboration with the great music editor Alex Gibson and myself, fashioned a modern reworking that grows out of the sights and sounds of the movie- tapping the original's resonances without feeling unearned. Hans's brass accents complete the piece's power to move without sentimentalizing.<br><br>Hans went on to incorporate Elgar's theme elsewhere in the score, a score that on this album has been divided into cues, but which in the film plays as one long piece with a unifying and complex rhythmic and tonal structure. The structure of the screenplay itself builds upon the shepherd tone concepts I first explored with composer David Julyan in the soundtrack for "The Prestige", but here Zimmer's team (in particular Andy Page and Andrew Kawczynski) and I added a whole new rhythmical structure. This can't be fully represented on the album, but in the film it is able to integrate sound effects and even story structure into the very fabric of the music in a new and unique manner.<br><br>The rigid structure, to which we adamntly stuck, at times proved frustrating for the musicians, but they persevered and produced extraordinary cues based on unusual solutions (such as a recording of my watch that Hans and his team adapted into many different rhythmic voices). The disciplined procedural approach stopped the music for "Dunkirk" from ever resorting to arbitrary cinematic emotionalism, something Hans and I always felt was vital, given the inherent emotional heft of the real life events. This has been a long and hard journey, but I am proud of the final results, and hope that you will share my appreciation for the talent of the artists who worked so hard for so long on this score.<br><br>CHRISTOPHER NOLANI don't think emotion and melodies = Oscar worthy. Dunkirk's score fits in with the movie far better than Chappie.
Saw the film again last night and there are a ton of great cues missing, especially from the first half of the film. It's a crime the cue when they carry the stretcher onto the ship wasn't included.The answer is: Christopher Nolan ;-)It doesn't crossfade as much as, say, The Dark Knight Rises or Inception, but there is  very rarely dead air. I haven't listened enough times to determine when it does and doesn't crossfade, but the tracks are, at least, very closely edited together.I Love Hans' stuff but this score didn't really do it for me. I don't see how people are repping this as Oscar worthy but trash something like CHAPPiEs score, something with actual emotion and melodies.This soundtrack will win an oscar . It's great to see Balfe back with Zimmer. Dream team
Does anyone know whether the cd version actually has the cues crossfading into each other? Since in the film the score plays almost as an entire cue, it would have made sense if they did that. It sounds like some cues in the digital version end kind of awkwardly, like 'Impulse' and 'Home'. These cues fade out while there still seems to be some instrumentation progression going on. Hence the crossfade thought...Oooh credits. I'm guessing from these it's going to be disqualified from entering Oscar nominations because<br>1. Use of a classical musical piece throughout<br>2. More than one guy is credited.<br><br>Anyway, that's how Hans always liked, crediting everyone.I have to agree on the soundtrack being mostly unlistenable...<br><br>This is nothing like Inception, or even Interstellar.<br><br>I seriously doubt there's going to be a big stink made about any track from this score the likes of "No Time For Caution" back in 14...<br><br>I tried...I tried real hard to find something to keep me interested in this score, but I personally couldn't find anything. Most of it is tension building noise. I'm sure it's great within the film, but outside the film? Not so much.<br><br>I guess Zimmer is on "retirement mode" now...He's slowing down and not wanting to produce the rockin stuff that he used to...I can't blame him, but still...This score sounds like a total experiment.Sorry bud...<br><br>Its not.Hi everyone, does anyone know the name of the music in the Dunkirk Trailer 1 at 01:30? It doesn't not seem to be in the score, I'm assuming it's not in the movie, I'm going to see it Sunday. If anyone knows the music or where to find it, please Comment, thanks!
Tina had a lot of work to do here!Each time I listen to "The Oil," I'm convinced it can't get any louder and larger, but it does. If you don't look at the track time, you're just constantly thinking it's about to end, and yet it somehow continues to up the ante until you almost can't handle anymore!I was on three concerts so far and just at the one at Frankfurt some band members came down from the stage after the concert. I didn'f got a autograph but I did photos with nile marr and nick glennie smith. But if you would ask some of the band members I am sure they will say "ok perhaps I can arrange it" would try it this way :)I really like it. It's a clever score that sounds like it had an awful lot of thought put into it.A fanmade.<br><br>Hybrid probably took the track from here because the guy behind the channel was stating that it was original without being. Leaving the link here would only give him more audience.
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Hans ZimmerLorne BalfeBenjamin WallfischAndrew Kawczynski
ComposerAdditional MusicAdditional MusicAdditional Music
Dunkirk
Label: WaterTower Music
Length: 59'46
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   3/5 (894 votes)
  1. The Mole (5:35)
    Hans Zimmer (Sir Edward Elgar)
  2. We Need Our Army Back (6:28)
    Hans Zimmer
  3. Shivering Soldier (2:52)
    Hans Zimmer
  4. Supermarine (8:03)
    Hans Zimmer
  5. The Tide (3:48)
    Hans Zimmer (Sir Edward Elgar)
  6. Regimental Brothers (5:04)
    Hans Zimmer, Lorne Balfe (Sir Edward Elgar)
  7. Impulse (2:36)
    Hans Zimmer
  8. Home (6:02)
    Hans Zimmer, Benjamin Wallfisch (Sir Edward Elgar)
  9. The Oil (6:10)
    Hans Zimmer
  10. Variation 15 (Dunkirk) (5:51)
    Benjamin Wallfisch, Hans Zimmer (Sir Edward Elgar)
  11. End Titles (Dunkirk) (7:12)
    Hans Zimmer, Lorne Balfe, Benjamin Wallfisch (Sir Edward Elgar)
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Hybrid Soldier reply Replies: 1 || 2017-07-22 19:50:10
Nolan's liner notes, which explains a lot on the score :

"British people are raised on the story of Dunkirk. The events of the evacuation are sacred ground, not to be ventured onto without great care. Daunting for a filmmaker. But the things that place Dunkirk so firmly at the heart of a nation's self-image are the very qualities that make it one of the greatest stories in human history. Irresistible to a filmmaker.

This film required a remarkable creative team, and Hans Zimmer, as well as having been a valued member in the past, knows how to assemble his own great team. From our first meeting, where I described to the percussionist, Satnam Ramgotra, the unusual rhythmic structure of the script and how it needed to be amplified by the music, through the finishing touches applied by Lorne Balfe during our last weeks of mixing, the importance of teamwork was paramount. The process nicely echoed the circumstances of the events we were trying to honour- a triumph of communal effort, not individual heroism.

When I called Hans one night with a one word suggestion- "Nimrod", I wasn't sure he'd accept experimenting with an existing theme for the climax of the film. To my surprise, he knew just who to call to achieve the deconstruction of Elgar's monumental theme, a theme as beloved to the English as Dunkirk itself, often played at ceremonial occasions and funerals. It's a theme which (I never admitted to Hans) I am incapable of hearing without feeling the surprising weight of my father's coffin on my shoulder. Hans brought in Benjamin Wallfisch, who, in collaboration with the great music editor Alex Gibson and myself, fashioned a modern reworking that grows out of the sights and sounds of the movie- tapping the original's resonances without feeling unearned. Hans's brass accents complete the piece's power to move without sentimentalizing.

Hans went on to incorporate Elgar's theme elsewhere in the score, a score that on this album has been divided into cues, but which in the film plays as one long piece with a unifying and complex rhythmic and tonal structure. The structure of the screenplay itself builds upon the shepherd tone concepts I first explored with composer David Julyan in the soundtrack for "The Prestige", but here Zimmer's team (in particular Andy Page and Andrew Kawczynski) and I added a whole new rhythmical structure. This can't be fully represented on the album, but in the film it is able to integrate sound effects and even story structure into the very fabric of the music in a new and unique manner.

The rigid structure, to which we adamntly stuck, at times proved frustrating for the musicians, but they persevered and produced extraordinary cues based on unusual solutions (such as a recording of my watch that Hans and his team adapted into many different rhythmic voices). The disciplined procedural approach stopped the music for "Dunkirk" from ever resorting to arbitrary cinematic emotionalism, something Hans and I always felt was vital, given the inherent emotional heft of the real life events. This has been a long and hard journey, but I am proud of the final results, and hope that you will share my appreciation for the talent of the artists who worked so hard for so long on this score.

CHRISTOPHER NOLAN


Mike (OTM)2017-07-22 21:00:33
My one hope is that this doesn't mean Chris Nolan will be tying Zimmer's hands behind his back for future scores. If he wants to do that here, okay. I can get over one score. But I hope Nolan doesn't keep calling for this non-melodic approach.

DabMaster69 reply Replies: 2 || 2017-07-22 19:27:21
Saw the film again last night and there are a ton of great cues missing, especially from the first half of the film. It's a crime the cue when they carry the stretcher onto the ship wasn't included.


Waymann2017-07-22 20:06:25
Yeah, was also looking for that track.


Gotham Rogue2017-07-22 20:56:33
That was one of my favorites, wish it was on the OST.

SPECTER reply Replies: 2 || 2017-07-22 17:06:59
I Love Hans' stuff but this score didn't really do it for me. I don't see how people are repping this as Oscar worthy but trash something like CHAPPiEs score, something with actual emotion and melodies.


Ds2017-07-22 17:45:46
The answer is: Christopher Nolan ;-)


Mephariel2017-07-22 19:39:36
I don't think emotion and melodies = Oscar worthy. Dunkirk's score fits in with the movie far better than Chappie.

Laurens reply Replies: 2 || 2017-07-22 11:52:41
Does anyone know whether the cd version actually has the cues crossfading into each other? Since in the film the score plays almost as an entire cue, it would have made sense if they did that. It sounds like some cues in the digital version end kind of awkwardly, like 'Impulse' and 'Home'. These cues fade out while there still seems to be some instrumentation progression going on. Hence the crossfade thought...


Martin2017-07-22 14:14:00
This soundtrack will win an oscar . It's great to see Balfe back with Zimmer. Dream team


Nerdboy20132017-07-22 17:09:16
It doesn't crossfade as much as, say, The Dark Knight Rises or Inception, but there is very rarely dead air. I haven't listened enough times to determine when it does and doesn't crossfade, but the tracks are, at least, very closely edited together.

Anonymous reply Replies: 0 || 2017-07-22 06:35:37
Oooh credits. I'm guessing from these it's going to be disqualified from entering Oscar nominations because
1. Use of a classical musical piece throughout
2. More than one guy is credited.

Anyway, that's how Hans always liked, crediting everyone.

Jack reply Replies: 3 || 2017-07-21 14:56:18
Divisive opinion:
I honestly wasn't crazy about the film. It wasn't bad, and the score was very appropriate, but I felt they could have done something different to not just be visually engaging, but emotionally engaging. Maybe I'm crazy, I'm seeing it again today, but that's my initial reaction.


Adam2017-07-21 15:07:07
It probably felt less emotionally engaging because we've been fed with emotions like friendships, love, joy or sorrow in most of the films. Dunkirk was emotionally engaging with emotions like fear of death, longing to go home. Hope this gives you another perspective


Bolidzar2017-07-21 21:14:17
I agree. This to me was Nolan's Revenant. Good looking cinematography, but almost no story and zero emotional connection to anything happening. I disagree with Adam. It doesn't drudge up negative feelings either because, unless you have an explicit connection to the Battle of Dunkirk, it doesn't try to give anything meaning. The film was everything I feared when I saw the trailer, boring and limited in depth. As I was leaving I heard someone describe as a documentary, but I wouldn't even call it that. It is like an art film, definitely not for everyone. I'd probably call it a historical recreation on film.

As for the "music". It definitely fit the "movie" in that it hardly was the fundamental thing it is described as. Mostly droning noise, air, or ticking. Not for everyone and not really listenable either.

Overall this felt like a pop-avant garde project. Maybe Dunkirk is something extremely culturally relevant in England? Like still present in the vernacular? I don't know but this movie fails to take add anything to the human experience. It does not transcend its basic scenario and title. Dunkirk. That is it.


Meta2017-07-22 03:26:50
I have to agree on the soundtrack being mostly unlistenable...

This is nothing like Inception, or even Interstellar.

I seriously doubt there's going to be a big stink made about any track from this score the likes of "No Time For Caution" back in 14...

I tried...I tried real hard to find something to keep me interested in this score, but I personally couldn't find anything. Most of it is tension building noise. I'm sure it's great within the film, but outside the film? Not so much.

I guess Zimmer is on "retirement mode" now...He's slowing down and not wanting to produce the rockin stuff that he used to...I can't blame him, but still...This score sounds like a total experiment.

Christian Adamson reply Replies: 1 || 2017-07-22 01:45:20
Hi everyone, does anyone know the name of the music in the Dunkirk Trailer 1 at 01:30? It doesn't not seem to be in the score, I'm assuming it's not in the movie, I'm going to see it Sunday. If anyone knows the music or where to find it, please Comment, thanks!


meta2017-07-22 03:22:27
Sorry bud...

Its not.

James reply Replies: 0 || 2017-07-22 00:34:55
Tina had a lot of work to do here!

Gotham Rogue reply Replies: 0 || 2017-07-22 00:27:10
Each time I listen to "The Oil," I'm convinced it can't get any louder and larger, but it does. If you don't look at the track time, you're just constantly thinking it's about to end, and yet it somehow continues to up the ante until you almost can't handle anymore!

iii reply Replies: 0 || 2017-07-21 23:02:49
I really like it. It's a clever score that sounds like it had an awful lot of thought put into it.

Anonymous reply Replies: 1 || 2017-07-21 22:47:57
So I'm curious about something...that fake End Titles track that was posted here twice and removed...if it wasn't Dunkirk, what WAS it? It was actually a decent piece and sounded like Hans.


James2017-07-21 23:01:33
A fanmade.

Hybrid probably took the track from here because the guy behind the channel was stating that it was original without being. Leaving the link here would only give him more audience.

Rigby reply Replies: 1 || 2017-07-21 19:03:41
Shivering Soldier is DEFINITELY similar to Bruce's theme in BVS


Olive2017-07-21 19:52:21
Nope, it has the inicial feeling of 528491 of Inception.

Mike (OTM) reply Replies: 1 || 2017-07-21 16:27:45
I like that Lorne is directly credited on Regimental Brothers and End Titles. Ditto Wallfisch with Home, Variation 15, and End Titles. That's three credits from the start!


Mike (OTM)2017-07-21 16:33:20
*four. Yes, I can do math. :P

mpolonest123 reply Replies: 10 || 2017-07-20 21:21:00
This is 100% a score you need to hear in film before listening to on album. If I had to make any comparisons, this is probably most like Deepwater Horizon or Gravity in that it takes a primarily tense sound design approach as opposed to thematic scoring. I honestly can't think of another Zimmer score that's less melodic than this.

Not that it's bad of course, music definitely has to serve the film first and foremost.


Hybrid Soldier2017-07-20 23:20:55
Actually, to talk about something Hans & Lorne worked on, I would compare this score more to Captain Phillips...


James2017-07-20 23:24:02
They co-composed the score together as in Philips like Hans and Jackman?


James2017-07-21 00:02:38
Oops!
Lol
I undestand now!
Only now!
You refers to mode of the score and no to the collaborative way.
SORRY!


Kriknud2017-07-21 00:26:10
Hybrid YOU'RE RIGHT! As soon as I heard that bassy, almost rusty, metallic sound in the lower registers, I was like "This is really similar to Captain Phillips" (which is fine with me because I enjoyed that particular soundtrack). It also means Filmtracks.com is going to roast this soundtrack SO HARD. As for the rest of the score, I was unimpressed for the first half or so, but as soon as I started to get a feel for what it was going to be like, I started to enjoy it more. I will probably have to listen to it a few more times before I start to fall in love with it.


mpolonest123 2017-07-21 02:36:22
@Hybrid It's been a while since I took a listen to Captain Phillips (I remember being extremely unimpressed with that one) and I always forget HZ/LB contributed to that mess. I'll definitely relisten though...

And yes, Filmtracks is going to shit on this one for sure. I normally love that reviewers style of writing (even if I usually disagree) but after TASM2 you can tell he has an extreme bias against Zimmer and his colleagues.


Halo2017-07-21 07:40:18
Some Cues are missing on the "official" Score right?


Hari Haran2017-07-21 10:00:31
mpolonest123, he's actually admitted to using Zimmer to draw numbers to his site a few months back, so there goes his credibility. When it comes to Zimmer, no matter how much he tries to lie and cower otherwise, he is without a doubt severely biased against him and has resorted multiple times to bashing him more than actually analysing his music. A reviewer who has lost his touch of professionalism long ago, I'm afraid.


...2017-07-21 12:42:14
Where does the filmtracks guy admit that?


mpolonest123 2017-07-21 13:05:49
@Hari

Oh really? For any reviewer out there, if you can't go in without some bias you shouldn't review it. It's a shame too, he is one of the few score reviewers who really breaks down and analyzes the music. Oh well....


James2017-07-21 14:08:10
@Hari "I am afraid?"

There is no need to fear. Lol.
They have been doing this since ... always
Filmtracks since 2003.
The problem is that HZ has no formal musical training and this will always put him on a step down when compared to those who have or who in one way or another try to follow in a more orchestral way."At least for people who claim to be more cultured"

--------------------------------------------------

@Hari No! He never assumed that. The other day, I think in BvS or Boss Baby review, he commented that people accuse him of always bashing HZ works in exchange for views. But he denies, saying he does this to make it clear that not all people are satisfied with the current situation of the scores produced these days. And that HZ has yes, his share of guilt about it.

--------------------------------------------------

I do not like hatred in what he writes. First because it influences other reviewers to do the same and second because it is not 100% fair.

For PoTC 5, for example, he gave 3 stars. While the other scores of the franchise were always migrating between 1 and 2 stars.
If everyone had 3 stars, with the exception of the 4 effort, I'd be okay with that.And his justification for this is that Geoff is ridding the music of the damage franchise brought by Hans. WTF?

But at the end of the day I'm okay with that too.
----------------------------------------------
I make it clear that I do not have so much trouble with the way he review the scores. No problem. The problem is the use of hate words whenever it comes with a score review by Hans.

He called Captain Philips of a piece of shit. Even if I agree with him that it is bad, is sad that you read this. But okay.

Naji reply Replies: 0 || 2017-07-21 13:21:51
its just Tick Took effect, Great for the Movie but so Disappointed As an Album.

Hybrid Soldier reply Replies: 13 || 2017-07-20 15:42:35
Every single one giving an opinion on the score without having seen the film is irrelevant.

Nolan has done it again, it's good to see some "cinema" after sinking ships (no pun) like Transformers 5...


Petermb2017-07-20 15:50:16
Well I have seen the film and the score is amazing . I want to see it again . Lorne Balfes name at the end says score producer. What does that mean ?


Everan2017-07-20 15:53:23
I thought the TF5 bashing was on the TF5 thread.


Ahmad2017-07-20 16:30:19
I totally agree. It's too eqrly for me to give my opinion on the score, but I find the album release to be quite disappointing, specifically for people who've seen the prologue and build expectations based on it.


Ahmad2017-07-20 16:45:35
*early


Kusi2017-07-20 16:58:05
*jokemode=on* the motto from this score: DUI DUI du du DUI DUI du du *jokemode=off* :D


Edmund Meinerts2017-07-20 23:24:25
Irrelevant? I don't know. I prefer to judge film music apart from the movie, for my own private purposes...it's just as valid a way of looking at things IMO. And it doesn't sound like I will like Dunkirk very much. :/


James2017-07-20 23:49:17
Well .. I promised not to listen until tomorrow, but I did anyway. :-)

The score is not inaudible as many "haters" want to appear to be. It remembers a lot to Thin Red Line, only a bit more monotonous.

As Nolan said in an interview, he required Hans to enter "David Julyan" mode on his soudtracks for "The Prestige" and "Memento" for this work.

It's a score that runs the same path as the ones written for "The Arrival," "The Girl of the Train," "The Revenant," but a little less inspired. It is more a work that adds the wave of minimalism in the current scores.

It still recalls Lorne's work for soundtracks like Saints & Strangers, Churchill and The Last Man on The Moon (the strings!).

It lacks a little of the energy employed in other Hans' works but is a good score.


Ahmad2017-07-21 12:16:28
After a couple of listens, *not judging the score but judging the album release itself* it's not bad it's just incomplete and that's coming from some who has only seen the prologue and clips from the movie. I wish there would be an isolated score option or a complete musical experience release similar to La La Land (even though that was a musical but it'd still work).

Hybrid, I know I'm fighting a war by myself here but is there any chance for the prologue music to be released as a bonus track?


Guitwo2017-07-21 12:21:49
It is just mind boggling tbh... it's probably what nolan tried to pursue in his last three movies but couldn't totally achieve.
An entire movie, without breathing room or time out and a supreme mastercraft for building cmplexe narratives, mind f***ing characters' arc and he challenges "the truth" and "the fact" and the ambiguity of the truth/fact in the next scene constantly. this is insane... this is just insane... and it's gonna get a lot of hate because of it.
it is very modern interpretation of our H24 media oriented word and the different pov you can have, and the angle you choose to take... damn... damn...damn.
It ain't your classical war movie, it's really truly an immersive experience of war for 1h37 minutes which is truly daring and original in cinema. I haven't seen a war movie like that so far


Guitwo2017-07-21 12:24:18
Ahmad: Wait until you watch the movie bro... i did not risk myself watching anything but the prologue for one time only... I did not listen to supermarine beforehand... you have to discover this score in the movie.
it's probably the sole purpose of this score because it's just so important into context.


Ahmad2017-07-21 12:41:24
I totally get what you're saying @Guitwo, that's why I'm not judging the score itself, I'm just bummed at how the album seems like an after thought. The fact that I'll be walking out of the movie wanting to listen to my favorite cues but I won't be able to bothers me a lot. Anyway, I'm seeing it on Thursday.


Guitwo2017-07-21 13:03:16
@ahmad when u'll watch the movie u'll see that it does not need any cues or melodies or main theme. and hopefully u'll understand
basically, the main character of the movie is an idea hence the music.


Ahmad2017-07-21 13:14:44
You misunderstood me, everything I've heard about the score excited me and I still am very excited to see the movie and to hear the score. I was one of the people who defended Hans' approach early on when "Supermarine" was released. I like what i've heard from the score and I don't want a melody or a main theme. (even though it seems like Supermarine can count as a main theme from what I've heard about the score)

My issue is with the 11 track 59 minute album. Let's take "The Mole" for example, I've been told that at the 2:00 mark there was a section that's in the movie but was cut out of the track so "The Mole" would've been much longer than 5 minutes. That section is one of my favorite things about the score (it was featured in the prologue). The first clip with Mark Rylance featured music that is similar to the end of "The Mole" but it's not the same cue and it doesn't appear elsewhere on the album.
I'm a big, big fan of Hans and Nolan but the fact that they keep screwing up their soundtrack official releases is bothersome to me.

Dunkirk reply Replies: 0 || 2017-07-21 12:04:31
Finally end titles included for this movies

Laurens reply Replies: 1 || 2017-07-21 09:33:54
Very strange that the iTunes release does not contain track 11 (End Titles). I haven't checked for other countries, but at least that's the case in the Netherlands.


Laurens2017-07-21 09:40:17
Hmm never mind they just updated it it seems...

Catastrophic Jones reply Replies: 0 || 2017-07-21 02:14:21
Very interested with this one. Normally I stray away from the war movies from recent years but the fact that Nolan considered this a story worthy enough to make into a film makes it a must see in my book. Chris has that style of elegance and intelligence in his films, while also being capable of delivering a full on action powerhouse that easily rivals Michael Bay. (Seriously, how is that guy still allowed to make 'films'?) Hans' score is no exception. I can understand why it may cause some people to turn away but personally, for me if something works for the film it is intended for, the composer has succeeded in his job. Not every score has to be an engaging hundred piece orchestra and an ambient-electronic film score is nothing new, it's an approach that has been around for decades! The way of cinema isn't being destroyed by it. It's simply another way to tell a story. I personally feel this music will best suit the film based on what I've heard so far and even as a stand alone listening experience I love it. That tense feeling that dread and doom is near, that I am about to go to war against someone or something. Sounds like he took the feel of Interstellar if it wasn't a space film, the ambiance of Inception and effects from Inferno. Supermarine is easily my favorite, but I do like Variation 15 and End Titles a lot as well. Just to give you an idea, I once use to exclusively listen to only orchestral music. Me several years ago would've probably hated this kind of score but instead of ignoring it and turning away I began to open myself to other styles. I stopped holding music to a certain set of expectations. Now I've discovered some very incredible and unique stuff out there, and not just in terms of music. Give it a chance, if the first listen doesn't grab you try a few more. Only then can you decided with a definitive stance. Worst case scenario, there's always the next Hans Zimmer score to enjoy.

Juliano reply Replies: 0 || 2017-07-21 01:17:34
The Variation 15 is so amazing deep. WOW

fabien reply Replies: 0 || 2017-07-20 23:16:15
Truly unique soundtrack

Mike (OTM) reply Replies: 6 || 2017-07-20 03:22:36
So here's what I'm expecting:

—Lorne Balfe's name will be on most cues, and he'll have at least a couple cues without Hans' name at all
—the "beautiful" parts of the score will be the Elgar adaptations by Wallfisch
—Hans' music will work wonders as an accompaniment to the film, but be an underwhelming solo listen
—the cues in the film will be substantially recut compared to what the album gives us
—in the future, it will be difficult to tell what's by Zimmer here and what's by the other guys

Thoughts?


Waymann2017-07-20 08:44:54
Well you are right about the second, fourth thing you are saying.


AndrewM2017-07-20 08:58:30
Mike - good points . Definatly had a lot of Balfes touches on the score . Bits of 13 Hours . The Elgar variations aren't that original . The Original Elgar is better . BUt the score is great to the film .


badbu2017-07-20 09:01:52
Lorne is a King too :-)


James2017-07-20 22:17:21
- I find it difficult. Lorne joined the project in the last two months of producing the film.
- I agree. And the reviews that came out even before the official debut confirm that.
- I hope it is so.
- Those who watched the movie have already confirmed that.
- Meh. But I do not doubt it.

---------

I waiting for tomorrow to listen.


James2017-07-20 22:35:43
@AndrewM You're not so wrong. I always imagined this score as something reminiscent of Black Hawnk Dawn, in the same way as 13 Hours is.


James2017-07-20 22:37:28
*Black Hawk Down*


badbu reply Replies: 4 || 2017-07-20 18:24:45
Damn it...this part is missing...
twitter. com/anto volk/status/884874191878619138


Anon2017-07-20 20:04:00
It's in THE MOLE. The clip is just pitched up 4% as it was shown in the UK.


badbu2017-07-20 20:06:05
oh...you're right! thank you :)


badbu2017-07-20 20:23:38
BUT it is a little bit different. In the Clip are some deep Piano parts :P Maybe it's a "film version".


Ahmad2017-07-20 21:10:52
It's NOT the same! Similar but not the same and it's not just in a different pitch, in the clip it builds and builds and it gets faster and faster. It seems like a lot of stuff were cut out.

Jordan reply Replies: 21 || 2017-07-20 13:21:13
Informations taken from the CD Album :

1. The Mole (05:29) - Hans Zimmer (includes a theme by Sir Edward Elgar)
2. We Need Our Army Back (06:04) - Hans Zimmer
3. Shivering Soldier (02:51) - Hans Zimmer
4. Supermarine (07:59) - Hans Zimmer
5. The Tide (03:49) - Hans Zimmer (includes a theme by Sir Edward Elgar)
6. Regimental Brothers (05:02) - Hans Zimmer & Lorne Balfe (includes a theme by Sir Edward Elgar)
7. Impulse (02:34) - Hans Zimmer
8. Home (06:00) - Hans Zimmer & Benjamin Wallfisch (includes a theme by Sir Edward Elgar)
9. The Oil (06:10) - Hans Zimmer
10. Variation 15 (Dunkirk) (05:52) - Benjamin Wallfisch (based on a theme by Sir Edward Elgar)
11. End Titles (07:13) - Hans Zimmer, Lorne Balfe & Benjamin Wallfisch (includes a theme by Sir Edward Elgar)


SmartGuy2017-07-20 13:38:32
It just leaked. Does anybody know where to listen to it?


Jordan2017-07-20 13:41:13
I listened to part of the CD, it seems particular and some sound design.

I'll listeting to the full album tonight to have a real opinion on the score.


Waymann2017-07-20 13:53:14
Wow, Elgar's theme is all over the place. Don't recall hearing it so much while watching the film. Thought it was only going to be in track 8 and 10.


George2017-07-20 14:07:20
Just finished listening to the whole thing. Much more entertaining than I expected, to be honest.


badbu2017-07-20 14:14:43
WOW! The Score is amazing!!!!!!!


Ahmad 2017-07-20 14:25:04
Can anyone confirm if "The Mole" is the music from the prologue? (If you've seen it of course). I only want to listen to that since I've heard it already.


Ahmad2017-07-20 14:50:04
Haven't listened to it in full. Prologue music is not on the album. I'm very disappointed. It was one hell of a track.


Edgar2017-07-20 14:51:03
Just finished aswell, and i simply can't understand what is so amazing or entertaining at all?!

Track 01 - 03 are unbelievable boring sound design/effects, like an 13 minute intro to the ugly track 04 (supermarine). track 05 - 08 are boring and sound-effects aswell. track 08 has at minute 4 an interesting part, where edward elgars theme pops out, but that's it. curious to hear and see that scene in the movie. track 09 (the oil) is super-ugly, almost more then "supermarine" - wow! the highlight of the score is then track 10 "variation 15", which isn't even a zimmer cue and also a huge inspirated and variated cue from edward elgar. the last track sums everything up, there is a mix of electro sound effects with edward elgars music and again some supermarine and the oil parts.

i can't describe how much dissappointed i am, this is super-super-ugly. i remember when hans made the joker theme how punkish and ugly he stated that cue, but this one here is simply terrific ugly - the whole score! i don't know, this has nothing to do with film music anymore. it sounds for me like a frustrated zimmer who wants to prove, that he can bring up anything out, and people will kiss his a** and say how amaziiiiing this is. i'm sorry for my harsh words, i'm just so dissappointed here. i've considered myself as a zimmer-addictive, but here with this score, i had to choke up, it was that bad. i was so happy it ended. oh lord, where's my hans, where's my zimmer...


Waymann2017-07-20 15:04:11
The prologue is also not a scene from the actual film.


babdu2017-07-20 15:08:29
@Edgar Yes, it is not the best score from Hans but ugly? What do you think about the interstellar score? this was a bad score (for me)...i like this score very much!


Medigo2017-07-20 15:13:14
only listened to the first track
saying that its just soundeffects is doing the music disservice


badbu2017-07-20 15:18:23
But hey, Steven Price gets an oscar for his "sound" Score Gravity :D


Waymann2017-07-20 15:21:37
Ugh I hated that gravity score, just awful and I even like those kind of scores. That oscar win was out of place.


badbu2017-07-20 15:24:00
@Waymann YES! 100% right!!! At the Oscar Night i was like this -> oO WTF?!?!? :D


Medigo2017-07-20 15:27:41
Music can come in many forms
Gravity is a soundtrack, whether you like it or not.
Admittedly this score is not grabbing me very much. its very moody and plodding. (probably fits the film)
but to dismiss it because of how it sounds is rubbish


Kusi2017-07-20 16:25:06
As for Gravity: My first reaction about the film music Oscar was: WTF? BUT never judge on a score before you watched the movie. This is a perfect example for that. After I watched the movie I immediatly bought the score and it's still one of my favourites.


Ahmad2017-07-20 16:44:38
Gravity... one of the most creative scores. I haven't listened to the whole score on its own, but whenever I watch sequences from the movie, the score impresses me more than it did before.
I did listen to "The Mole" and did remind me of Gravity.


Mike (OTM)2017-07-20 17:01:48
Hmmm, so this is a much shorter album release than Interstellar. I hope we don't have another No Time for Caution situation!


Mike (OTM)2017-07-20 17:20:54
The differing track times here and above tell me the CD is probably crossfaded, while the digital version has the tracks extended to remove the crossfades.


ss2017-07-20 17:26:50
Trailer Music better than soundtracks lol


Waymann2017-07-20 17:32:08
First watch the film then listen to this score. Thank me later. No way you will like this score before you see the film.

Everan reply Replies: 0 || 2017-07-20 16:39:28
This is like the son of Hans Zimmer and David Julyan. Home, around the 4:00 minute mark reminds a lot of The Descent, but with a tiny bit of Zimmer's Interstellar touch.

It's definetely not what I expected, but I'm liking. And pretty sure it works amazingly with the film, which is really the main purposed of the score.

T-Mann036 reply Replies: 1 || 2017-07-20 15:47:53
Since I cannot access the vote on this site, I have to say that the Dunkirk soundtrack is as epic as Inception (another film by Chris Nolan). Despite the 11 tracks, that doesn't stop me from enjoying Hans' musical prowess. Overall, I have to give it a 4.5 out of 5 stars.


badbu2017-07-20 16:04:25
Yep. For me it is 4.5 too!

ss reply Replies: 0 || 2017-07-20 15:35:55
I dont like this tracks again dissapointment Hans.

Waymann reply Replies: 5 || 2017-07-20 11:10:28
I found on a reliable online store for books, films and music the track lengths. But the one for Supermarine is just a few seconds shorter than the runtime for the digital single. But of course the file on the cd different. This seems official to me.
It's is 53:53 min. long.

1. The Mole (05:29)
2. We Need Our Army Back (06:04)
3. Shivering Soldier (02:51)
4. Supermarine (07:59)
5. The Tide (03:49)
6. Regimental Brothers (05:02)
7. Impulse (02:34)
8. Home (06:00)
9. The Oil (06:10)
10. Variation 15 (Dunkirk) (05:52)
11. End Titles (07:13)


Waymann2017-07-20 11:16:06
I'm wrong it's 59 min. in total.


badbu2017-07-20 11:27:41
Cool! Thanks :-)


Ahmad2017-07-20 11:51:03
I've been waiting for the runtime, thanks. I expected it to be longer. Oh well. We were spoiled with Interstellar, now he's back with the Inception-like release. I don't expect a digital deluxe either.
It's interesting that Supermarine is the longest track on the album.


Waymann2017-07-20 11:53:39
Supermarine was cut into pieces and put all over the film. But I'm sure in the movie it sounded different.


babdu2017-07-20 11:57:30
there are some cues missing! 100% :D Hans like :D

Jack reply Replies: 5 || 2017-07-19 17:42:48
Curious, does anyone know if the track from the 1st trailer appears in the film at all? I heard that was composed by Zimmer but wasn't sure if it was only used as trailer music?


Ahmad 2017-07-19 18:06:04
Only the first one minute teaser/announcement was Zimmer.


Ahmad 2017-07-19 18:06:09
Only the first one minute teaser/announcement was Zimmer.


Ahmad 2017-07-19 18:06:51
Only the first one minute teaser/announcement was Zimmer.


Ahmad2017-07-19 18:07:45
Oops! Sorry, internet connection malfunction.


Waymann2017-07-20 09:52:05
That music is not in the film. The reverse piano sounds you are talking about right ?

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